摘要：Patterns of ac oustic intensity profiles are investigated in recorded performances of the music of Haydn. Consistent with our earlier observations of composed, acousmatic, live-performed, and improvised electroacoustic music, and of jazz improvisations (Dean & Bailes, 2010a, b), we hypothesised that in successive pairs of intensity rises and falls, rises are shorter in duration relative to falls, follow a faster rate of dynamic intensity change (decibel change / time), but are not significantly different in frequency of occurrence. We ask here whether this hypothesis is applicable to interpretations of 119 movements of Haydn's works. We consider a wide range of instrumental groupings, from solo to orchestral, and we also consider multiple performances of single pieces. The hypothesised pattern was routinely observed. We also took note of alternative predictions that might flow from the 'ramp archetype' observed by Huron (1991) in notated scores of the classical and romantic era , notably in the scores of the Beethoven piano sonatas and others. This statistical archetype might suggest, contrary to our hypothesis, that performed crescendi are longer in duration than diminuendi, greater in their frequency of occurrence, and follow a more gradual rate of intensity change. Thus we also investigate our hypothesis in relation to a sample of the Beethoven sonatas included in Huron's (1990) score analysis. The data on Beethoven are again consistent with our hypothesis, and we conclude that it is appropriate to these performances also. The observations can be understood in terms of the psychology of expectation and attention, and we discuss the possibility that they apply to vocal and natural sounds, either of which might allow an explanation for their occurrence in music
