Where is the beat in that note? Effects of attack, duration, and frequency on the perceived timing of musical and quasi-musical sounds AbstractWhen coordinating physical actions with sounds, we synchronise our actions with the perceptual center (P-center) of the sound, understood as the specific moment at which the sound is perceived to occur. Using matched sets of real and artificial musical sounds as stimuli, we probed the influence of Attack (rise time), Duration, and Frequency (center frequency) on perceived P-center location and P-center variability. Two different methods to determine the P-centers were used:Clicks aligned in-phase with the target sounds via the method of adjustment, and tapping in synchrony with the target sounds. We found that attack and duration are primary cues for Pcenter location and P-center variability, and that the latter is a useful measure of P-center shape.Probability density distributions for each stimulus display a systematic pattern of P-center shapes ranging from narrow peaks close to the onset of sounds with a fast attack and short duration, to wider and flatter shapes indicating a range synchronization points for sounds with a slow attack and long duration. The results support the conception of P-centers as not simple time points, but "beat bins" with characteristic shapes, and the shapes and locations of these beat bins are dependent upon both the stimulus and the synchronization task. Public significance statementIn music and dance, as well as many other contexts, we coordinate our physical actions with sounds. Our research shows how the fine-grained details of a sound interact in our temporal perception of it. This has implications for a wide range of applications that involve timing, from rehearsing musical ensembles to the sonification of complex patterns of information.

Music often triggers a pleasurable urge in listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove. This study presents the Experience of Groove Questionnaire, a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents’ urge to move (Cronbach’s α = .92) and their experience of pleasure (α = .97) while listening to music. The two scales are highly correlated (r = .80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners’ subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.

This thesis investigates the expressive means through which musicians well versed in groove-based music shape the timing of a rhythmic event, with a focus on the interaction between produced timing and sound features. In three performance experiments with guitarists, bassists, and drummers, I tested whether musicians systematically manipulate acoustic factors such as duration, intensity, and volume when they want to play with a specific microrhythmic style (pushed, on-the-beat, or laidback).The results show that all three groups of instrumentalists indeed played pushed, on-the-beat, or laid-back relative to the reference pulse and in line with the instructed microrhythmic styles, and that there were systematic and consequential sound differences. Guitarists played backbeats with a longer duration and darker sound in relation to pushed and laid-back strokes. Bassists played pushed beats with higher intensity than on-the-beat and laid-back strokes. For the drummers, we uncovered different timing-sound combinations, including the use of longer duration (snare drum) and higher intensity (snare drum and hi-hat), to distinguish both laid-back and pushed from on-the-beat strokes. The metronome as a reference pulse led to less marked timing profiles than the use of instruments as a reference, and it led in general to earlier onset positions as well, which can perhaps be related to the phenomenon of "negative mean asynchrony." We also conducted an in-depth study of the individual drummers' onset and intensity profiles using hierarchical cluster analyses and phylogenetic tree visualizations and uncovered a diverse range of strategies.The results support the research hypothesis that both temporal and sound-related properties contribute to how we perceive the location of a rhythmic event in time. I discuss these results in light of theories and findings from other studies of the perception and performance of groove, as well as research into rhythm and microrhythmic phenomena such as perceptual centers and onset asynchrony/anisochrony. This thesis was borne of blood, sweat, and tears, as well as a whole lotta love. (Musical puns intended, though mainly for the in crowd [Oops, I did it again].)First of all, I would like to thank my supervisors, Anne Danielsen and Kristian Nymoen, for their invaluable guidance and support throughout this journey. Anne, thank you first and foremost for providing the opportunity to research groove music in a scholarly, scientific manner for all these years -the combination of praxis and theory have bolstered its awesome power for me many times over. Your shrewd mentorship, unceasing kindness and patience, and limitless passion for knowledge have been a constant source of learning and inspiration. It is an honor to work alongside such a juggernaut scholar (and fellow funk head!), and I hope to continue unraveling the mysteries of groove together with you. Kristian, thank you for painlessly leading me through a new and wonderful technological path, one that has opened up so many analytical possibil...

This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).

This study reports on an experiment that tested whether drummers systematically manipulated not only onset but also duration and/or intensity of strokes in order to achieve different timing styles. Twenty-two professional drummers performed two patterns (a simple “back-beat” and a complex variation) on a drum kit (hi-hat, snare, kick) in three different timing styles (laid-back, pushed, on-beat), in tandem with two timing references (metronome and instrumental backing track). As expected, onset location corresponded to the instructed timing styles for all instruments. The instrumental reference led to more pronounced timing profiles than the metronome (pushed strokes earlier, laid-back strokes later). Also, overall the metronome reference led to earlier mean onsets than the instrumental reference, possibly related to the “negative mean asynchrony” phenomenon. Regarding sound, results revealed systematic differences across participants in the duration (snare) and intensity (snare and hi-hat) of strokes played using the different timing styles. Pattern also had an impact: drummers generally played the rhythmically more complex pattern 2 louder than the simpler pattern 1 (snare and kick). Overall, our results lend further evidence to the hypothesis that both temporal and sound-related features contribute to the indication of the timing of a rhythmic event in groove-based performance.

