國立虎尾科技大學 |

Bulgarian Meter in Performance.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Bulgarian Meter in Performance./
作者:	Goldberg, Daniel Lawrence.
面頁冊數:	1 online resource (309 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:	Dissertation Abstracts International78-11A(E).
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355017939

Bulgarian Meter in Performance.
Goldberg, Daniel Lawrence.

Bulgarian Meter in Performance. - 1 online resource (309 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

Includes bibliographical references

This dissertation is a study of meter and timing in musical performance, with a focus on current Bulgarian folk music as an example of a practice that does not conform to common conceptions of meter in western European music. My perspective is psychological, defining meter as a largely unconscious mental construct that guides rhythmic action and perception. Psychologically oriented theories typically model meter as providing a temporal framework in the form of a series of referential time points, representing peaks in attention, that are separated by essentially equal time intervals. Under this approach, musical events that do not match the timing determined by the grid of equal durations are conceived of as deviations introduced by performers for the sake of expressing features of musical structure or rhythmic quality. However, in light of the characteristics of meter and timing in Bulgarian and other musical styles, the tenets that meter necessarily depends on equal time intervals and that timing variability in performance consists of deviations appear to be culturally specific assumptions conditioned by western musical notation. As such, I argue that these two features should not be attributed to the general human ability to regulate musical time.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355017939Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Bulgarian Meter in Performance.
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245 1 0 $a Bulgarian Meter in Performance.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
500 $a Adviser: Ian Quinn.
502 $a Thesis (Ph.D.)--Yale University, 2017.
504 $a Includes bibliographical references
520 $a This dissertation is a study of meter and timing in musical performance, with a focus on current Bulgarian folk music as an example of a practice that does not conform to common conceptions of meter in western European music. My perspective is psychological, defining meter as a largely unconscious mental construct that guides rhythmic action and perception. Psychologically oriented theories typically model meter as providing a temporal framework in the form of a series of referential time points, representing peaks in attention, that are separated by essentially equal time intervals. Under this approach, musical events that do not match the timing determined by the grid of equal durations are conceived of as deviations introduced by performers for the sake of expressing features of musical structure or rhythmic quality. However, in light of the characteristics of meter and timing in Bulgarian and other musical styles, the tenets that meter necessarily depends on equal time intervals and that timing variability in performance consists of deviations appear to be culturally specific assumptions conditioned by western musical notation. As such, I argue that these two features should not be attributed to the general human ability to regulate musical time.
520 $a Music for many folk dances from Bulgaria features metric time intervals that differ categorically from one another---that is, some intervals are long and others are short, according to repeating sequences such as long-short-short and short-short-shortlong. Bulgarian folklorists established conventions for notating and codifying such meters in the early twentieth century, but some discrepancies remain in discourse about this theory and in the recent adaptation of psychological metric theory to accommodate unequal time intervals. In analyzing this type of meter, I concentrate on performances by Bulgarian musicians on tǔpan, a double-sided bass drum. Interviews and other observations from fieldwork in Bulgaria indicate that although many Bulgarian performers are conversant with notation of rhythm, notation often is not central to the conception of rhythmic organization that a musician relies on while playing. Instead, when discussing rhythm tǔpan players commonly demonstrate sticking patterns that can be repeated and varied in performance and that define the playing for particular dance types more specifically than time signatures do.
520 $a A selection of field recordings of tǔpan players performing solo and in small ensembles provides the basis for statistical comparisons of rhythm and timing in relation to meter. The comparisons show small but statistically significant differences in timing that are associated with musically meaningful variables, including the dance type being performed, the context of local melodic grouping, and the region of Bulgaria that a performer is from. These differences establish that timing of Bulgarian tǔpan playing, and potentially the underlying metric control of this timing, varies with local style; thus, for instance, all pieces with the same time signature are not performed in exactly the same way. Exploratory statistical analysis of the most frequently played rhythms from single performances further suggests that individual musicians perform these common rhythms with highly consistent timing, and that patterns of differences in timing among musicians relate to specific features of drumming technique and rhythmic context.
520 $a The dissertation closes with two proposed modifications to theory of meter. First, instead of treating equal time intervals as an innate default, I place greater weight on the role of accumulated musical experience in shaping metric frameworks. Information that influences metric timing potentially comes not only from musical sound, but also from visual cues and movements of the body that are involved in performing, dancing, and otherwise responding to music. Second, I suggest that for any given musical event, meter does not dictate a point in time as a reference for expressive deviations, but rather sets a normative timing range during which the event may occur without deviation. The characteristics of this range are learned and depend on the style of music in question. These revisions constitute a move away from metric theory inspired by Chomskian linguistics, drawing instead on research in statistical learning and embodied cognition.
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