![]() In this study, the swing ratio produced by drummers on the ride cymbal was measured. The exact duration ratio (the swing ratio) of the long-short pattern has been largely unknown. The timing in jazz ensemble performances was investigated in order to approach the question of what makes the music "swing." One well-known aspect of swing is that consecutive eighth notes are performed as long-short patterns. An alternative proposal drawn from metric entrainment theory explains the effects of PDs as more limited and local than previously thought. Little evidence emerged from either experiment in support of the PD framework. Experiment 2 employed recordings of professional jazz musicians and tested for the effects of learning in the perception of PDs. Participants used three listening strategies to perceive the asynchrony and its purported effects. Experiment 1 employed synthetic recordings of a conventional swing groove in which the onset asynchronies between bass and drums were varied. ![]() This paper presents the results of two experiments on the perception of PDs. The "push and pull" between these instruments purportedly generates a "productive tension" thought to drive the groove with energy. This paper reports on exemplary quantitative analyses of those situations of temporal independence and demonstrate its expressive effects through complex data visualization.Ī POPULAR THEORY HOLDS THAT "SWING" STEMS specifically from asynchronous timing between bass and drums in their shared articulation of the beat, a phenomenon Charles Keil has dubbed "participatory discrepancies" (PDs Keil, 1987). For example, in Jazz performance, this effect may correspond to a significant delay of the (right-hand) solo relative to the beat for almost an entire chorus that is brought back in time at the beginning of the next chorus (as found e.g., in recordings of the Erroll Garner Trio). In classical piano music of the Romantic period, this device is described as "tempo rubato in the earlier meaning" (Hudson 1994), referring to the temporal freedom of the melody hand relative to the accompaniment (e.g., in a Chopin Nocturne). ![]() This paper strives to explore those situations of temporal independence in various musical styles and ensemble sizes. However, deviation from this synchrony may exceptionally be used as expressive device. This applies to a range of musical styles (e.g., classical music or Jazz) and ensemble configurations (from an orchestra to small ensembles or even piano solo). The solo part in music performance usually synchronizes well with the rhythmic-metrical context of the accompaniment, that is, the onsets of that part occur within certain temporal limits relative to the onsets of the accompaniment. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |