Performers express musical structure using variations in dynamics, timbre, timing, and physical gesture. Previous research on instrumental performance of Western classical music has identified increased nontechnical motion (movement considered supplementary to producing sound) and ritardando at cadences. Cadences typically provide resolution to built-up tension at differing levels of importance according to the hierarchical structure of music. Thus, we hypothesized that performers would embody these differences by employing nontechnical motion and rubato, even when not explicitly asked to express them. Expert violinists performed the Allemande from Bach’s Flute Partita for motion capture and audio recordings in a standing position, then we examined nontechnical motion and rubato in four cadential excerpts (two locally important, two globally important) and four noncadential excerpts. Each excerpt was segmented into the buildup to and departure from the dominant-tonic progression. Increased ritardando as well as nontechnical motion such as side-to-side whole-body swaying and torso rotation in cadential excerpts were found compared to noncadential excerpts. Moreover, violinists used more nontechnical motion and ritardando in the departure segments of the global cadences, while the buildups also showed the global-local contrast. Our results extend previous findings on the expression of cadences by highlighting the hierarchical nature of embodied musical resolution.

中文翻译：

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小提琴家采用更具表现力的手势和时间来围绕全球音乐解决方案

表演者使用动态、音色、时间和身体姿势的变化来表达音乐结构。以前对西方古典音乐乐器演奏的研究已经确定了非技术性运动（被认为是产生声音的补充）和节奏的 ritardando 增加。根据音乐的层次结构，节奏通常可以解决不同重要性级别的累积张力。因此，我们假设表演者会通过使用非技术性动作和 rubato 来体现这些差异，即使没有明确要求表达它们。专业小提琴家演奏巴赫长笛组曲中的 Allemande 以进行动作捕捉和站立姿势的录音，然后我们在四个节奏节选中检查了非技术性动作和 rubato（两个在当地很重要，两个全球重要）和四个非节奏摘录。每个摘录都被分割成主音进行的积累和背离。与非节律节段相比，发现节律节段中的 ritardando 以及非技术性运动（例如左右全身摇摆和躯干旋转）增加。此外，小提琴家在全局节奏的开始部分使用了更多的非技术动作和ritardando，而积累也显示出全局与局部的对比。我们的结果通过突出体现音乐分辨率的层次性，扩展了先前关于节奏表达的发现。与非节律节段相比，发现节律节段中的 ritardando 以及非技术性运动（例如左右全身摇摆和躯干旋转）增加。此外，小提琴家在全局节奏的开始部分使用了更多的非技术动作和ritardando，而积累也显示出全局与局部的对比。我们的结果通过突出体现音乐分辨率的层次性，扩展了先前关于节奏表达的发现。与非节律节段相比，发现节律节段中的 ritardando 以及非技术性运动（例如左右全身摇摆和躯干旋转）增加。此外，小提琴家在全局节奏的开始部分使用了更多的非技术动作和ritardando，而积累也显示出全局与局部的对比。我们的结果通过突出体现音乐分辨率的层次性，扩展了先前关于节奏表达的发现。