Theories of expressive timing in the performance of tonal music emphasize the role of grouping structure, whereby performers are understood to communicate the ends of groups through group-final lengthening (GFL). But this approach depends on a one-way mapping from a single grouping-structural analysis onto performed durations, denying a role for interpretive difference on the part of performers and analysts. Drawing on contour theory, this article reverses this mapping by presenting a method for recovering the hierarchical grouping structure of a performed phrase that is sensitive to the constraints of temporal perception. Groups whose durational contour segments reduce to a contour adjacency series of <+> or <–,+> are understood to be GFL-reflective. By observing which levels of time-span organization are GFL-reflective among different performances of the same phrase, unique construals of grouping structure can be attributed to different renditions. The article employs this method in order to examine different approaches to pacing in performances of two of Chopin’s mazurkas. The pieces in question present eight-measure themes in which the salience of different levels of grouping structure contrast. Through duration decisions, performers can accentuate, amend, or bypass these suggestions of contrast in pacing. By presenting an analytical method that recognizes the creative power of performance to interact with a grouping structure implied by a score, I hope to reshape the relationship between performers and analysts as a dialog about the possible structural descriptions a piece can support.
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