Comparison of performed tempo changes at deceptive and evaded cadences
department or school: Arts, Faculty of
department or school: Music, School of
data provider: DSpace
degree campus: UBCV
creator: Jensen, Mikyla
issued: 2020-05-13T18:04:50Z
issued: 2020
related degree: Master of Arts - MA
degree grantor: University of British Columbia
description: 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.
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/74429
note: Comparison of Performed Tempo Changes at Deceptive and Evaded Cadences by Mikyla Jensen B.Mus., The University of Regina, 2015 M.Mus., The University of Manitoba, 2017 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate and Postdoctoral Studies (Music, Emphasis Theory) The University of British Columbia (Vancouver) April 2020 © Mikyla Jensen, 2020 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, a thesis entitled: Comparison of Performed Tempo Changes at Deceptive and Evaded Cadences submitted by Mikyla Richelle Jensen in partial fulfilment of the requirements for the degree of Master of Arts in Music, Emphasis Theory Examining Committee: Dr. Ève Poudrier, Assistant Professor, Faculty of Music, UBC Supervisor Dr. John Roeder, Chair of Music Theory Division, Professor, Faculty of Music, UBC Supervisory Committee Member iii Abstract 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 Etud…
has type: Thesis/Dissertation
date issued: 2020-11
is shown at: 10.14288/1.0390482
language: eng
degree discipline: Music - Theory
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/74429