Rytmikk i musikkutøvelse

Mari Romarheim Haugen

MUS2160, 27. januar 2017

RytmeTo eller flere hendelser finner sted innenfor lengden av korttidsminne (Snyder 2000).

Hendelse: en opplevd endring i et akustisk miljø.

• Bølgeform

• Spektrogram

Rytme

100 ms 5–6 sek80 ms

Bruckner. Symphony no. 9.

https://youtu.be/Tw2LNhwnquk

https://youtu.be/Tw2LNhwnquk

Darude,1999. “Sandstorm.” Before the Storm.

“Drum roll”: (1) 110 ms (2) 55 ms

https://youtu.be/nqLArgCbh70

https://youtu.be/nqLArgCbh70

Emperor, Live 2006. “The Loss and Curse of Revenge”https://youtu.be/WnFqfI4jec8?t=9s

https://youtu.be/WnFqfI4jec8?t=9s

Rytme

Polak (2010): Djembe-musikk, 84-85 ms.

100 ms 5–6 sek80 ms

RytmeFlam:

• Jazz drumming (Iyer 2002)

• Samba drumming (Gerischer 2003)

• Djembe drumming (Polak, 2010)

http://www.mtosmt.org/issues/mto.10.16.4/mto.10.16.4.polak.html

http://www.mtosmt.org/issues/mto.10.16.4/mto.10.16.4.polak.html

Tempo

one minute1000 ms (1 sec) 60 bpm

1 2 3 4 57 58 5960…….. ……..

Beats per minute (bpm)Metronome (M.M.)Inter Onset Intervals (IOI)

Milliseconds (ms)

Duration Frequency

Tempo

• Limits for tempo:

• Lower limit: 200–300 msec (300–200 bpm)

• Upper limit: 2000 msec (30 bmp)

TempoBPM Tempo Comment

30 Too slow to be useful

42 Very slow

60 Moderately slow

80 Moderate

120 Moderately fast

168 Very fast

240 Too fast to be useful

Peter Westergaard (1975) i London (2012, s. 28)

Preferred tempo• Which tempi are possible and which tempi are preferred?

• Fraisse (1982): Preferred tempo corresponds to the speed of a succession of sounds that appears to be the most natural —neither too slow or too fast. Preferred tempo around 100 bpm (600 ms).

• van Noorden & Moelants (1999): Body motion (dance, foot tapping) resonate with the preferred tempo (pulse) in the music. The determination of the pulse strongly depends on its tempo.

Fraisse, Paul. (1982). Rhythm and tempo. In D. Deutsch (Ed.), The psychology of music (Vol. 1, pp. 149 -- 180). New York, NY: Academic Press.

van Noorden, Leon, & Moelants, Dirk. (1999). Resonance in the Perception of Musical Pulse. Journal of New Music Research, 28(1), 43--66. doi: 10.1076/jnmr.28.1.43.3122

Subjective rhythmization

Subjective rhythmization

Group 2

Subjective rhythmization

• Tapping along

• Preferred groups: 1, 2, 4 and 8

• Preferred tapping tempo around 500 ms (120 bpm)

Tempo/Pulse• Underlying beats or pulse (tactus).

• Can be represented by sonic events, but not necessarily.

• Beat induction: the pulse does not need to be sounded in order to be experienced.

• The duration between sonic events in the music may change, but the tempo is unchanged.

Standardrytmer/Time lines

Standardrytmer: sjangerspesifikke rytmemønstre som indikerer pulsen.

• West and Central African dances: The pulse is indicated by “time lines,” and visible in the corresponding dance (Agawu 2003).

