The Theory of Participatory Discrepancies: A Progress Report

Keil, Charles

doi:10.2307/852198

Cited by 148 publications

(92 citation statements)

References 12 publications

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“…They found that low level descriptors, such as beat salience, event density and fast metrical levels, highly correlate with groove. In contrast and unlike what musicological literature points towards (Keil, 1995), microtiming does not increase groove. The latter was confirmed by a systematic analysis conducted by Davies, Madison, Silva, & Gouyon (2013) on simple rhythms.…”

Section: Groove In the Literaturecontrasting

confidence: 39%

Syncopation as Transformation

Sioros

Guedes

2014

Lecture Notes in Computer Science

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Abstract:Syncopation is a rhythmic phenomenon present in various musical styles and cultures. I present in this dissertation a set of simple rhythmic transformations that can serve as a formalized model for syncopation for the purposes of generation and analysis of music. The transformations are based on fundamental features of the musical meter and syncopation, as seen from a cognitive and a musical perspective. Based on this model, rhythmic patterns can be organized in tree structures where patterns are interconnected through simple transformations. The model was applied in the design of three listening experiments that explore the relation between syncopation and groove, i.e. the sensation of wanting to move when listening to music. A software plugin is presented as an application of the model.It manipulates the syncopation of audio and MIDI "clips" by automatically de-syncopating and syncopating its content.ii Resumo:Síncopa é um fenómeno rítmico presente em várias culturas e estilos musicais. Nesta dissertação, eu apresento um conjunto de transformações rítmicas simples que constituem um modelo formalizado da síncopa para fins de geração e análise de música. As transformações são baseadas em características fundamentais do compasso musical e síncopa vistos de um ponto de vista cognitivo e musical. Com base neste modelo, padrões rítmicos podem ser organizados em estruturas de árvore (tree structures) onde os padrões são interligados através de transformações simples. O modelo foi aplicado no projeto de três experiências de escuta que exploram a relação entre síncopa e "groove", ou seja, a sensação de querer mover quando ouvir música. Um plugin é apresentado como uma aplicação do modelo que manipula a síncopa de MIDI e áudio "clips" automaticamente.iii

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Section: Groove In the Literaturecontrasting

confidence: 39%

Syncopation as Transformation

Sioros

Guedes

2014

Lecture Notes in Computer Science

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“…Musicians debate whether it is better to play in strict simultaneity or slightly out of phase (Keil, 1995). The present work might offer this insight: The beat you play depends on the audience.…”

Section: Discussionmentioning

confidence: 92%

Sensorimotor synchronization with chords containing tone-onset asynchronies

Hove

Keller

Krumhansl

2007

Perception & Psychophysics

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“…Greater spectral flux in low frequency bands (0-50 Hz, 50-100 Hz, 100-200 Hz) has been associated with more regular movement timing (Burger, Thompson, Luck, Saarikallio, & Toiviainen, 2012). Energy in low frequency bands is likely associated with a strong presence of bass drum and bass, instruments that predominantly drive musical groove (Butterfield, 2010;Iyer, 2002;Keil, 1995;Pressing, 2002). In dance music, the bass drum is especially powerful for movement induction (van Dyck, Moelants, Demey, Deweppe, Coussement, & Leman, 2013).…”

mentioning

confidence: 99%

Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

2016

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The experience of groove is associated with the urge to move to a musical rhythm. Here we focus on the relevance of audio features, obtained using music information retrieval (MIR) tools, for explaining the perception of groove and music-related movement. In Study 1 we extracted audio features from clips of real music previously rated on perceived groove. Measures of variability, such as the variance of the audio signal’s RMS curve and spectral flux (particularly in low frequencies), predicted groove ratings. Additionally, we dissociated two forms of event density, showing that an algorithm that emphasizes variability between beats predicted groove ratings better. In Study 2 we manipulated RMS levels and groove category (low, mid, and high groove) to confirm that perceived groove is not a function of loudness. In Study 3 we utilized novel music clips that manipulated the frequency of bass and bass drum (low vs. high) and attack time (short vs. long). Groove ratings and tapping velocities tended to be higher and tapping variability tended to be lower when the bass instruments had lower frequencies. The present findings emphasize the multifaceted nature of groove by linking audio and musical qualities to subjective experience and motor behavior.

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The Theory of Participatory Discrepancies: A Progress Report

Cited by 148 publications

References 12 publications

Syncopation as Transformation

Syncopation as Transformation

Sensorimotor synchronization with chords containing tone-onset asynchronies

Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music

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