Agogic and tempo in sounding of the musical piece

Results of acoustic measurements of musical duration performed by outstanding pianists are presented in article. Execution sound recordings served as material of a research, measurements were performed with use of the computer Adobe Audition program. Duration of tones was measured on spectral characteristics of sounding. The automated creation of schedules is made means of the Microsoft Graph module which is built in Word 2010. The tempo profiles of musical fragments created on their basis, for detection of regularities of execution, were reduced in joint schedules. At the same time is present at the sounding piece of music several tempo layers correlated to logic of musical time. The most elementary and deep tempo the layer, is formed by the rate of each duration. More generalized layers of fragments of a musical form tempo layers with own logic of the organization. Tempo and agogic are inseparably linked with intoning of the pianist. The set of options of agogic intoning can be grouped in 4 types. 1. The agogic of the text is in detail written out in notes, in the form of pauses and traditional rhythmic record by the created composer. 2. Agogic of changes entirely are located in a share. In that case performing nuances of time do not go beyond its limits and shares of a takt, aurally, are equal among themselves. 3. Agogic within a takt. For expressiveness there can be deduction or reductions of any notes, but length of a takt remains invariable. 4. According to logic of intoning of a phrase, the performer can shorten or extend any duration or their sequences for expressiveness. These changes should not be perceived aurally as excessive, false. Duration, takt shares, takts, motives, phrases, etc. can be different. A measure of performing temporary changes is the context of style, a genre, contents of the work. The performer uses all temporary resources of music provided to him without formal restrictions for disclosure of maintenance of music. In general, performing rate and an agogics are very individual nuances, inseparably linked with an intonational style (musical handwriting) of the pianist. Tempo profiles in repetitions at the same performer coincided most. Musical handwriting of pianists in repetitions could be attributed easily personally on tempo profiles. Musical means of expression in a sound form of the work are presented by complete educations. Musical time at the same time and a canvas for the musical work, is also divided musical events (the beginning of tone, change of harmonies, takts, shares, time relations between the next musical duration, etc.) into parts. Under laws of integrity of duration of each tone are a tempo basis, pass into an agogics, into a live agogichesky rhythm.

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