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Figure 2. This graph shows average of responses of all participants for both interpretations (Vavilov, Magi) of Helena Tulve’s ,,Sula“. In the field of music 4 participants (EV_b/comp/lang, IO_b/cond, JS_b/cond, MP m_b/m/ped/lang/d) responsed more frequently to Vavilov than to Magi, among them most frequently EV (81), which is also the highest average from all participants. The lowest average appears by JK_ad/p/comp (12.34) also for Vavilov, she in general responsed low to both interpretations. Relatively similarly responsed 3 participants (GL_ad/mcol/comp, HS_b/mcol, MMP_am/m/h/museo). In visual art field both participants show oppositional average of tension level. In dance field one participant HP shows nearly eaquale average to both interpretations and her values are similar to GL’s average levels.

Figure 2 This graph shows average of responses of all participants for both interpretations (Vavilov, Magi) of Helena Tulve’s ,,Sula“. In the field of music 4 participants (EV_b/comp/lang, IO_b/cond, JS_b/cond, MP m_b/m/ped/lang/d) responsed more frequently to Vavilov than to Magi, among them most frequently EV (81), which is also the highest average from all participants. The lowest average appears by JK_ad/p/comp (12.34) also for Vavilov, she in general responsed low to both interpretations. Relatively similarly responsed 3 participants (GL_ad/mcol/comp, HS_b/mcol, MMP_am/m/h/museo). In visual art field both participants show oppositional average of tension level. In dance field one participant HP shows nearly eaquale average to both interpretations and her values are similar to GL’s average levels.

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Table 1. Frequency distribution of occurrance of TD-parameters after Kirschbaum (2001) and components complemented in spoken commentaries by participants. Besides the “drawing” process of tension design via slider-controller we used verbal information (spoken commentaries of participants to comparise their oppinions while “drawing” the tension “contour”). After evaluative and qualitative methods of analysis (see Clarke 2004: 91) we aimed at discovering of intentions to show the tension components. Dynamics, texture, tempo, rhythm, and special effects have high value in frequency distribution (0.428 to 0.238) in this material. Varying sound intensity, volume, motives, climax, tensity of tempo have low distribution (0.048) in this material. Variating dynamics, repeating motives, instrumentation, dissonances, complex sound phenomena have mediate value (0.095). Spoken commentaries reveal (1) opinion on view that “drawing”
Table 1. Frequency distribution of occurrance of TD-parameters after Kirschbaum (2001) and components complemented in spoken commentaries by participants. Besides the “drawing” process of tension design via slider-controller we used verbal information (spoken commentaries of participants to comparise their oppinions while “drawing” the tension “contour”). After evaluative and qualitative methods of analysis (see Clarke 2004: 91) we aimed at discovering of intentions to show the tension components. Dynamics, texture, tempo, rhythm, and special effects have high value in frequency distribution (0.428 to 0.238) in this material. Varying sound intensity, volume, motives, climax, tensity of tempo have low distribution (0.048) in this material. Variating dynamics, repeating motives, instrumentation, dissonances, complex sound phenomena have mediate value (0.095). Spoken commentaries reveal (1) opinion on view that “drawing”
Following analysis section observes responses of 12 participants to both performances of Helena Tulve’s piece for symphony orchestra ,,Sula“ (Thaw, 1999), which belongs to the most important pieces of the 1990s of Estonian contemporary music (2004 won the International Rostrum of Composers). It denotes the process of thawing, melting — the transformation of ideas, materials, timbres and sounds from one state to another. The composition was partly inspired by the rather topical notion of global warming, by this image of a colossal iceberg thawing up (Age Hirv in Tulve 2005). Figure 1 shows generalyzed graphs for frequency of responses and figure 2 average of responses of all participants to the whole piece. In figures 3-8 we explore one of the most important culmination points, so called crucial culmination point (crCP), which represents an crucial change of texture and is the first big climax at the beginning of the final plateau-like culmination section (duration in Vavilov 12‘10‘*, in Magi 10‘10‘‘). This erCP is characterized by a composed out and indexed caesura (bar 181) which is differently interpreted by the conductors of the performances under observation. Comparison of sonogramm of crCP segment (figures 3—4) of both performances reveals that Toomas Vavilov clearly points out the caesura while Paul Magi ,,overrides“ in general the real CP-s, focusing more on blending increasing and releasing phases. Vavilov’s interpretation shows more segmentation, while Magi guides the listener toward one maine CP (13‘08‘‘). Figures 5-8 analyze frequency distribution, absolute intensity level, and intensity range of the crCP.
