Melodic intonation is generally considered a central expressive means in musical performance. In Western classical music, relationships between intonation in perception and performance have shown to be less straightforward than one might expect. In this study, we investigated leading-tone intonation for solo violin, as perceived and performed by six accomplished violinists. We selected excerpts from classical violin repertoire, each of which included ascending semitone intervals leading up to tonally stable tones. Each violinist performed the excerpts and participated in a listening study and a semi-structured interview. Prior recordings of the excerpts, manipulated in terms of the pitch of the leading tones, were used in the listening study to obtain information about each participant’s accepted perceptual range of leading-tone intonation. The violinists’ preferred semitone sizes were between 80 and 90 cents, on average, both in their perceptual preferences and their performance practice. This group average appeared to approximate the “standard” of leading-tone intonation that the participants consistently mentioned in their verbal protocols. However, the perceptual preferences and the performance intonation also varied both within and between individuals. Given the overall sharp standard of leading-tone intonation, even an equal-tempered leading tone might sometimes represent an expressive gesture in the violinists’ artistic practice.

中文翻译：

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乐团首席的主音语调：他们是否按照他们的评估来演奏？

旋律语调通常被认为是音乐表演中的核心表现手段。在西方古典音乐中，感知中的语调和表演之间的关系并不像人们想象的那么简单。在这项研究中，我们调查了六位有成就的小提琴家感知和演奏的小提琴独奏的小提琴的主音调调。我们从古典小提琴曲目中挑选了选段，每首曲目都包括上升的半音音程，直到音调稳定的音调。每位小提琴家都演奏了这些选段，并参加了听力研究和半结构化访谈。在听力研究中，使用了根据主音的音高纵的摘录的先前录音，以获取有关每个参与者接受的主音语调感知范围的信息。小提琴家喜欢的半音大小平均在 80 到 90 音分之间，无论是在他们的感知偏好还是他们的演奏练习中。这个组平均值似乎近似于参与者在他们的口头协议中一直提到的主音语调的 “标准”。然而，感知偏好和表演语调在个体内部和个体之间也有所不同。考虑到主音音调的整体尖锐标准，即使是平均律的主音有时也可能代表小提琴家艺术实践中的一种表现姿态。