chapter  19
Gestural Interactions in Ensemble Performance
ByDavi Mota, Mauricio Loureiro, Rafael Laboissière
Pages 9

Since the studies on musical performance by Seashore (1938) were published, evidence of remarkable consistency on expressive deviations has been corroborated by a number of other works. Later studies have also observed similarities of expressive deviations in performances of the same piece played by different musicians. In his seminal study on performances of Schumann’s Träumerei, Repp (1992) was able to discriminate “commonalities” among interpretations of well-known pianists while evidencing their “individualities.” Some of these performances are of irrefutable quality, such as the legendary interpretations of Horowitz and Alfred Cortot. Additionally, according to Repp (1997), individual musicians differ in terms of the extent to which they deviate from conventional norms of expression of a particular style as well as the resources they use and whether they make these deviations consciously or subconsciously.