The Rhythmic Structure of Music

Berry, Wallace; Cooper, Grosvenor; Meyer, Leonard B.

doi:10.2307/894220

Cited by 133 publications

(10 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…When participants tapped twice as slow or twice as fast as the beat tempo (e.g., McKinney & Moelants, 2006;Tranchant et al, 2016), the full circle corresponded to half or to twice the beat period, respectively. Tapping twice as slow or twice as fast as the beat is a behavior observed even in people with normal beat-synchronization abilities, since the periodic structure in music occurs at several time scales (Cooper & Meyer, 1960;Lerdahl & Jackendoff, 1983). When a participant alternated between two metrical levels during the course of a trial, the faster one (i.e., the one with the shorter period) was used to avoid bi-modal distributions on the circle.…”

Section: Resultsmentioning

confidence: 99%

Co-occurrence of Deficits in Beat Perception and Synchronization Supports Implication of Motor System in Beat Perception

et al. 2021

View full text Add to dashboard Cite

The main goal of this study was to test the hypothesis that disorders in entrainment to the beat of music originate from motor deficits. To this aim, we adapted the Beat Alignment Test and tested a large pool of control subjects, as well as nine individuals who had previously showed deficits in synchronization to the beat of music. The tasks consisted of tapping (Experiment 1) and bouncing (Experiment 2) in synchrony with the beat of non-classical music that varied in genre, tempo, and groove, and then judging whether a superimposed metronome was perceived as on or off the beat of the same selection of music. Results indicate concomitant deficits in both beat synchronization and the detection of misalignment with the beat, supporting the hypothesis that the motor system is implicated in beat perception.

show abstract

Section: Resultsmentioning

confidence: 99%

Co-occurrence of Deficits in Beat Perception and Synchronization Supports Implication of Motor System in Beat Perception

et al. 2021

View full text Add to dashboard Cite

show abstract

“…According to Eduard Hanslick, rhythm is the "main artery of the musical organism" (Hanslick, 1986). A stable of any musical interpretation is that rhythm creates form in organizing sound and thus is wholly essential to congeneric musical meaning (Cooper & Meyer, 1960).…”

Section: I2 the Personal Signature: Musical Analysismentioning

confidence: 99%

Writing and Flamenco

Walther

2023

View full text Add to dashboard Cite

This article asks how the art of music may contribute to the understanding of writing as a phenomenological act. More specifically, I will introduce parts of the vocabulary, theory, and practice of flamenco to investigate the musicality and notably rhythmic qualities of the handwritten, personal signature. The aim is to demonstrate how the introduction of flamenco per se to the qualitative field of writing studies may open a way of thinking of writing as an expressed as well as expressive musical practice. Besides analyzing in detail the flamenco traits of the personal signature the article also scrutinizes the signature-as-music through the phenomenological philosophies of Merleau-Ponty and Derrida. Ultimately the article demonstrates how writing can itself be theorized off the beaten track, following the untraditional clue of guitar play in the flamenco tradition. The portrait that the article paints of writing is thus itself to be considered off the beaten track qua unconventional, unorthodox and, perhaps for some, controversial.

show abstract

“…The sound analyzer allows us to identify with millisecond precision when the stressed vowels of each word are pronounced. The frequency and intensity information makes it possible to infer other accentuation factors (tonic and dynamic), according to the classification of accentuation factors proposed by music theory (see Cooper and Meyer 1960;Berry 1967;Lerdahl and Jackendoff 1983). In the verbalization of T, one is used in an onomatopoeic way (it has metric gravitation but does not establish an order of movements), on the contrary, the numbered verbalization of D is establishing an order.…”

Section: Sound Analysismentioning

confidence: 99%