On the anatomy of the retard: A study of timing in music

Abstract

The timing of the last tones constituting the final retard is studied in performances of motor music, i.e., music dominated by long sequences of short and equal note values frequently accompanied by similar series of twice as long note values. The results suggest that the retard length is related to the length of the final cadence and that the retards are divided into two phases, the first of which is variable while the second is more regular; its length and decrease in tempo depends on the length of the last conceptual unit (motive) of the piece and, as regards the decrease in tempo, also the preretard mean tempo, with which the piece is played. The same preretard mean tempo also determines the duration of the note preceding the final chord. These observations are expressed in a set of equations by means of which retards are computed for a set of compositions. The musical quality of such rule generated retards is assessed by a jury of experienced musicians and music listeners.