Professional Documents
Culture Documents
Kantorski (1986) String Instrument Intonation. The Effects of Accompaniment
Kantorski (1986) String Instrument Intonation. The Effects of Accompaniment
Kantorski (1986) String Instrument Intonation. The Effects of Accompaniment
String Instrument Intonation in Upper and Lower Registers: The Effects of Accompaniment
Author(s): Vincent J. Kantorski
Source: Journal of Research in Music Education, Vol. 34, No. 3 (Autumn, 1986), pp. 200-210
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music
Education
Stable URL: http://www.jstor.org/stable/3344749 .
Accessed: 20/06/2014 14:58
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
Sage Publications, Inc. and MENC: The National Association for Music Education are collaborating with
JSTOR to digitize, preserve and extend access to Journal of Research in Music Education.
http://www.jstor.org
Vincent J. Kantorski,BowlingGreenStateUniversity
For reprints of this article, contact Vincent J. Kantorski, College of Musical Arts,
Bowling Green State University, Bowling Green, Ohio 43403.
METHOD
Register
Absolute deviation means for tetrachords were greater (p < .04) when
subjects performed in the instruments' upper registers (64.8) than in the
lower registers (52.8). In addition, results of the sharp/flat analysis
indicate that while deviations from equi-tempered intonation occurred
primarily in the direction of sharpness in both performance registers,
the magnitude of this directional deviation was markedly greater (p <
.03) in the upper register (+25.6) than in the lower register (+1.4). It
Sum of Mean
Source of variance squares DF squares F
Table2
Analysisof Variance
(Sharp/Flat
Deviation)
Sum of Mean
Source of variance squares DF squares F
72 2
70
65
- 61.6
S
60 - 57.0
0 4 0
55-
& 50 - 53.2
0
45-
40 - 42.2
O
U 39.5
0 35
I I I I
Unisons Thirds Twooctaves Twooctaves
plusthirds
intervals
Accompaniment
1. Absolutedeviationmeansforperformance
Figure interval
registerby accompaniment
interaction.
AccompanimentInterval
Performances accompanied by unisons were significantly different, as
determined by the absolute deviation analysis, from those accompanied
by compound thirds and simple thirds (p < .01), but these latter intervals
were not significantly different from one another or from two octaves
(see Table 4). Performances accompanied by unisons were not signifi-
cantly different from those accompanied by two octaves.
TetrachordDirection
There was no significant difference (p > .01) between absolute
deviation means of ascending versus descending tetrachords. However,
the sharp/flat deviation analysis revealed subjects' performances of
descending tetrachords, with a sharp/flat deviation mean of +18.2 cents,
were significantly sharper (p < .01) than performances of ascending
tetrachords with an overall mean of +8.8 cents. There were no signifi-
Performance condition
register
Lower Upper
Instrument
Violin + 13.8 + 18.0
Viola - 8.6 + 20.4
Cello + 23.9 + 1.4
Bass - 23.5 + 62.4
DISCUSSION
Table 4
MeanAccompaniment
Interval
Absolute
Deviation
Two octaves
Unisons Two octaves plusthirds Thirds
47.7 55.8 63.2 68.5
REFERENCES
Albert, D. G. (1967) The effects of differential treatmentson pitch acuity in solo
instrumental
performance.Unpublishedmaster'sthesis, The FloridaState Uni-
versity,Tallahassee.
BMDP8V: Analysisof VarianceComputerProgram(1979). Health Sciences Comput-
ing Facility,Universityof Californiaat Los Angeles.