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Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach
Empirical Musicology Review Pub Date : 2017-09-26 , DOI: 10.18061/emr.v12i1-2.5010
Massimo Zicari

This paper explores the extent of expressive tempo modifications as a function of textual content in four operatic arias recorded by Adelina Patti between 1905 and 1906. Their analysis made it possible to determine to what extent significant tempo modifications coincide with those moments in the music, in which special emphasis is demanded by the lyrics. A twofold approach was adopted: the paradigms of historical musicology provided the conceptual tools necessary to define the context, reconstruct the vocal practice, and understand the relationship between the lyrics and the compositional solutions underpinning them; the degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, mode, standard deviation and coefficient of variation. Results show that Patti's renditions of the four arias present tempo modifications which are instrumental to the expression of their dramatic content, as recommended by the singing methods and treatises which appeared in the course of the nineteenth century. Most crucially, they challenge the assumption that interpreters trained in the late romantic culture abused the composer's intentions and indulged in tasteless, exaggerated interpretive choices.

中文翻译:

阿德琳娜·帕蒂(Adelina Patti)唱片中表达节奏的修改:一种综合方法

本文探讨了在1905年至1906年之间Adelina Patti录制的四个歌剧咏叹调中,表达速度变化的程度与文本内容的关系。他们的分析使得确定与音乐中这些瞬间重合的重要速度变化程度成为可能。歌词需要特别强调。采取了两种方法:历史音乐学的范式提供了定义上下文,重构声乐练习以及理解歌词和作为其基础的构图解决方案之间关系的必要概念工具;通过经验测量小腿拍子的长度并计算平均值,众数,标准偏差和变异系数的值,可以确定每个咏叹调的节奏变化程度。结果表明,帕蒂 四种咏叹调的表现形式表现出节奏上的变化,这是其戏剧性内容表达的重要手段,这是19世纪出现的演唱方法和论文所推荐的。最关键的是,他们质疑这样一种假设,即在浪漫主义晚期文化中受过训练的口译员滥用了作曲家的意图,而沉迷于无味,夸张的口译选择中。
更新日期:2017-09-26
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