Following analysis section observes responses of 12 participants to both performances of Helena Tulve’s piece for symphony orchestra ,,Sula“ (Thaw, 1999), which belongs to the most important pieces of the 1990s of Estonian contemporary music (2004 won the International Rostrum of Composers). It denotes the process of thawing, melting — the transformation of ideas, materials, timbres and sounds from one state to another. The composition was partly inspired by the rather topical notion of global warming, by this image of a colossal iceberg thawing up (Age Hirv in Tulve 2005). Figure 1 shows generalyzed graphs for frequency of responses and figure 2 average of responses of all participants to the whole piece. In figures 3-8 we explore one of the most important culmination points, so called crucial culmination point (crCP), which represents an crucial change of texture and is the first big climax at the beginning of the final plateau-like culmination section (duration in Vavilov 12‘10‘*, in Magi 10‘10‘‘). This erCP is characterized by a composed out and indexed caesura (bar 181) which is differently interpreted by the conductors of the performances under observation. Comparison of sonogramm of crCP segment (figures 3—4) of both performances reveals that Toomas Vavilov clearly points out the caesura while Paul Magi ,,overrides“ in general the real CP-s, focusing more on blending increasing and releasing phases. Vavilov’s interpretation shows more segmentation, while Magi guides the listener toward one maine CP (13‘08‘‘). Figures 5-8 analyze frequency distribution, absolute intensity level, and intensity range of the crCP.
Figure 1. This graph shows the frequency of responses of all participants for both interpretations (Count Vavilov, Count Magi) of Helena Tulve’s ,,Sula“. In the field of music 5 participants responsed more frequently to Vavilov (GL_ad/mcol/comp, HS_b/mcol, IO_b/cond, JS_b/cond, MMP_am/m/h/museo) than to Magi (3 — JK_ad/p/comp, EV_b/comp/lang, MP_b/m/ped/lang/d). In both visual art and dance the participants responsed more frequently to Magi. In visual art field is notable the nearly equale number of responses to both interpretations by RR_ad/va (589, 585). In dance field KO_ad/d-ch responsed quite similarly (1582, 1529), but for HP_ad/d-ch Vavilov was more powerful than Magi which is seen also in her different frequency of responses (1408, 881).
Figure 1. This graph shows the frequency of responses of all participants for both interpretations (Count Vavilov, Count Magi) of Helena Tulve’s ,,Sula“. In the field of music 5 participants responsed more frequently to Vavilov (GL_ad/mcol/comp, HS_b/mcol, IO_b/cond, JS_b/cond, MMP_am/m/h/museo) than to Magi (3 — JK_ad/p/comp, EV_b/comp/lang, MP_b/m/ped/lang/d). In both visual art and dance the participants responsed more frequently to Magi. In visual art field is notable the nearly equale number of responses to both interpretations by RR_ad/va (589, 585). In dance field KO_ad/d-ch responsed quite similarly (1582, 1529), but for HP_ad/d-ch Vavilov was more powerful than Magi which is seen also in her different frequency of responses (1408, 881).