Clave figur Afro-Cubansk Rumba (guaguancó):

Rumba clave (3-2)

C

/

Ϫ

œ

j

Œ‰

œ

j

Œ

œ œ

Œ

Standardrytmer/Time lines

(Sethares 2007, p.62)

https://youtu.be/gJVT_5swkhA

Afro-Cubansk Rumba (guaguanco)

https://youtu.be/gJVT_5swkhA

"Mamá no quiere que yo juegue a la pelota”

Rumba clave (3-2)

C

/

Ϫ

œ

j

Œ‰

œ

j

Œ

œ œ

Œ

Standardrytmer/Time lines

Son clave figur:

Standardrytmer/Time lines

(Sethares 2007, p.62)

Son clave (3-2)

C

/

Ϫ

œ

j

Œ

œ

Œ

œ œ

Œ

• New Orleans Blues

• Bo Diddley

…

Standardrytmer/Time lines

Dr. John (1972). “Iko Iko”. Gumbo.

https://youtu.be/S_UYPu5RFXI

https://youtu.be/S_UYPu5RFXI

Standardrytmer/Time lines

Son clave (3-2)

C

/

Ϫ

œ

j

Œ

œ

Œ

œ œ

Œ

Percussion

3 3 2

4

4/ ∑

Ϫ

Ϫ

œ

Percussion

2 2 3 2 3

12

8/

œ œ œ™

œ œ™

Standard rhythm I Standard rhythm II

(Nielsen 1985, p. 60, eks. 8)

https://youtu.be/fRh_vgS2dFE?t=50s

https://youtu.be/fRh_vgS2dFE?t=50s

Klokke figur:

Standardrytmer/Time lines

Percussion

3 3 2

4

4/ ∑

Ϫ

Ϫ

œ

Percussion

2 2 3 2 3

12

8/

œ œ œ™

œ œ™

Standard rhythm I Standard rhythm II

(Nielsen 1985, p. 60, eks. 8)

♫Metrisk tvetydighet

6/8

(Lydeksempel i Fronter)

6/8I

II

III

3 3 3 3

2 2 2 2 2 2

4 4 4

(Lydeksempler i Fronter)

6/8

2

3

4

2

3

2

4

3

2 2

4

3

2

6

8/œ œ

j

œ œ

‰

œ œ

j

œ œ

‰

Figure–Ground

“Waltz for Debby/Monicas Vals” (1966).Monica Zetterlund (vo) , Bill Evans (p) , Eddie Gomez (b) , Alex Riel (ds).

https://youtu.be/8tp-nbchmHU

https://youtu.be/8tp-nbchmHU

Destiny’s Child (2001). “Nasty Girl”. Survivor.

https://youtu.be/Dos5pf5OMNM?t=1m17s

https://youtu.be/Dos5pf5OMNM?t=1m17s

Fluktuering i tempoOften an accelerando-ritardando pattern. Three types of tempo (Gabrielsson, 1999):

1. Mean tempo—the average number of beats per minute across the whole piece disregarding possible variations.

2. Main tempo—the prevailing tempo when passages with momentarily variations are deleted.

3. Local tempo, which is maintained only for a short time.

Robert Schumann’s Kinderscenen, Op. 15, No. 7. Träumerei.

Fluktuering i tempo

Schumanns Träumerei.

Repp (1994a): 28 fremførelser. Alle mest sannsynlig

Intended and perceived tempo

• Two pianists plying Schumann’s Träumerei in three different tempi (Repp, 1994a).

Repp, Bruno. (1994a). On determining the basic tempo of an expressive music performance. Psychology of Music, 22, 157–167.

Foretrukket tempo (bpm)

Hurtigere tempo (bpm)

Langsommere tempo (bpm)

Pianist 1 (LPH) 63 72 54

Pianist 2 (BHR) 66 76 56

Intended and perceived tempo

• The local tempo distributions shifted towards faster tempi as the intended tempo increased.

• Mean tempo underestimates the intended tempo.

• Perceivers: Most performances were judged to have slower tempi than the pianists had intended. Judged tempo corresponded to mean tempo.

• Nyanser.

• Hendelser spilt litt “tidlig” eller “sent”.

• Relatert til kategorisering.

• Musikkultur (sjanger) og subjektiv erfaring.

