Analysis of tango performances using computational tools: The performing style of Aníbal Troilo interpreting Mi refugio

A set of historical recordings of the tango Mi Refugio with manual annotations of the beat. This data set was used to study the performing style of Aníbal Troilo through a comparison of the tempo curves of the recordings. The recordings are not complete, only the sections analyzed are provided.

Demian Alimenti Bel, Martín Rocamora and Isabel Cecilia Martínez (2021) "Analysis of tango performances using computational tools: The performing style of Aníbal Troilo interpreting Mi refugio" Per Musi Journal.

When this dataset is used for academic research, we would highly appreciate it if scientific publications cite the previous paper.

LIST OF RECORDINGS

A. Troio y R. Grela (1955) - Quintet (bandoneon and guitar quartet)

Quinteto A. Troilo (1958) - Quintet (bandoneon, piano, electric guitar, violin, and double bass)

Bandoneón A. Troilo (1969) - Solo (bandoneon)

O.T. A. Troilo (1970) - Orquesta típica (4 violins, 4 bandoneons, piano, and double bass)

O.T. H. Salgán (1950) - Orquesta típica (4 violins, 4 bandoneons, bass clarinet, electric guitar, piano, and double bass)

O.T. C. Di Sarli (1952) - Orquesta típica (4 violins, 4 bandoneons, piano, and double bass)

O.T. O. Fresedo (1979) - Orquesta típica (4 violins, 4 bandoneons, piano, double bass, vibraphone, and drums)

PAPER ABSTRACT

The historical performing styles in tango to the extent they emerge as a socio‐cultural construction, give rise to the elaboration of the canon of the musical style that we know today. In this stylistic tradition, Aníbal Troilo is one of the relevant names. In this work, we analyze Troilo’s modes of temporal enunciation in order to find indicators of the construction of the temporal‐expressive patterns of his style. To do this we compare different interpretations of the tango Mi Refugio applying computer tools on manual beat annotations. We calculate tempo curves and compare them through correlation analysis and polynomial regression. Comparisons between different versions are interpreted through hermeneutical‐musical analysis. The results indicate consistent use of temporal regulation patterns in Troilo’s phrasing at different expressive‐structural levels, beyond the variations in the musical surface of the arrangements. In addition, an increasing‐decreasing resource was identified for articulatory purposes in the communication of the form.