A semantic differential inventory consisting of 40 baroque-performance descriptors
was used by 44 participants in response to 5 interpretations of two pieces by J.S.
Bach. The aim of the study was to gain insight into the aesthetic dimensions which
underlie baroque performances. Factor analysis identified two dimensions, one
pertaining to the stylishness of the performance. Stylishness described those
performance devices that contribute to the success of the performance. The second
dimension indicated either an amount of expression (regardless of appropriateness or
success), or a mainstream perception of expressiveness, not necessarily appropriate
to baroque music. A third, weaker, dimension also emerged which grouped together
tempo-related variables. The three factors were compared with Osgood's
dimensions of connotative meaning, and aligned reasonably well with the evaluative,
potency and activity dimensions respectively.
Asmus, E.P.
(1985)
‘The Development of a Multidimensional Instrument for the
Measurement of Affective Responses to Music’
, Psychology of Music13:
19–30
.
2.
Bartel, D.
(1997) Musica Poetica: Musical-Rhetorical Figures in German
Baroque Music.
Lincoln: University of Nebraska Press
.
3.
Bent, M.
(1997)
‘“Authentic” listening?’
, Early Music25(4):
567-567
.
4.
Berlyne, D.E.
(ed.) (1974) Studies in the New Experimental Aesthetics:
Steps toward an Objective Psychology of Aesthetic Appreciation.
New York: Wiley
.
5.
Bonds, M.E.
(1991) Wordless Rhetoric: Musical Form and the Metaphor of
the Oration.
Cambridge, MA: Harvard University Press
.
6.
Bowen, J.A.
(2003) ‘The Rise of
Conducting’, in
J.A. Bowen
(ed.) The Cambridge Companion to Conducting, pp.
93–113.
Cambridge: Cambridge University Press
.
7.
Butt, J.
(1990) Bach Interpretation: Articulation Marks in Primary
Sources.
Cambridge: Cambridge University Press
.
8.
Butt, J.
(1999) ‘Bach Recordings since 1980: A Mirror of
Historical Performance’, in
D. Schulenberg
(ed.) Bach Perspectives 4, pp.
181–198.
Lincoln: University of Nebraska Press
.
9.
Butt, J.
(2002) Playing with History: The Historical Approach to
Musical Performance.Cambridge: Cambridge University Press
.
10.
Clarke, E.
(1995) ‘Expression in Performance: Generativity,
Perception and Semiosis’, in
J. Rink
(ed.) The Practice of Performance: Studies in Musical
Interpretation, pp. 21–44).
Cambridge: Cambridge University Press
.
11.
Clarke, E.
(2003) Psychology of Music. §IV: Performance,
Section 1 ‘Introduction’, consulted 28 April 2004 [http://www.grovemusic.com]
12.
Collins, S.C. (1989) ‘Subjective and Autonomic Responses to Western
Classical Music’, unpublished doctoral dissertation, University of
Manchester, UK.
13.
Crozier, J. B.
(1974) ‘Verbal and Exploratory Responses to
Sound Sequences Varying in Uncertainty Level’, in
D.E. Berlyne
(ed.) Studies in the New Experimental Aesthetics: Steps toward an
Objective Psychology of Aesthetic Appreciation, pp.
27–90.
New York: Wiley
.
14.
Dadelsen, G. von, Grüss, H., Harnoncourt, N., Marshall, R.L.,
Platen, E., Rilling, H. et al. (1981) ‘Podiumdiskussion zur Situation der
Aufführungspraxis Bachscher Werke (Roundtable discussion regarding the
performance practice of Bach's works)’, in R. Brinkmann (ed.)
Bachforschung und Bachinterpretation heute: Wissenschaftler und Praktiker im Dialog
(Bach research and Bach interpretation today: Researchers and practitioners in
conversation), Proceedings of a Symposium held at the Philipps-Universität
Marburg, 1978, pp. 185–204. Kassel: Bärenreiter.
15.
Davies, S.
(1987)
‘Authenticity in Musical Performance’
, The British Journal of Aesthetics27(1):
39–50
.
16.
Davies, S.
(1994) Musical Meaning and Expression.
Ithaca, NY: Cornell University Press
.
17.
Donington, R.
(1989[1963]) The Interpretation of Early Music, 2nd
edn 1965, rev. 1974, reprinted with corrections 1975, 1977, rev. 1989, R1990
ed.
London: Faber
.
18.
Dreyfus, L.
(1983)
‘Early Music Defended against its Devotees: A Theory of
Historical Performance in the Twentieth Century’
, The Musical Quarterly69(3):
297–322
.
19.
Dulak, M.
(1993)
‘The Quiet Metamorphosis of “Early Music”’
, Repercussions2(2):
31–61
.
