Redefining Groove

Duman, Deniz; Snape, Nerdinga; Toiviainen, Petri; Luck, Geoff

doi:10.31234/osf.io/mrp6v

Cited by 12 publications

(24 citation statements)

References 31 publications

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“…In the field of musicology, the term groove was coined in the context of African-American musical genres, such as R&B, jazz, soul, disco, funk, and hip-hop, where it can refer to esthetic qualities of the music, specific rhythmic patterns, or the musicians’ way of effortlessly synchronizing and interacting with each other ( Senn et al, 2019 ; Câmara and Danielsen, 2020 ; Duman et al, 2021 ). In contrast to this multifaceted understanding, recent studies in music perception and cognition agree on a sharper definition of groove as the pleasurable urge to move one’s body in relation to the rhythm of music ( Madison, 2006 ; Janata et al, 2012 ; Stupacher et al, 2013 ; Senn et al, 2020 ).…”

Section: Introductionmentioning

confidence: 99%

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

et al. 2022

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Groove—defined as the pleasurable urge to move to a rhythm—depends on a fine-tuned interplay between predictability arising from repetitive rhythmic patterns, and surprise arising from rhythmic deviations, for example in the form of syncopation. The perfect balance between predictability and surprise is commonly found in rhythmic patterns with a moderate level of rhythmic complexity and represents the sweet spot of the groove experience. In contrast, rhythms with low or high complexity are usually associated with a weaker experience of groove because they are too boring to be engaging or too complex to be interpreted, respectively. Consequently, the relationship between rhythmic complexity and groove experience can be described by an inverted U-shaped function. We interpret this inverted U shape in light of the theory of predictive processing and provide perspectives on how rhythmic complexity and groove can help us to understand the underlying neural mechanisms linking temporal predictions, movement, and reward. A better understanding of these mechanisms can guide future approaches to improve treatments for patients with motor impairments, such as Parkinson’s disease, and to investigate prosocial aspects of interpersonal interactions that feature music, such as dancing. Finally, we present some open questions and ideas for future research.

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Section: Introductionmentioning

confidence: 99%

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

et al. 2022

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“…The popular musical term, groove, commonly understood as a pleasurable desire to move to music [15] has recently been more comprehensively described as a multifaceted participatory experience [16]. More specifically, Duman and colleagues [16] argue that an experience of groove is not only connected with movement and positive affect but also associated with sensations of immersion and social connectedness shaped by a delicate interaction of specific music-performance-, and individual difference-related variables. Previous groove literature reported several intra-and extra-musical variables relate to groove experience.…”

Section: Music Listening As An Immersive Affective Movement-inducing ...mentioning

confidence: 99%

“…Survey 1. Data were gathered as part of the online listening survey described in Duman et al [16]. For the present study, participants rated their general music listening habits using a questionnaire containing 21 RL items.…”

Section: Procedures and Materialsmentioning

confidence: 99%

Music we move to: Spotify audio features and reasons for listening

Duman

Neto²,

Mavrolampados³

et al. 2022

PLoS ONE

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Previous literature has shown that music preferences (and thus preferred musical features) differ depending on the listening context and reasons for listening (RL). Yet, to our knowledge no research has investigated how features of music that people dance or move to relate to particular RL. Consequently, in two online surveys, participants (N = 173) were asked to name songs they move to (“dance music”). Additionally, participants (N = 105) from Survey 1 provided RL for their selected songs. To investigate relationships between the two, we first extracted audio features from dance music using the Spotify API and compared those features with a baseline dataset that is considered to represent music in general. Analyses revealed that, compared to the baseline, the dance music dataset had significantly higher levels of energy, danceability, valence, and loudness, and lower speechiness, instrumentalness and acousticness. Second, to identify potential subgroups of dance music, a cluster analysis was performed on its Spotify audio features. Results of this cluster analysis suggested five subgroups of dance music with varying combinations of Spotify audio features: “fast-lyrical”, “sad-instrumental”, “soft-acoustic”, “sad-energy”, and “happy-energy”. Third, a factor analysis revealed three main RL categories: “achieving self-awareness”, “regulation of arousal and mood”, and “expression of social relatedness”. Finally, we identified variations in people’s RL ratings for each subgroup of dance music. This suggests that certain characteristics of dance music are more suitable for listeners’ particular RL, which shape their music preferences. Importantly, the highest-rated RL items for dance music belonged to the “regulation of mood and arousal” category. This might be interpreted as the main function of dance music. We hope that future research will elaborate on connections between musical qualities of dance music and particular music listening functions.

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“…However, even within these genres and within the field of musicology, groove can have different meanings; the term may refer to a repetitive multi-layered pattern of pitch and rhythm (Zbikowski, 2004), the engagement of synchronized body movements arising from such repetitive patterns (Pressing, 2002;Zbikowski, 2004), or the seemingly effortless interactions and 'negotiations' of expressive timing between musicians in a band (Keil, 1995). All of these definitions can be categorized into two dimensions: an objective dimension of structured sounds and a subjective, experienced, phenomenological dimension (Duman et al, 2021).…”

mentioning

confidence: 99%

“…Recent studies suggest that the mere juxtaposition of objective musical causes and subjective psychological effects may be too simplistic to fully capture the groove phenomenon. Studies have shown that the groove experience is moderated by the personal background of the listener, such as their musical taste or familiarity with the repertoire (Senn et al, 2021), by the concrete listening situation, such as live vs. recorded music (Swarbrick et al, 2019), and by feelings of social connectedness, immersion, flow, and energetic arousal (Dotov et al, 2021;Duman et al, 2021Duman et al, , 2022Kowalewski et al, 2020;Stupacher, 2019;Senn et al, in press), indicating that the groove experience is complex and multifaceted (Senn et al, 2019).…”

mentioning

confidence: 99%

A text mining approach to the use of "groove" in everyday language

Stupacher¹,

Bechtold²,

Senn³

2022

Preprint

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When speaking about music, the term groove can refer to objective qualities, such as specific rhythmical patterns in certain genres, or to subjective experiences, such as the pleasurable urge to move to the music. The mere juxtaposition of objective musical causes and subjective psychological effects may, however, be too simplistic to fully capture the complex and multifaceted groove phenomenon. One way to broaden the perspective of groove research is to analyze how people use the term groove in everyday language. We therefore employed a text-mining approach with theme searches and sentiment analyses of 970,220 comments on 155 music videos on YouTube. The corresponding songs were previously rated on groove, operationalized as pleasurable urge to move (Senn et al., 2021, Musicae Scientiae, 25). Results show that groove terms were more likely to be used in comments on songs that received higher groove ratings, indicating that the use of groove in everyday language and experiencing an urge to move are positively related. Resonating with the definition of groove as pleasurable urge to move, groove terms were very likely to co-occur with movement terms, and comments mentioning groove expressed more positive sentiments. We also found that groove terms were predominantly used to describe objective musical qualities in comments on funk, soul, and R&B songs, suggesting that the use of groove is related to genre. In general, we demonstrate how text mining can be used to review existing definitions and gain new perspectives on current topics in music science.

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Redefining Groove

Cited by 12 publications

References 31 publications

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

Music we move to: Spotify audio features and reasons for listening

A text mining approach to the use of "groove" in everyday language

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