Musical interpersonal time shaping at the orchestral line
DOI:
https://doi.org/10.24215/18530494e016Keywords:
expressive performance, interpersonal aligment, variability, adaptive timing, leader/followerAbstract
This work studies the temporal construction of a musical fragment in a spontaneous reinterpretation trail in the orchestra row. Three orchestral row violists were summoned to assemble live a 13-bar musical fragment from the introductory section of Paul Hindemith´s 3rd movement “Mathis der Maler”, in which the string orchestra plays in unison and eighths. Once the task is completed, the performers resolve to spontaneously replay the final section corresponding to the cadence and closure of the fragment. The horizontal and vertical variability of the time intervals between sound attacks (IOI) was analyzed comparatively between the initial version and the reinterpretation of the above-mentioned end. The analysis of the interaction between performers was approached based on the notions of leader / follower. The results show a high-level synchronization between interpreters in both versions. Differences in the IOIs between versions show an active participation of the violists to achieve a unison sound, regardless of the assigned guide / follower roles. Notably, the temporal variability between performers was minimized at metric structural locations, while, at the same time the synchrony between performers increased. Alignment behind the leader voice cohabit metrical anchoring as a way of organizing performance. As emerges from the interviews carried out, the univocal temporal construction in an orchestra row suggests a continuous and interdependent action of moment-by-moment micro-adjustments and compensations, adapting performance both to the leader's voice and to each other. It includes the flexible, dynamic, and collaborative behavior of the guide, who actively participates in the common objective.
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