Are there any prefered ratios of tempo change?

Author(s): Mates, J.

Journal/Book: Cesk Psychol. 1997; 41: Publ House Czech Acad Sci, Vodickova 40, Prague 1, Czech Republic 112 29. Academia. 524-535.

Abstract: The paper is devoted to an experimental research in the field of tempo performance. Epstein (1985) proposed that in a piece of music there are only tempo relations that can be expressed by low-order whole-number ratios 1:1, 1:2, 2:3, and 3:3 (Or the inverse). This theory is relevant to the Gestalt concept, since it deals with part-whole relations and coherence of a multi-movement piece of music. Our study was designed to look for possible underlying psychological mechanisms. The experiment addressed the question, which temporal ratios between neighbouring tempo could occur when subjects will be asked to make arbitrary tempo modulation. Subjects were instructed to make tempo changes defined only by vague terms like small, large, and arbitrary modulation. The method of finger tapping was employed. Theoretically, a random continuum of ratios can appear. However, the results showed that tempo ratios were characterized by narrow distributions of the values. In particular subject's responses we observed exact whole-number ratios only exceptionally. Average values showed that in the slow-down conditions (except ''arbitrary'') the responses were close to whole-number ratios, while in speed-up conditions deviations from whole-number ratios were larger. It is assumed that results for speed-up conditions were influenced by systematic temporal error. We propose that the relations between neighbouring tempi may better be described in terms of categories of tempo difference.

Note: Article Franek M, AV Cr, Ustav Pro Hudebni Vedu, Puskinovo Nam 9, Prague 16000 6, CZECH REPUBLIC

Keyword(s): timing; tempo; temporal proportions; categorial perception; PIANO PERFORMANCE; PERCEPTION; PATTERNS; RHYTHM; MUSIC

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