Timing Is Everything…Or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance

Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier; Danielsen, Anne

doi:10.1525/mp.2020.38.1.1

Cited by 20 publications

(23 citation statements)

References 49 publications

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“…For the same reason, we shouldn't take the studies cited above (which examine the impact of microtiming variations on audience members' desires to move to the music) as evidence against Keil, Iyer, or Roholt (except where they tie their accounts to groove-as-movement). Indeed, there is robust evidence that, despite not doing it when asked to increase or add groove, musicians do undertake the kinds of modifications and variations that musical nuance theorists describe (Camara 2016;Camara et al 2020;Polack & London 2014). However, these studies operationalize groove according to the broad definition of groove-as-feel.…”

Section: Two Concepts Of Groove |mentioning

confidence: 99%

“…However, these studies operationalize groove according to the broad definition of groove-as-feel. For instance, one study found reliable microrhythmic variations among drummers who were asked to perform in either a 'laid-back', 'on-the-beat', or 'pushed' style (Camara et al 2020). While the extent to which these findings vindicate any particular theory of groove-as-feel might depend on the details of whether the microtiming variations that researchers are looking at qualify as musical nuances on Raffman's account, these findings do suggest that microtiming variations (of some kind) play a very important role in generating and preserving certain musical feels (grooves on the groove-as-feel model).…”

Section: Two Concepts Of Groove |mentioning

confidence: 99%

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Two Concepts of Groove: Musical Nuances, Rhythm, and Genre

Malone

2022

The Journal of Aesthetics and Art Criticism

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Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that there at least two distinct concepts of groove. On one account, the groove is “the feel of the music” and, on the other, the groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with a reason for adopting a more communitarian approach to aesthetics that is attentive to the ways in which aesthetic discourse serves the practices of different audiences.

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Section: Two Concepts Of Groove |mentioning

confidence: 99%

Section: Two Concepts Of Groove |mentioning

confidence: 99%

Two Concepts of Groove: Musical Nuances, Rhythm, and Genre

Malone

2022

The Journal of Aesthetics and Art Criticism

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“…-Microtiming was discussed as potentially relevant to the urge to move, but empirical results were inconsistent (Brøvig-Hanssen et al, 2021, Câmara et al, 2020a, 2020b, Cameron et al, 2019Datseris et al, 2019;Davies et al, 2013;Engel et al, 2022;Frühauf et al, 2013;Ganis et al, 2021;Hofmann et al, 2017;Keil, 1987;Kilchenmann & Senn 2015;Matsushita & Nomura, 2016;Nelias et al, 2022;Senn et al, 2016;Skaansar et al, 2019).…”

Section: Introductionmentioning

confidence: 99%

An SEM Approach to Validating the Psychological Model of Musical Groove

Senn¹,

Bechtold²,

Hoesl³

et al. 2022

Preprint

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The experience of wanting to move in response to music is commonly known as feeling the groove. According to the psychological model of musical groove by Senn et al. (2019), the causes for the urge to move are linked to the properties of the music itself, to the personal background of the listener, to the listening situation, and to feedback loops between body movement and cognition. The model formulates eight hypotheses stating that the music affects a listener’s urge to move mediated through a variety of cognitive processes. This study develops a method based on Structural Equation Modelling (SEM) to empirically test the model hypotheses. It evaluates five model hypotheses using data from an online listening experiment with 135 participants and 16 stylistically diverse musical stimuli (n=2160 observations). The SEM model had a good fit with the data (CFI=.958, RMSEA=.051) and explained a large proportion of the variance in the latent urge to move variable (R2=.737). Results show that music affects the urge to move mediated through listeners’ experiences of energetic arousal, listening pleasure, and temporal regularity. The stimuli themselves showed direct effects on the urge to move that were not mediated through the hypothesised mediation pathways. This suggests that the model is not yet complete. The current study demonstrates that the mediation structure of the psychological groove model can successfully be implemented using an SEM approach. The methodology may be adapted to investigate different repertoires, populations, and hypotheses in the future.

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“…• Microtiming was discussed as potentially relevant to the urge to move, but empirical results were inconsistent (Brøvig-Hanssen et al, 2021;Câmara et al, 2020aCâmara et al, , 2020bCameron et al, 2019;Datseris et al, 2019;Davies et al, 2013;Engel et al, 2022;Frühauf et al, 2013;Ganis et al, 2021;Hofmann et al, 2017;Keil, 1987;Kilchenmann & Senn 2015;Matsushita & Nomura, 2016;Nelias et al, 2022;Senn et al, 2016;Skaansar et al, 2019).…”

mentioning

confidence: 99%

“…The properties of the music itself (Figure 1, left box, “Musical Properties”) have been investigated extensively in groove research as causes of the urge to move. The studies primarily address the following topics: Microtiming was discussed as potentially relevant to the urge to move, but empirical results were inconsistent (Brøvig-Hanssen et al, 2021; Câmara et al, 2020a, 2020b; Cameron et al, 2019; Datseris et al, 2019; Davies et al, 2013; Engel et al, 2022; Frühauf et al, 2013; Ganis et al, 2021; Hofmann et al, 2017; Keil, 1987; Kilchenmann & Senn 2015; Matsushita & Nomura, 2016; Nelias et al, 2022; Senn et al, 2016; Skaansar et al, 2019). Syncopated rhythm has been found to affect the urge to move.…”

mentioning

confidence: 99%

An SEM approach to validating the psychological model of musical groove.

Senn¹,

Bechtold²,

Hoesl³

et al. 2023

Journal of Experimental Psychology: Human Perception and Perfor

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In music psychology, the experience of wanting to move in response to music is commonly known as feeling the groove. According to the psychological model of musical groove by Senn et al., the causes for the urge to move are linked to the properties of the music itself, to the personal background of the listener, to the listening situation, and to feedback loops between body movement and cognition. The model formulates eight hypotheses stating that the music affects a listener's urge to move mediated through a variety of cognitive processes. This study develops a method based on structural equation modeling (SEM) to empirically test the model hypotheses. It evaluates five of the model hypotheses using data from an online listening experiment with 135 participants and 16 stylistically diverse musical stimuli (n = 2,160 observations). The SEM model had a good fit with the data (CFI = 0.958, RMSEA = 0.051) and explained a large proportion of the variance in the latent urge to move variable (R 2 = .737). Results show that music affects the urge to move mediated through listeners' experiences of energetic arousal, listening pleasure, and temporal regularity. The stimuli themselves showed direct effects on the urge to move that were not mediated through the hypothesized mediation pathways. This suggests that the model is incomplete. The current study demonstrates that the mediation structure of the psychological groove model can successfully be implemented using an SEM approach. The methodology may be adapted to investigate different repertoires, populations, and hypotheses in the future. Public Significance StatementMusic has the wonderful capacity to motivate body movement in humans. This study presents an empirical validation of a psychological model that aims at explaining how music makes us dance.

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Timing Is Everything…Or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance

Cited by 20 publications

References 49 publications

Two Concepts of Groove: Musical Nuances, Rhythm, and Genre

Two Concepts of Groove: Musical Nuances, Rhythm, and Genre

An SEM Approach to Validating the Psychological Model of Musical Groove

An SEM approach to validating the psychological model of musical groove.

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