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Comparison of performed tempo changes at deceptive and evaded cadences

University of British Columbia

This thesis presents the results of a measurement study, focusing on tempo fluctuations at cadential boundaries that feature evaded and/or deceptive cadences. It investigates the most common ways performers approach evaded (EC) and deceptive (DC) cadences as defined by Caplin (1998) and Schmalfeldt (2011). Can performers’ microtiming, measured in inter-onset- intervals (IOIs), inform phrase segmentation? More specifically, do performers’ microtiming profiles predict whether such a cadence will function as end of previous material or the start of new material? In modern theory, cadences are defined as phrase endings; however, both ECs and DCs require a repetition of the cadential approach to a more conclusive cadence (i.e., IAC or PAC). For each of the following pieces approximately twenty recordings featuring evaded and deceptive cadences were examined and compared: (1) Scarlatti’s Sonata in D Major, K. 492; (2) Beethoven’s Piano Sonata in Ab Major, Op. 26, IV; and (3) Chopin’s Etude in Eb, Op. 10, No. 6. Based on studies showing phrase-end lengthening in both music and speech (e.g., Todd 1994), it is hypothesized that a deceleration at an EC or DC may indicate an ending, while an acceleration may indicate a new beginning. Considering only the point of view of the performers, the results do not show absolute agreement between performers as to how each cadence is approached, both in terms of acceleration or deceleration and the proportion of speed increase or decrease. However, the majority of performers decelerate into deceptive cadences.

Text

2020-05-13

Attribution-NonCommercial-NoDerivatives 4.0 International

http://hdl.handle.net/2429/74429

Music - Theory

University of British Columbia

UBCV

http://creativecommons.org/licenses/by-nc-nd/4.0/