Some observation on pianists’ timing of arpeggiated chords.
| Number | 1056 |
|---|---|
| Year | 1997 |
| Drawer | 20 |
| Entry Date | 06/29/1998 |
| Authors | Repp, Bruno H. |
| Contact | |
| Publication | Psychology of Music, 25, 1997, 133-148. |
| url | http://www.haskins.yale.edu/Reprints/HL1056.pdf |
| Abstract | The timing of arpeggiated chords involving both hands sequentially was measured in performances of Edvard Grieg’s Erotik, op. 43, No. 5, by ten graduate student pianists (who played the piece three times after brief study) and by eight commercially recorded (“expert”) pianists. Arpeggio durations depended more on the preceding note value and position in the phrases than on the number of notes. The student pianists frequently overlapped the two hands, contrary to the notation. Those student arpeggios which were executed correctly frequently showed lengthening of the final and, less often, of the initial interonset interval. There were consistent individual differences in the students’ timing patterns. The expert pianists showed even larger individual differences and few commonalities. The origins of these differences and their perceptual and aesthetic implications remain to be investigated. |
| Notes |
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