DOI Crossref: doi.org/10.62642/tec-978-65-83199-87-4
Contents:
- Foreword
- Introduction
- 1 Musical Temporality: Between Prescription and Performance
- 1.1 Tempo is not Temporality
- 1.2 Prescribed Time: Temporality in the Score
- 1.3 Realised Time: Performance as Temporal Production
- 1.4 From Global Value to Temporal Transformation
- 2 Stravinsky and the Authority of Time
- 2.1 Precision, Notation and the Authority of the Composer
- 2.2 Stravinsky in Performance: Recording and Transformation
- 2.3 L’Histoire du Soldat: A Temporal Laboratory
- 2.4 One Work, Three Moments
- 3 Methodological Procedure: Measuring Realised Time
- 3.1 Temporal Event Detection and Algorithm Selection
- 3.2 Metrical Calibration and Calculation of Realised Tempo
- 3.3 Statistical Treatment and Construction of Temporal Profiles
- 3.4 Computational Implementation, Traceability, and Reproducibility
- 4 Temporal Profiles of L’Histoire du Soldat
- 4.1 Marche du Soldat
- 4.2 Le Violon du Soldat
- 4.3 Pastorale
- 4.4 Marche royale
- 4.5 Petit concert
- 4.6 Trois Danses
- 4.6.1 Tango
- 4.6.2 Valse
- 4.6.3 Ragtime
- 4.7 Danse du Diable
- 4.8 Grand Choral
- 4.9 Marche triomphale du Diable
- 5 Stravinsky’s Tempo: Persistence and Transformation
- 5.1 Persistence and Difference
- 5.2 Trajectories of Transformation
- 5.3 Between Prescription and Realisation
- 5.4 Beyond the Metronome
- Appendix A: Computational Pipeline for the Analysis of Realised Tempo
- A.1 Scope
- A.2 Inputs, environment, and execution
- A.3 Complete source code
- A.3.1 Dependencies, constants, and filename parsing
- A.3.2 Input validation and duplicate protection
- A.3.3 Metrical calibration and score metadata
- A.3.4 Duration-weighted statistics and temporal segmentation
- A.3.5 Score-reference handling and processing of individual performances
- A.3.6 Cross-recording comparisons
- A.3.7 Method notes and pipeline execution
- A.4 Generated outputs and reproducibility boundary
- References
- Discography
- A Note on the Author