20.
Epstein, D.
(1995) Shaping Time; Music, The Brain, and Performance.
New York: Schirmer
.
21.
Fabian, D.
(2001)
‘The Meaning of Authenticity and the Early Music Movement
– A Historical Review’
, International Review of the Aesthetics and Sociology of Music32(1):
153–167
.
22.
Fabian, D.
(2003) Bach Performance Practice 1945–1975: A
Comprehensive Review of Sound Recordings and Literature.
Aldershot: Ashgate
.
23.
Fabian, D.
(2005) ‘Towards a Performance History of
Bach's Sonatas and Partitas for Solo Violin: Preliminary
Investigations’, in
L. Vikárius
and
V. Lampert
(eds) Essays in Honor of László Somfai: Studies in
the Sources and the Interpretation of Music, pp.
87–108.
Lanham, MD: Scarecrow Press
.
24.
Godlovitch, S.
(1998) Musical Performance: A Philosophical Study.London: Routledge
.
25.
HaCohen, R.
and
Wagner, N.
(1997)
‘The Communicative Force of Wagner's Leitmotifs:
Complementary Relationships between their Connotations and Denotations’
, Music Perception14(4):
445–475
.
26.
Harnoncourt, N.
(1988) Baroque Music Today: Music as Speech, trans. M.
O'Neill.
Portland, OR: Amadeus Press
.
27.
Hill, R.
(1994) ‘Overcoming Romanticism: On the
Modernization of Twentieth-Century Performance Practice’, in
B. Gilliam
(ed.) Music and Performance during the Weimar Republic, pp.
37–58.
Cambridge: Cambridge University Press
.
28.
Hoffmann, E.T.A.
(1989[1810]) ‘Review of Beethoven's
Fifth Symphony’, trans. M. Clarke, in
D. Charlton
(ed.) E.T.A. Hoffmann's Musical Writings: Kreisleriana, the
Poet and the Composer, Music Criticism, pp.
236–237.
Cambridge: Cambridge University Press
.
29.
Honing, H.
(2003)
‘The Final Ritard: on Music, Motion, and Kinematic Models’
, Computer Music Journal27(3):
66–72
.
30.
Houle, G.
(1987) Meter in Music, 1600–1800.
Bloomington: Indiana University Press
.
31.
Hudson, R.
(1994) Stolen Time: The History of Tempo Rubato.Oxford: Clarendon
.
32.
Juslin, P.N.
,
Friberg, A.
, and
Bresin, R.
(2001) ‘Toward a Computational Model of
Expression in Music Performance: The GERM Model’,
Musicae Scientiae,Special Issue, 63–122.
33.
Kenyon, N.
(ed.) (1988) Authenticity and Early Music.
Oxford: Oxford University Press
.
34.
Kerman, J.
(1985) Musicology.
London: Fontana Press/Collins
.
35.
Kivy, P.
(1980) The Corded Shell: Reflections on Musical
Expression.
Princeton, NJ: Princeton University Press
.
36.
Kivy, P.
(1995) Authenticities.
Ithaca, NY: Cornell University Press
.
37.
Lawson, C.
(2002) ‘Performing through
History’, in
J. Rink
(ed.) Musical Performance: A Guide to Understanding, pp.
3–16.
Cambridge: Cambridge University Press
.
38.
Lawson, C.
and
Stowell, R.
(1999) The Histrorical Performance of Music: An Introduction.Cambridge: Cambridge University Press
.
39.
LeHuray, P.
and
Day, J.
(eds) (1988) Music and Aesthetics in the Eighteenth and
Early-Nineteenth Centuries.
Cambridge: Cambridge University Press
.
40.
Lussy, M. M.
(1892[1874]) Traité de l'expression
musicale: accents, nuances et mouvements dans la musique vocal et instrumentale
Paris(Eng. trans.M Glehn, Musical Expression, Accents, Nuances, and Tempo in
Vocal and Instrumental Music London, 1885).
London: Novello
.
41.
Mattheson, J.
(1981[1739]) Der vollkommene Capellmeister(Eng. trans,
E.C. Harriss, The Perfect Chapel Master).
Ann Arbor, MI: UMI Research Press
.
42.
Milsom, D.
(2003) Theory and Practice in Late Nineteenth-Century Violin
Performance: An Examination of Style in Performance, 1850–1900.Aldershot: Ashgate
.
43.
Neumann, F.
(1993) Performance Practices of the Seventeenth and
Eighteenth Centuries.
New York: Schirmer
.
44.
Nielzén, S.
and
Cesarec, Z.
(1981)
‘On the Perception of Emotional Meaning in Music’
, Psychology of Music9(1):
17–31
.
45.
Osgood, C.E.
