A Study of Timing in Two Louis Armstrong Solos

Collier, Geoffrey L.; Collier, James Lincoln

doi:10.1525/mp.2002.19.3.463

Cited by 28 publications

(22 citation statements)

References 9 publications

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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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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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“…However, the evidence adduced in Chapter 6 of his book argues for the importance of periodicity in biological systems in general, which is certainly true, but which says little about the specific hypothesis that proportional tempo has a biological basis. This has been found for jazz musicians (Collier, 1996;Collier & Collier, 2002;Friberg and Sundstroem, 2002). In one study (Wapnick, 1980) it appears that the participants verbally estimated ratios, so that their predilections towards simple 242 G. L. Collier and J. ratios may have arisen from response biases rather than perceptual phenomena.…”

Section: Tempo Ratios and Tempo Memorymentioning

confidence: 85%

“…The ride beat has been studied in order to analyze the swing ratio between the quarter triplet and the eighth triplet, although that was not the focus of these experiments (Collier, 1996;Collier & Collier, 2002;Friberg & Sundstroem, 2002). This two-beat "ching ching-a ching" pattern usually is notated as a quarter note followed by two eighth notes, or as a quarter note followed by a quarter-note-plus-eighth-note triplet.…”

Section: Methodsmentioning

confidence: 99%

Studies Of Tempo Using a Double Timing Paradigm

Collier

Collier²

2007

Music Perception

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INSPIRED BY A STUDY of old jazz recordings, experiments were performed in which musicians and nonmusicians attempted to alternate between two tempi in the ratio of 2:1. In contrast to the historical recordings, the musicians were able to do this with reasonable accuracy. However, there was a tendency to compress the tempo range, as if gravitating towards an attractor tempo. When nonmusicians attempted to double a target tempo, they were able to jump back and forth between two apparently arbitrarily chosen tempi with reasonable consistency. This ability to alternate between two tempi unrelated by a simple integer ratio argues that people can simultaneously maintain at least two tempi in short term memory.

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“…Other statistical research has explored components of expressivity by comparing audio recordings of expert performances (Collier & Collier, 2002;Repp, 1992). Johnson (1998) asked college students to listen to Mozart's Concerto for Horn and Orchestra,No.…”

Section: Music Performance Expression Rating Measurement Toolsmentioning

confidence: 99%

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

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A Study of Timing in Two Louis Armstrong Solos

Cited by 28 publications

References 9 publications

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

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

Studies Of Tempo Using a Double Timing Paradigm

The effects of projected films on singers’ expressivity in choral performance.

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