On rhythm perception: Theoretical issues, empirical findings*

Seifert, Uwe; Olk, Fabian; Schneider, Albrecht

doi:10.1080/09298219508570681

Cited by 10 publications

(3 citation statements)

References 33 publications

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“…As shown by our data, these units are differentiated by approximately 20 ms, which is within the resolution of differentiation for the human perceptual and cognitive systems for e.g. acoustic events for beats in experimental situations [84,85] and for phonetic events in spoken signals [25,53,86].…”

Section: Discussionsupporting

confidence: 71%

Reducing language to rhythm: Amazonian Bora drummed language exploits speech rhythm for long-distance communication

et al. 2018

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Many drum communication systems around the world transmit information by emulating tonal and rhythmic patterns of spoken languages in sequences of drumbeats. Their rhythmic characteristics, in particular, have not been systematically studied so far, although understanding them represents a rare occasion for providing an original insight into the basic units of speech rhythm as selected by natural speech practices directly based on beats. Here, we analyse a corpus of Bora drum communication from the northwest Amazon, which is nowadays endangered with extinction. We show that four rhythmic units are encoded in the length of pauses between beats. We argue that these units correspond to vowel-to-vowel intervals with different numbers of consonants and vowel lengths. By contrast, aligning beats with syllables, mora or only vowel length yields inconsistent results. Moreover, we also show that Bora drummed messages conventionally select rhythmically distinct markers to further distinguish words. The two phonological tones represented in drummed speech encode only few lexical contrasts. Rhythm thus appears to crucially contribute to the intelligibility of drummed Bora. Our study provides novel evidence for the role of rhythmic structures composed of vowel-to-vowel intervals in the complex puzzle concerning the redundancy and distinctiveness of acoustic features embedded in speech.

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Section: Discussionsupporting

confidence: 71%

Reducing language to rhythm: Amazonian Bora drummed language exploits speech rhythm for long-distance communication

et al. 2018

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“…He writes that "West and Central African dances feature a prominently articulated, recurring rhythmic pattern that serves as an identifying signature". Seifert et al (1995) followed a similar path of the smallest pulse as basis for a theoretical and integrated research strategy for the interpretation of non-Western rhythmical phenomena, based on the tubs of Kubik and Koetting. Connected to the idea of the fastest pulse, Jones (1959) was the first to describe the asymmetric structure of the higher rhythmical patterns. A well-known common example of such pattern is the 12-beat pattern that contains a seven and a five stroke component, of which one is prevalent while its complementary pattern is latent, and is tapped as a syncopated pulse.…”

Section: Introductionmentioning

confidence: 99%

Evaluation and Recommendation of Pulse and Tempo Annotation in Ethnic Music

Cornelis

Six

Holzapfel

et al. 2013

Journal of New Music Research

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Large digital archives of ethnic music require automatic tools to provide musical content descriptions. While various automatic approaches are available, they are to a wide extent developed for Western popular music. This paper aims to analyze how automated tempo estimation approaches perform in the context of Central-African music. To this end we collect human beat annotations for a set of musical fragments, and compare them with automatic beat tracking sequences. We first analyze the tempo estimations derived from annotations and beat tracking results. Then we examine an approach, based on mutual agreement between automatic and human annotations, to automate such analysis, which can serve to detect musical fragments with high tempo ambiguity.

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“…Segundo Bernardes, as concepções subjacentes às práticas em Percepção Musical, nas graduações em Música, no Brasil, privilegiam "ações que se baseiam em atividades repetitivas e que têm no reconhecimento e na reprodução o seu fundamento e principal 9 Também foram objeto de análise artigos de autores estrangeiros (cf. referências bibliográficas, BROWN;COOK, 1994;GEAKE, 1997;MOELANTS, 1999;NOORDEN;MOELANTS, 1999;SEIFERT et al, 1995;TODD et al, 1999). Entretanto, observamos neles um enfoque predominantemente "laboratorial" -testes, equações matemáticas, algoritmos, modelos computacionais -que em muito se distanciava da abordagem que pretendíamos assumir ao estudar o problema da percepção musical.…”

Section: Percepção Musical: Problematizaçãounclassified

Percepção musical como compreensão da obra musical: contribuições a partir da perspectiva histórico-cultural

Barbosa¹

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Nossos enunciados estão repletos de palavras dos outros" (Mikhail Bakhtin-Estética da criação verbal) À Marta Kohl de Oliveira, pela orientação e pelo crédito que me concedeu ao aceitar-me como orientanda. À Anna Maria Lunardi Padilha e Ivone Martins de Oliveira, minhas amigas e mentoras desde os tempos do mestrado. À Sílvia Schroeder e Jorge Schroeder, pela amizade e rica interlocução. Ao Estércio Marquez Cunha e Annunziata Spencieri de Oliveira, "outros" sempre presentes.

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On rhythm perception: Theoretical issues, empirical findings*

Cited by 10 publications

References 33 publications

Reducing language to rhythm: Amazonian Bora drummed language exploits speech rhythm for long-distance communication

Reducing language to rhythm: Amazonian Bora drummed language exploits speech rhythm for long-distance communication

Evaluation and Recommendation of Pulse and Tempo Annotation in Ethnic Music

Percepção musical como compreensão da obra musical: contribuições a partir da perspectiva histórico-cultural

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