Document Type



This article discusses how meter and musical impulses can generate distinct character traits in music according to a performer’s interpretation of the metric notation. It is part of an ongoing research project focused on interpretative elements and using analytical as well as auto-ethnographical methods. This article includes analysis and comparisons of historical recordings contiguous to performance-focused analysis. It is based on the study of metric components, organizational structures, and metric-structuring elements and concepts developed by Edward T. Cone (1968), David Epstein (1995a, 1995b), Roy Howat (1995), Mine Doğantan-Dack (2012, 2014), and Nicholas Cook (2001). These writers’ thoughts are placed in juxtaposition to those of Tobias Matthay (1913), Pablo Casals and David Blum, 1977), Anner Bylsma (2001), János Starker (2004), Leon Fleisher (Fleisher and Midgette, 2010), Artur Schnabel (paraphrased in Fleisher and Midgette, 2010), and Mario Brunello (2016), aiming to provide tools and possibilities that might support interpretive decisions for future performers. The author proposes a new term, metric expressivity, to indicate a previously underestimated layer of expressive element in music performance.