The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms

Davies, Matthew E. P.; Madison, Guy; Silva, Pedro; Gouyon, Fabien

doi:10.1525/mp.2013.30.5.497

Cited by 76 publications

(94 citation statements)

References 23 publications

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Section: Discussionmentioning

confidence: 99%

“…Earlier theoretical considerations emphasized the roles of subtle timing deviations (microtiming; participatory discrepancies) between players/instruments (Keil & Feld, 1994;Iyer, 2002;Pressing, 2002), but recent studies failed to find a positive correlation between microtiming and perceived groove (Madison et al, 2011;Davies et al, 2013;Frühauf et al, 2013). In fact, as timing deviations increase, perceived groove decreases, particularly among musically trained individuals (Davies et al, 2013). While deviations from strict metronomic timing are inevitable in real music performances, it appears that adaptive timing deviations that serve to decrease asynchronies among individuals stand the best chance of reducing activity in brain areas associated with cognitive control and increasing activity in brain areas associated with socio-emotional processes, reward, and the feeling of being in the groove (Fairhurst et al, 2013;Kokal, Engel, Kirschner, & Keysers, 2011).…”

Section: Discussionmentioning

confidence: 99%

“…Of particular interest to studies of groove are measures that reflect the temporal structure of the music, such as the perceived beat or timing characteristics of event onsets that can support processes of sensorimotor entrainment (Madison et al, 2011;Davies et al, 2013). As music increases in groove, the likelihood that it will trigger spontaneous movement also increases (Janata et al, 2012;Hurley et al, 2014), and the ease with Audio Features of Groove 15 which a person is able to synchronize with music during a tapping task predicts the degree to which s/he will feel in the groove (Janata et al, 2012).…”

Section: Audio Features Of Groove 14mentioning

confidence: 99%

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Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

2016

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The experience of groove is associated with the urge to move to a musical rhythm. Here we focus on the relevance of audio features, obtained using music information retrieval (MIR) tools, for explaining the perception of groove and music-related movement. In Study 1 we extracted audio features from clips of real music previously rated on perceived groove. Measures of variability, such as the variance of the audio signal’s RMS curve and spectral flux (particularly in low frequencies), predicted groove ratings. Additionally, we dissociated two forms of event density, showing that an algorithm that emphasizes variability between beats predicted groove ratings better. In Study 2 we manipulated RMS levels and groove category (low, mid, and high groove) to confirm that perceived groove is not a function of loudness. In Study 3 we utilized novel music clips that manipulated the frequency of bass and bass drum (low vs. high) and attack time (short vs. long). Groove ratings and tapping velocities tended to be higher and tapping variability tended to be lower when the bass instruments had lower frequencies. The present findings emphasize the multifaceted nature of groove by linking audio and musical qualities to subjective experience and motor behavior.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Section: Audio Features Of Groove 14mentioning

confidence: 99%

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Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

2016

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“…This is based on the premise that a stable beat with less variability and distractions (Davies et al, 2013), as well as with richer temporal information (Madison, 2014) should facilitate synchronization and co-ordination.…”

Section: Discussionmentioning

confidence: 99%

What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it

Madison

Sioros

2014

Front. Psychol.

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Groove is the experience of wanting to move when hearing music, such as snapping fingers or tapping feet. This is a central aspect of much music, in particular of music intended for dancing. While previous research has found considerable consistency in ratings of groove across individuals, it remains unclear how groove is induced, that is, what are the physical properties of the acoustic signal that differ between more and less groove-inducing versions. Here, we examined this issue with a performance experiment, in which four musicians performed six simple and six complex melodies in two conditions with the intention of minimizing and maximizing groove. Analyses of rhythmical and temporal properties from the performances demonstrated some general effects. For example, more groove was associated with more notes on faster metrical levels and syncopation, and less groove was associated with deadpan timing and destruction of the regular pulse. We did not observe that deviations from the metrical grid [i.e., micro-timing (MT)] were a predictor of groove. A listener experiment confirmed that the musicians' manipulations had the intended effects on the experience of groove. A Brunswikian lens model was applied, which estimates the performer-perceiver communication across the two experiments. It showed that the communication achievement for simple melodies was 0.62, and that the matching of performers' and listeners' use of nine rhythmical cues was 0.83. For complex melodies with an already high level of groove, the corresponding values were 0.39 and 0.34, showing that it was much more difficult to “take out” groove from musical structures designed to induce groove.

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“…In contrast and unlike what musicological literature points towards (Keil, 1995), microtiming does not increase groove. The latter was confirmed by a systematic analysis conducted by Davies, Madison, Silva, & Gouyon (2013) on simple rhythms. Madison et al (2011) claim that tempo alone cannot explain groove.…”

Section: Groove In the Literaturementioning

confidence: 59%

Syncopation as Transformation

Sioros

Guedes

2014

Lecture Notes in Computer Science

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Abstract:Syncopation is a rhythmic phenomenon present in various musical styles and cultures. I present in this dissertation a set of simple rhythmic transformations that can serve as a formalized model for syncopation for the purposes of generation and analysis of music. The transformations are based on fundamental features of the musical meter and syncopation, as seen from a cognitive and a musical perspective. Based on this model, rhythmic patterns can be organized in tree structures where patterns are interconnected through simple transformations. The model was applied in the design of three listening experiments that explore the relation between syncopation and groove, i.e. the sensation of wanting to move when listening to music. A software plugin is presented as an application of the model.It manipulates the syncopation of audio and MIDI "clips" by automatically de-syncopating and syncopating its content.ii Resumo:Síncopa é um fenómeno rítmico presente em várias culturas e estilos musicais. Nesta dissertação, eu apresento um conjunto de transformações rítmicas simples que constituem um modelo formalizado da síncopa para fins de geração e análise de música. As transformações são baseadas em características fundamentais do compasso musical e síncopa vistos de um ponto de vista cognitivo e musical. Com base neste modelo, padrões rítmicos podem ser organizados em estruturas de árvore (tree structures) onde os padrões são interligados através de transformações simples. O modelo foi aplicado no projeto de três experiências de escuta que exploram a relação entre síncopa e "groove", ou seja, a sensação de querer mover quando ouvir música. Um plugin é apresentado como uma aplicação do modelo que manipula a síncopa de MIDI e áudio "clips" automaticamente.iii

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The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms

Cited by 76 publications

References 23 publications

Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it

Syncopation as Transformation

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