This article addresses the computational estimation of attack regions in audio recordings. Previous attempts to do so were based on the reduction of the audio waveform into an envelope curve, which decreases its temporal resolution. The proposed approach detects the attack region directly from the audio waveform. The attack region is modeled as a line starting from a low-amplitude point and intersecting one of the local maxima according to two principles: (1) maximizing the slope, while favoring, at the same time, a higher peak if the slope remains only slightly lower and (2) dismissing initial attack regions of relatively low amplitude. The attack start position is fine-tuned by intersecting the attack slope with the audio waveform. The proposed method precisely pinpoints the attack region in cases where it is unambiguously observable from the waveform itself. In such cases, previous methods selected a broader attack region due to the loss of temporal resolution. When attack regions are less evident, the proposed method's estimation remains within the range of results provided by other methods. Applied to the prediction of judgments of P-center localization [Danielsen, Nymoen, Anderson, Câmara, Langerød, Thompson, and London, J. Exp. Psychol. Hum. Percept. Perform. 45, 402–418 (2019)], the proposed method shows a significant increase in precision, at the expense of recall.

‘Groove’ can be understood as the (pleasurable) urge to move to music. Predictive accounts of music listening posit that groove reflects an embodied suppression of prediction errors (i.e., active inference) arising from moderate levels of complexity. Here, there are frequent prediction errors that challenge internal models of the rhythmic structure but not to the point of failure, compelling us to reinforce these models with our own movements. Thus, it stands to reason that actual movement would increase feelings of groove, however this central assertion had not yet been directly tested. We recorded pupil diameters (as an index of musical effort) while participants either synchronously tapped their foot or just listened to short clips from real music that varied in ‘pulse entropy’. Immediately after each excerpt, participants rated their experience of groove. In accordance with predictive coding, excerpts were rated higher in groove and evoked greater pupil dilations with sensorimotor feedback from actively synchronizing to the music compared to listening. We also confirmed that the inverted U-relationship between rhythmic complexity and groove extended beyond artificial stimuli to more ecological music. Moreover, subjects tapped softer to more complex rhythms where their movements were also less precise, and thus less helpful for reinforcing internal rhythmic structures. Overall, these findings can be interpreted as supportive of the predictive coding of music model, at least in the context of groove.

This thesis investigates the expressive means through which musicians well versed in groove-based music shape the timing of a rhythmic event, with a focus on the interaction between produced timing and sound features. In three performance experiments with guitarists, bassists, and drummers, I tested whether musicians systematically manipulate acoustic factors such as duration, intensity, and volume when they want to play with a specific microrhythmic style (pushed, on-the-beat, or laidback).The results show that all three groups of instrumentalists indeed played pushed, on-the-beat, or laid-back relative to the reference pulse and in line with the instructed microrhythmic styles, and that there were systematic and consequential sound differences. Guitarists played backbeats with a longer duration and darker sound in relation to pushed and laid-back strokes. Bassists played pushed beats with higher intensity than on-the-beat and laid-back strokes. For the drummers, we uncovered different timing-sound combinations, including the use of longer duration (snare drum) and higher intensity (snare drum and hi-hat), to distinguish both laid-back and pushed from on-the-beat strokes. The metronome as a reference pulse led to less marked timing profiles than the use of instruments as a reference, and it led in general to earlier onset positions as well, which can perhaps be related to the phenomenon of "negative mean asynchrony." We also conducted an in-depth study of the individual drummers' onset and intensity profiles using hierarchical cluster analyses and phylogenetic tree visualizations and uncovered a diverse range of strategies.The results support the research hypothesis that both temporal and sound-related properties contribute to how we perceive the location of a rhythmic event in time. I discuss these results in light of theories and findings from other studies of the perception and performance of groove, as well as research into rhythm and microrhythmic phenomena such as perceptual centers and onset asynchrony/anisochrony. This thesis was borne of blood, sweat, and tears, as well as a whole lotta love. (Musical puns intended, though mainly for the in crowd [Oops, I did it again].)First of all, I would like to thank my supervisors, Anne Danielsen and Kristian Nymoen, for their invaluable guidance and support throughout this journey. Anne, thank you first and foremost for providing the opportunity to research groove music in a scholarly, scientific manner for all these years -the combination of praxis and theory have bolstered its awesome power for me many times over. Your shrewd mentorship, unceasing kindness and patience, and limitless passion for knowledge have been a constant source of learning and inspiration. It is an honor to work alongside such a juggernaut scholar (and fellow funk head!), and I hope to continue unraveling the mysteries of groove together with you. Kristian, thank you for painlessly leading me through a new and wonderful technological path, one that has opened up so many analytical possibil...