They contained no syncopation (Figure 1, staff A) and were all quantized so that their timing did not deviate from the metronomic positions. Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. The post-hoc p-values in the above analysis were p < 0.05. Research project The last “strong” note of each phrase is anticipated by an 8 note. The degree of syncopation was then measured using a variant of the algorithm proposed by Longuet-Higgins and Lee (1984). A within-participants design was employed in which each participant rated all 60 conditions (5 transforms × 12 melodies), which were presented in a different random order to each participant. The density transformations doubled the density of note events per bar by introducing new notes of the same pitch as the original notes. The scales were presented in the same order throughout the experiment. Hence, the ratings show that a moderate amount of syncopation arising from notable salient instances of syncopation that underline the melodic boundaries contribute more to the perception of groove than a higher degree of syncopation that is uniformly distributed along the entire duration and does not relate to the melodic structure. Nevertheless, the present study provides a systematic method for designing algorithms that can produce versions of melodies that contain faster and slower metrical levels as well as various degrees and diversity of note durations and different distributions of notes among those durations. In total, 6 different versions of each melody were generated: the original, three syncopated versions and two with increased density. Members of _ can log in with their society credentials below, Olivier Senn, Toni Amadeus Bechtold, Florian Hoesl, and Lorenz Kilchenmann. The theory of participatory discrepancies: a progress report. Ethnomusicology 39, 1–19. Since there were 5 simple and 5 complex melodies, each of these sets was therefore broken up in 2 and 3 melodies that were assigned to each group as described in Section Design. However, the amount of syncopation, as a scalar quantity, that characterized each example was not sufficient to explain how syncopation increased the sensation of groove. (, Riediger, M., Schmiedek, F., Wagner, G. G., Lindenberger, U. Why? What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it. Groove is a common experience in music listeners, often described as an enjoyable impulse to move in synchrony with the music. Five of the traditional complex songs from Experiment 1 and all five simple melodies that were composed for the purposes of Experiment 1 were used. Then, the last note event of each phrase is syncopated by anticipating it to an earlier weaker metrical position. doi: 10.1525/mts.2006.28.2.211, Janata, P., Tomic, S. T., and Haberman, J. M. (2012). doi: 10.1093/acprof:oso/9780199744374.001.0001, Longuet-Higgins, H. C., and Lee, C. S. (1984). However, the notes found in the weak positions, i.e., on the second and fourth quarter note, were delayed so that the previous note, articulated on a strong beat, is now lengthened and therefore felt as accented (Povel and Okkerman, 1981).
The density 1 transformation introduced after each note event in the original melody a new one of the same pitch, effectively halving each duration (Figure 1, staff E). We confirmed that a moderate amount of syncopation is more effective in creating the sensation of groove than a very high amount. In the simplest form this could follow an inverted U shape although an understanding of the relation between syncopation and groove requires a closer examination of the characteristics of individual instances of syncopation. The user interface provided instructions for the participants to take the experiment in one session in a quiet listening environment, using either high quality headphones or loudspeakers. We wanted to compare the effect of the syncopation on the sensation of groove against the effect of transformations that did not introduce syncopation and preserved the main rhythmical and structural characteristics of the original melodies like the meter and phrase boundaries. (2013) on simple rhythms. The traditional melodies had a more complex structure compared to the composed ones, with higher variety of phrase lengths, phrase boundaries positions and harmonic and melodic content. If you have the appropriate software installed, you can download article citation data to the citation manager of your choice.
Mean groove ratings for transform and melody type across participants. = 500 ms), half notes (1000 ms) and whole notes (2000 ms). Front. The tight-interlocked rhythm section: Production and perception of synchronisation in jazz trio performance, Some exploratory findings on the development of musical tastes, The subjective, human experience of groove: A phenomenological investigation, Complexity, liking and familiarity: Architecture and non-architecture Turkish students’ assessments of traditional and modern house facades, Common method bias in public management studies, Sensorimotor coupling in music and the psychology of the groove, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Music in the exercise domain: A review and synthesis (Part II), Microtiming in swing and funk affects the body movement behavior of music expert listeners, The effect of music listening on work performance, Inter-group entrainment in Afro-Brazilian Congado ritual, Different kinds of groove in jazz and dance music as indicated by listeners’ ratings, Proceedings of the VII International Symposium on Systematic and Comparative Musicology III International Conference on Cognitive Musicology, Department of Musicology, University of Jyväskylä, Experiencing groove induced by music: Consistency and phenomenology, Modeling the tendency for music to induce movement in humans: First correlations with low-level audio descriptors across music genres, Repeated listening increases the liking for music regardless of its complexity: Implications for the appreciation and aesthetics of music, Metrically structured time and entrainment, The asymmetrical influence of timing ssynchrony of bass guitar and drum sounds on groove, Groove or swing as distributed rhythmic consonance: Introducing the groove matrix, Understanding the reminiscence bump: A systematic review, The heat is on: Effects of synchronous music on psychophysiological parameters and running performance in hot and humid conditions, Experimental aesthetics and everyday music listening, Familiarity breeds attraction: Effects of exposure on the attractiveness of typical and distinctive faces, Dimensionen der Groove-Erfahrung: Eine empirische Studie, Common method biases in behavioral research: A critical review of the literature and recommended remedies, Sources of method bias in social science research and recommendations on how to control it, Black atlantic rhythm: Its computational and transcultural foundations, The effects of background music on word processed writing, The structure of musical preferences: A five-factor model, The do re mi’s of everyday life: The structure and personality correlates of music preferences, Seeking pleasure and seeking pain: Differences in prohedonic and contra-hedonic motivation from adolescence to old age, Experimental aesthetics of popular music recordings: Pleasingness, familiarity and chart performance, The influence of emotion, locus of emotion and familiarity upon preference in music, Rhythmic density affects listeners’ emotional response to microtiming, Groove in drum patterns as a function of both rhythmic properties and listeners’ attitudes, The effect of expert performance microtiming on listeners’ experience of groove in swing or funk music, Common method bias in regression models with linear, quadratic, and interaction effects, Syncopation creates the sensation of groove in synthesized music examples, “Funky drummer”: New Orleans, James Brown and the rhythmic transformation of American popular music, Audio features underlying perceived groove and sensorimotor synchronization in music, Business or pleasure?
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