Response to crCP - decreasing frequency distribution Figure 5. The radar graph shows general tendency in frequency of responses to the CrCP for both interpretations (Vavilov = Series1, Magi = Series2) in decreasing order and in relation to each other. The frequency number expresses how often the participants responded in the time frame of the CrCP (for Vavilov including 13‘16** until 13‘18°‘; for Magi 10°53** until 10°56‘‘). For Vavilov this means that 11 participants responded to the CrCP (6-1) and one participant did not response (0), her next reaction referes already to the next mCP (13‘20‘‘). For Magi all 12 participants responded to the CrCP, there was a proportionally even higher rate of responses (8-3). One possible explanation can be, that Magi’s interpretation is perceived obviously as more detailed, which causes more frequent changing of tensity situation. A second possible explanation would be that Vavilov’s pointing out of the caesura makes the tensity situation more clear than the ,,overriding of Magi, which obviously caused uncertainess in the perception.
Response to crCP - decreasing frequency distribution Figure 5. The radar graph shows general tendency in frequency of responses to the CrCP for both interpretations (Vavilov = Series1, Magi = Series2) in decreasing order and in relation to each other. The frequency number expresses how often the participants responded in the time frame of the CrCP (for Vavilov including 13‘16** until 13‘18°‘; for Magi 10°53** until 10°56‘‘). For Vavilov this means that 11 participants responded to the CrCP (6-1) and one participant did not response (0), her next reaction referes already to the next mCP (13‘20‘‘). For Magi all 12 participants responded to the CrCP, there was a proportionally even higher rate of responses (8-3). One possible explanation can be, that Magi’s interpretation is perceived obviously as more detailed, which causes more frequent changing of tensity situation. A second possible explanation would be that Vavilov’s pointing out of the caesura makes the tensity situation more clear than the ,,overriding of Magi, which obviously caused uncertainess in the perception.
Figure 6. The radar graph shows responses of the participants to CrCP for both interpretations (Vavilov = Series!, Magi = Series2) in relation to their own frequency of responses, and grouped according to their background (music, visual art, dance). There can not be drawn any strong generalization of similarity in responses in each field. According to the individuality of the participants we can see in the field of music one, who responsed equally to both interpretations (GL_ad/mcol/comp = 6, 6), one who’s responses differ extremly (MMP_am/m/h/museo = 1, 8 ), one who did not response to Vavilov but only to Magi (EV_b/comp/lang = 0, 4), and one who responsed slightly more to Vavilov than to Magi (JS_b/cond = 6, 5). One possible explanation for differences in reaction could be seen in advanced, basic, and amateur background, but this must not be generally the case. In the field of visual art both participants
Figure 6. The radar graph shows responses of the participants to CrCP for both interpretations (Vavilov = Series!, Magi = Series2) in relation to their own frequency of responses, and grouped according to their background (music, visual art, dance). There can not be drawn any strong generalization of similarity in responses in each field. According to the individuality of the participants we can see in the field of music one, who responsed equally to both interpretations (GL_ad/mcol/comp = 6, 6), one who’s responses differ extremly (MMP_am/m/h/museo = 1, 8 ), one who did not response to Vavilov but only to Magi (EV_b/comp/lang = 0, 4), and one who responsed slightly more to Vavilov than to Magi (JS_b/cond = 6, 5). One possible explanation for differences in reaction could be seen in advanced, basic, and amateur background, but this must not be generally the case. In the field of visual art both participants
Response to crCP - absolute intensity level
Response to crCP - absolute intensity level
Figure 8. This graph shows intensity range of responses to crCP for both interpretations (Vavilov 13‘16°‘ until 13°18°°, Magi (10‘53** until 10°56‘). In the field of music the largest intensity range reveals GL_ad/mcol/comp (Vavilov, 78; Magi, 48). The other participants remain mostly low in range, although they show notable individuality.
Figure 8. This graph shows intensity range of responses to crCP for both interpretations (Vavilov 13‘16°‘ until 13°18°°, Magi (10‘53** until 10°56‘). In the field of music the largest intensity range reveals GL_ad/mcol/comp (Vavilov, 78; Magi, 48). The other participants remain mostly low in range, although they show notable individuality.
3. HS_b/mcol
3. HS_b/mcol
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