Quantitative analysis of temporal structure in Cuban guaguancó drumming

Abstract

We examine the temporal properties of cyclical drumming patterns in an expert performance of Afro-Cuban rumba recorded in Santiago de Cuba. Quantitative analysis of over 9,000 percussion onsets collected from custom sensors placed on various instruments reveals different types and degrees of rhythmic variation across repetitions of each of five characteristic guaguancó patterns (clave, cascara, quinto, segundo, and tumba). We assess each instrument’s variability using principal component analysis and multidimensional scaling, complementing our quantitative exploration with insights from music theory. Through these methods, we uncover details of timing that are insufficiently conveyed with standard music notation in order to shed light on the role of improvised variation in solo and accompaniment ensemble roles.

Collective dynamics support group drumming, reduce variability, and stabilize tempo drift

“… Chang et al, 2017 ). Different cultural contexts and performance styles may even emphasize the creative and expressive de-synchronization from the regular group beat, or avoid isochrony altogether, allowing musicians to unfold their own ideas or belonging to a specific tradition ( Benadon et al, 2018 ; Davies et al, 2013 ; Lucas et al, 2011 ). Understanding musical creativity requires a situated approach and ethnographic engagement to find which features of the emergent collective acoustic environment constitute meaningful affordances for given musicians in a given context ( Linson and Clarke, 2017 ).…”

“…Synchronized group action is an essential element of music making, a defining social behavior of human interaction ( Honing et al, 2015 ; Patel and Iversen, 2014 ; Salimpoor et al, 2011 ; Savage et al, 2015 ; Trainor, 2015 ), and the value of precise synchronization may vary from culture to culture and across musical contexts ( Benadon et al, 2018 ; Davies et al, 2013 ; Lucas et al, 2011 ).The archaeological evidence of musical instruments goes back 30,000 years, and singing and drumming are thought to be even older ( Conard et al, 2009 ). The evolutionary origins of musical rhythmic actions may relate to social motor behaviors in non-human species, such as the synchronization and desynchronization of vocalizations between individuals in group chorusing, arising from pressures to either collaborate or compete ( Gamba et al, 2016 ; Greenfield et al, 2017 ; Ravignani et al, 2014 ; Ravignani et al, 2019 ).…”

Collective dynamics support group drumming, reduce variability, and stabilize tempo drift

“…While these parts must fit together, reflecting cooperation, at any one point, the player of the “melody” or most important part influences other players more than vice versa, setting up leadership dynamics within the group (e.g., Chang et al, 2017). Different cultural contexts and performance styles may even emphasize the creative and expressive de-synchronization from the regular group beat, or avoid isochrony altogether, allowing musicians to unfold their own ideas or belonging to a specific tradition (Benadon et al, 2018; Davies et al, 2013; Lucas et al, 2011). Understanding musical creativity requires a situated approach and ethnographic engagement to find which features of the emergent collective acoustic environment constitute meaningful affordances for given musicians in a given context (Linson & Clarke, 2017).…”

“…Synchronized group action is an essential element of musicmaking, a defining social behaviour of human interaction (Honing et al, 2015; Patel & Iversen, 2014; Salimpoor et al, 2011; Savage et al, 2015; Trainor, 2015), and the value of precise synchronization may vary from culture to culture and across musical contexts (Benadon et al, 2018; Davies et al, 2013; Lucas et al, 2011). The archaeological evidence of musical instruments goes back 30,000 years, and singing and drumming are thought to be even older (Conard et al, 2009).…”

“…Synchronized group action is an essential element of musicmaking, a defining social behaviour of human interaction (Honing et al, 2015;Patel & Iversen, 2014;Salimpoor et al, 2011;Savage et al, 2015;Trainor, 2015), and the value of precise synchronization may vary from culture to culture and across musical contexts (Benadon et al, 2018;Davies et al, 2013;Lucas et al, 2011).The archaeological evidence of musical instruments goes back 30,000 years, and singing and drumming are thought to be even older (Conard et al, 2009). The evolutionary origins of musical rhythmic actions may relate to social motor behaviors in non-human species, such as the synchronization and desynchronization of vocalizations between individuals in group chorusing, arising from pressures to either collaborate or compete (Gamba et al, 2016;Greenfield et al, 2017;Ravignani et al, 2014Ravignani et al, , 2019.…”