Time Warps in Early Jazz

Benadon, Fernando

doi:10.1525/mts.2009.31.1.1

Cited by 24 publications

(15 citation statements)

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“…It thus supports a body of research that over the past decade has highlighted the significance and complexities of such relations (for examples from the field of swing timing research in jazz music, see Benadon, 2006;Benadon, 2009;Mermikides, 2010;Butterfield, 2011), superseding unrealistically dichotomic earlier conceptualizations of structure versus "expressive" or "participatory" timing (cf. Clarke, 1985;Keil, 1987;1995).…”

Section: Influence and Interdependence Of Timing Grouping And Formsupporting

confidence: 66%

Pattern and Variation in the Timing of Aksak Meter: Commentary on Goldberg

Polak¹

2016

EMR

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Daniel Goldberg (2015, this issue) explores relations between timing variations, grouping structure, and musical form in the percussive accompaniment of Balkan folk dance music. A chronometric re-analysis of one of the target article's two audio samples finds a regular metric timing pattern to consistently underlie the variations Goldberg uncovered. Read together, the target article and this commentary demonstrate the complex interplay of a regular timing pattern with several levels of nuanced variation to be performed with fluency, flexibility, and accuracy. This might appear commonplace, but here it is observed in the context of an asymmetric rhythmic mode, non-isochronous beat sequence, and asymmetric metric hierarchy. This context evidently does not represent a constraint of any sort in respect to the rhythmic timing performance, which casts doubts on the deep-seated assumption that metric regularity depends on iso-periodicity and vertical symmetry. This assumption is sometimes explicitly and often implicitly taken as universal; this comment suggests that, on the contrary, it might well be culturally biased. KEYWORDS: timing, asymmetric rhythm, non-isochronous meterMUSIC theorist Daniel Goldberg (2015, this issue) studies the timing of percussive rhythms in two recorded live performances from south-eastern Europe. In one recording, Macedonian singer Muzafer Bizlim taps along his own singing; in the other, Bulgarian drummer Mitko Popov plays in an instrumental ensemble accompanying song and dance. Both performances share that their rhythmic modes involve metric cycles of two unequal beat durations (long vs. short), of the type conventionally addressed as aksak, or asymmetric, or non-isochronous meter (Brăiloiu, 1984;Cler, 1994;Arom, 2004;Moelants, 2006;London, 2012). The metric cycle involves three beats (long-short-short) and seven subdivisions, which are grouped by the beats into units of 3-2-2 ( x . . x . x . ).The study is based on chronometric timing analysis and informed by music analytic and ethnographic insights. Its focus is on exploring differences-variations and flexibilities-in the timing data, and suggesting hypotheses about possible influences of other aspects of musical structure and performance on the observed timing differences. The article is particularly welcome as a contribution to performance timing studies in aksak-based rhythms (see Cler, 1997;Moelants, 2006) and thus to the growing body of chronometric research on genres beyond European art music and jazz.[1] INFLUENCE AND INTERDEPENDENCE OF TIMING, GROUPING, AND FORMGoldberg's thinking follows the mainstream of chronometric timing research in that it asks for influences of other musical factors (other aspects of the musical structure and performance) on timing, not vice-versa. Recently, however, musicologists, music theorists, and ethnomusicologists have begun to empirically examine also the constitution (not only expression) of musical style and meaning (Leech-Wilkinson, 2009;, metric structure (Polak, 2010), and grouping ...

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Section: Influence and Interdependence Of Timing Grouping And Formsupporting

confidence: 66%

Pattern and Variation in the Timing of Aksak Meter: Commentary on Goldberg

Polak¹

2016

EMR

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“…In 1995, Keil took notice of microtiming studies by Prögler ( 1995 ) and Alén ( 1995 ) that gave evidence for the existence of temporal PDs (Keil, 1995 ). Prögler's and Alén's studies were early examples of a substantial body of timing analyses that, starting in the 1980s, revealed systematic microtemporal patterns in the performance of music in different beat-oriented genres (Rose, 1989 ; Alén, 1995 ; Prögler, 1995 ; Collier and Collier, 1996 , 2002 ; Repp, 1999 ; Busse, 2002 ; Friberg and Sundström, 2002 ; Doffman, 2005 , 2008 , 2009 ; McGuiness, 2005 , 2006 ; Benadon, 2006 , 2009 ; Butterfield, 2006 ; Pfleiderer, 2006 ; Senn, 2007 , 2011 ; Honing and Haas, 2008 ; Polak, 2010 ; Brandmeyer et al, 2011 ; Kilchenmann and Senn, 2011 ; Naveda et al, 2011 ).…”

Section: Introductionmentioning

confidence: 99%

Microtiming in Swing and Funk affects the body movement behavior of music expert listeners

Kilchenmann

Senn

2015

Front. Psychol.

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The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to 12 music clips in either Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners' beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design Four-Factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners' entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only.

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“…Microtiming characteristics, and interactions with other musical features, such as pitch, phrasing or intensity, have also been observed in other music styles such as Jazz (Friberg & Sundstrom, 2002;Benadon, 2006Benadon, , 2009, Norwegian traditional fiddle music (Johansson, 2005), Irish traditional fiddle music (Rosinach & Traube, 2006), or Viennese Waltz-where the second beat in a group of three is early and emphasized (Gabrielsson, 1985;Desain & Honing, 1989). Some links are also made between the presence of microtiming characteristics in music and groove perception or movement induction (Madison, 2006;McGuiness, 2006).…”

Section: Introductionmentioning

confidence: 87%

Microtiming Patterns and Interactions with Musical Properties in Samba Music

Naveda

Gouyon

Guedes

et al. 2011

Journal of New Music Research

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In this study, we focus on the interaction between microtiming patterns and several musical properties: intensity, meter and spectral characteristics. The data-set of 106 musical audio excerpts is processed by means of an auditory model and then divided into several spectral regions and metric levels. The resulting segments are described in terms of their musical properties, over which patterns of peak positions and their intensities are sought. A clustering algorithm is used to systematize the process of pattern detection. The results confirm previously reported anticipations of the third and fourth semiquavers in a beat. We also argue that these patterns of microtiming deviations interact with different profiles of intensities that change according to the metrical structure and spectral characteristics. In particular, we suggest two new findings: (i) a small delay of microtiming positions at the lower end of the spectrum on the first semiquaver of each beat and (ii) systematic forms of accelerando and ritardando at a microtiming level covering two-beat and four-beat phrases. The results demonstrate the importance of multidimensional interactions with timing aspects of music. However, more research is needed in order to find proper representations for rhythm and microtiming aspects in such contexts.

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Time Warps in Early Jazz

Cited by 24 publications

References 0 publications

Pattern and Variation in the Timing of Aksak Meter: Commentary on Goldberg

Pattern and Variation in the Timing of Aksak Meter: Commentary on Goldberg

Microtiming in Swing and Funk affects the body movement behavior of music expert listeners

Microtiming Patterns and Interactions with Musical Properties in Samba Music

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