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Bruce Brubaker on all things piano

All beats are not created equal

November 18, 2013 by Bruce Brubaker

All beats are not created equal. They are endowed by their makers with differing length…

Well, not quite. But if we’re describing rhythm as rendered live by human musicians then yes, beats vary, even in regularly-beated music played “in tempo.” Computer produced beats do not have to vary, as some post-1980 pop music displays.

Roland_TR-808_drum_machineIn human-played rhythm, how much do beats vary? Or how much can beats vary and still be perceived as “equal”? We’re starting to answer such questions. Today’s world, filled with mass-produced objects, provides a particular context for understanding regularity.

Bruno Repp has been quantifying pianists’ rhythm. In a long study of performances of the beginning of Chopin’s Étude in E Major, opus 10, number 3, Repp found remarkable similarity in the irregularities of various players.

Olivier Senn and his colleagues have published their measurements of the micro-timings of Martha Argerich. For example, in Argerich’s 1975 recording of Chopin’s Prelude in E Minor, within the first four-measure phrase, the shortest eighth-note lasts 452 milliseconds while the longest eighth-note lasts 807 milliseconds. Later parts of the prelude are rendered with greater extremes.

I’d issue a caveat regarding the Argerich measurements: the recording is a studio product, and likely edited. Nothing wrong with that, except that some of these timings are the result of editing. Perfectly plausible and even beautiful timings perhaps, but not directly from the pianist. These manipulated microtimings are part of a different performance — the editor’s.

Filed Under: Uncategorized Tagged With: Argerich, Bruno Repp, Chopin, Haskins, human rhythm, Laboratory, Martha, microtiming, milliseconds, musical performance, Olivier Senn, performance pr, performance studies, rubato, timing

Comments

  1. Ian Stewart says

    December 3, 2013 at 11:01 am

    It is strange that in an era where most things are not considered fixed, beats are becoming fixed in the extreme. One of the practices of Post-Modenism is to remove the duality of writing and replace it with a spectrum; some even consider a human’s sex to be a spectrum, rather than pure female or pure male.
    However it is frequently considered necessary for beats to be computer accurate. To put music in time through digital editing is a pointless as going through the reading of a poem and making sure every vowel, dipthong and consonant of the reader are identical through digital editing.
    There is no reason for the beat of a piece of music not to come and go, especially in classical music. Some phrases benefit from being played in more of a speech rhythm. Computer accuracy is just another expressive technique, the same as rubato is.

Trackbacks

  1. All beats are not created equal - canadarêve says:
    November 18, 2013 at 11:56 am

    […] All beats are not created equal. They are endowed by their makers with differing length… – PianoMorphosis The credit is for the ORIGINAL SOURCE: Arts Journal (Go to Source) […]

  2. music physics: rhythms | Cormul says:
    January 3, 2014 at 1:44 pm

    […] All beats are not created equal […]

Bruce Brubaker

Recordings like the new American piano music albums I make for ECM, InFiné, Bedroom Community, and Arabesque reach millions of listeners, and break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Billie Eilish, The Weeknd — even the occasional Mozart track! Spotify, Apple Music, YouTube are allowing music lovers to discover music they could not have found so easily before. Live performances begin to reflect what’s happening online. My performances occur in classical venues like the Philharmonie in Paris, the Barbican in London, at La Roque d’Anthéron, at festivals such as Barcelona’s Sónar and Nuits Sonores in Brussels, and such nightclubs as New York’s (le) Poisson Rouge. Read More…

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Recordings such the new American piano music albums I make for ECM, InFiné, and Arabesque reach many listeners, and seem to break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Cardi B, Childish Gambino, Ariana Grande — even the occasional Mozart track! Spotify, Apple Music, and YouTube are allowing music lovers to discover music they could not have encountered so easily in the past. Live performances begin to reflect what’s happening online: this year I play at the International Piano Festival at La Roque d’Anthéron, traditional concert venues in Los Angeles, and Boston — as well as nightclubs in Berlin, Hamburg, Paris, Lyon, Geneva, and New York’s (le) Poisson Rouge.

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