,
Suci, G.J.
and
Tannenbaum, P.H.
(1957) The Measurement of Meaning.
Urbana: University of Illinois Press
.
46.
Palmer, C.
(1996)
‘Anatomy of a Performance: Sources of Musical Expression’
, Music Perception13(3):
433–453
.
47.
Ratner, L.G.
(1992) Romantic Music: Sound and Syntax.
New York: Schirmer
.
48.
Repp, B.H.
(1992)
‘Diversity and Commonality in Music Performance: An Analysis of
Timing Microstructure in Schumann's “Traeumerei”’
, Journal of the Acoustical Society of America92(5):
2546–2568
.
49.
Repp, B.H.
(1998)
‘A Microcosm of Musical Expression: I. Quantitative Analysis of
Pianists' Timing in the Initial Measures of Chopin's Etude
in E major’
, Journal of the Acoustical Society of America104(2, Pt 1):
1085–1100
.
50.
Repp, B.H.
(1999)
‘A Microcosm of Musical Expression: II. Quantitative Analysis of
Pianists’ Dynamics in the Initial Measures of Chopin's
Etude in E major’
, Journal of the Acoustical Society of America,105(3):
1972–1988
.
51.
Repp, B.H.
(2002)
‘Relationships between Performance Timing, Perception of Timing
Perturbations, and Perceptual-Motor Synchronisation in Two Chopin Preludes’
, Australian Journal of Psychology51(3):
188–203
.
52.
Riemann, H.
, and
Fuchs, C.
(1890) Practical Guide to the Art of Phrasing: An Exposition
of the Views Determining the Position of the Phrasing Marks by Means of a
Complete Thematic, Harmonic, and Rhythmic Analysis of Classic and Romantic
Compositions.New York: no publisher.
53.
Salter, L.
(1966)
‘Review of Bach Brandenburg Concertos. Marlborough Festival
Orchestra directed by Pablo Casals. CBS SBRG 72396-8’
, The Gramophone43(May):
552-552
.
54.
Santacreu, O.
and
Alaminos, A.
(2004)
‘Let the Music Play the Feelings: The Performative Effect of
Music in Advertising’
, paper presented at the Conference on Interdisciplinary
Musicology (CIM04), Graz, Austria,
15–18 April.
55.
Schulenberg, D.
(1990)
‘Expression and Authenticity in the Harpsichord Music of J.S. Bach’
, Journal of Musicology8(4):
449–476
.
56.
Sundberg, J.
(1993)
‘How Can Music Be Expressive?’
, Speech Communication13(1–2):
239–253
.
57.
Taruskin, R.
(1988) ‘The Pastness of the Present and the
Presence of the Past’, in
N. Kenyon
(ed.) Authenticity and Early Music, pp.
137–207.
Oxford: Oxford University Press
.
58.
Taruskin, R.
(1995) Text and Act – Essays on Music and
Performance.
Oxford: Oxford University Press
.
59.
Thayer, J.F. (1986) ‘Multiple Indicators of Affective Response to
Music’, unpublished doctoral dissertation, New York University.
60.
Thompson, W.F.
,
Sundberg, J.
,
Friberg, A.
and
Fryden, L.
(1989)
‘The Use of Rules for Expression in the Performance of Melodies’
, Psychology of Music17(1):
63–82
.
61.
Timmers, R.
,
Ashley, R.
,
Desain, P.
,
Honing, H.
and
Windsor, W.L.
(2002)
‘Timing of Ornaments in the Theme from Beethoven's
Paisiello Variations: Empirical Data and a Model’
, Music Perception20(1):
3–33
.
62.
Wagner, R.
(1989[1887]) On Conducting (Ueber das Dirigiren): A Treatise
on Style in the Execution of Classical Music, trans. E. Dannreuther.
London: William Reeves
.
63.
Wedin, L.
(1972)
‘Evaluation of a Three-Dimensional Model of Emotional Expression
in Music’
, Reports From the Psychological Laboratories, University of Stockholm13:
241–257
.
64.
Wenzinger, A.
(1968) ‘Der Ausdruck in der Barockmusik und
seine Interpretation’, in
W. Wiora
(ed.) Alte Musik in Unserer Zeit – Referate und Diskussionen
der Kasseler Tagung 1967, pp. 35–46.
Bärenreiter: Kassel
.
65.
Windsor, W.
, and
Clarke, E.F.
(1997)
‘Expressive Timing and Dynamics in Real and Artificial Musical
Performances: Using an Algorithm as an Analytical Tool’
, Music Perception15(2):
127–152
.
66.
Wiora, W.
(ed.) (1968) Alte Musik in unserer Zeit – Referate
und Diskussionen der Kasseler Tagung 1967.
Kassel: Bärenreiter
.
