Effect of Rubato Magnitude on the Perception of Musicianship in Musical Performance

Abstract

The purpose of this study was to examine the effect of changing the magnitude of rubato in a musical performance on the perceived musicianship inherent in a music performance. Subjects listened six times to the first phrase of Bach's Suite Number 3 for Violoncello solo, Bourrée Number 1. Each performance of that phrase was altered such that the magnitude of the rubato was varied. The model performance was created from timings found in previous research. The varied levels of rubato ranged from a metronomically straight performance to one in which the timing variations were exaggerated to four times that of the original model. Results indicated that the previously asserted model level of rubato was found to be the most musical, while the next two levels of more rubato were found to be only slightly less musical. The two examples with less rubato than the model, and the example with the most exaggerated rubato were all found to be significantly less musical than the model. These results seem to indicate that a performance without rubato is not perceived to be as musical as one with appropriate variations in timing. It also seems that as long as these variations are within a similar temporal flow, the music can accommodate as much as twice as much variation as was found in the model. This finding reflects a rather wide range in magnitude, leading to the conclusion that perhaps the flow of the performance is more crucial than the specific timing in milliseconds.

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