• Bengtsson (1987), Clarke (1985, 1987), Gabrielsson (1985).

Ekspressiv Timing/Timing

Ekspressiv timing

Ekspressiv timing og tempo

Repp, Bruno H. (1994b). Relational invariance of expressive microstructure across global tempo changes in music performance: An exploratory study. Psychological Research, 56(4), 269–284.

Repp (1994b):

• The performances were largely invariant under tempo transposition.

• For certain types of music it is possible to change the tempo without changing the quality and expression of a performance significantly.

Effects of Tempo on Expressive Timing

https://youtu.be/lDJowV4AIes

Fanny Davies

Schumanns Träumerei

https://youtu.be/lDJowV4AIes

Effects of Tempo on Expressive Timing

Desain, Peter, & Honing, Henkjan. (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56(4), 285–292.

Desain & Honing (1994): Two pianists playing Beethoven’s variations on a Paisiello theme.

• Same-tempo grace notes are about the same length.

• Significant interactions between tempo and timing.

• Theme has very clear rhythmical structure.

Effects of Tempo on Expressive Timing

Desain, Peter, & Honing, Henkjan. (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56(4), 285--292.

Jenő Jandó

Glenn Gould

Mozart. Piano Sonata No. 11 in A major.

Charles Keil (1987, 1995, 2005) • Groove. • Participatory discrepancies (PD). • Prosess, ikke struktur.

Tellef Kvifte (2004) • Forholdet mellom syntaks og prosess.

Timing

Kvifte (1999, 2004, 2007) • Systematic variations - SYVAR (Bengtsson). • Tradisjonell dansemusikk i Norge og Sverige:

Asymmetrisk takt - tredelt takt der taktslagene ikke er like lange.

Ikke-Isokron takt

Telespringar

https://youtu.be/GkzEitcBvc0

https://youtu.be/GkzEitcBvc0

Verti

cal p

ositi

on (m

m)

20

40

60

80

100

120

Fiddler foot stamping

Right toeLeft toe

Time (sec)77 78 79 80 81 82 83V

ertic

al a

ccel

ratio

n (m

m/s

2) ×104

-2

0

2

4

6

Lang—medium—kort

1 2 3

Telespringar

• Djembetromming i Mali (Polak 2010): kort–medium–lang.

• Brasiliansk samba: • Gerischer (2006): medium–kort–medium–lang. • Gouyon (2007) og Naveda et al. (2009): tidlig

tredje og fjerde sekstendedel. • Haugen og Godøy (2014): medium–medium–

medium–lang.

• Swing (jazz): Benadon (2006), Collier og Collier (1994) og Friberg og Sundstrøm (2002).

Ikke-Isokrone underdelinger

“Tripple feel”:

Swing-forholdstall i Jazz

Swing-forholdstall i Jazz

Swing-forholdstall i Jazz

Friberg and Sundstrøm (1997, 2002):

• Commercial jazz recordings.

• Four drummers: regular pattern played on the cymbal.

Friberg, A. and Sundström, A. . (1997). Preferred swing ratio in jazz as a function of tempo. Speech, Music, and Hearing: Quarterly Status and Progress Report (TMH-QSPR), 4, 19--27.

Friberg, Anders, & Sundstrom, Andreas. (2002). Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern. Music Perception: An Interdisciplinary Journal, 19(3), 333 -- 349.

Swing ratio in jazz performance

Swing ratio in jazz performance

Miles Davies,1966. “So What.” “Four” & More.

Piano solo Mean tempo: 319 bpm

Swing ratio in jazz performance

Swing ratio and tempo in jazz performance

A linear decrease of swing ratio with increasing tempo:

• The commonly “tripple-feel” (swing ratio 2.0) was not favoured.

• Slow tempi (around 120 bpm): swing ratio can be as high as 3.5

• Fast tempi: swing ratio is close to 1.0.

Swing ratio and tempo in jazz performance

A linear decrease of swing ratio with increasing tempo:

• For medium to fast tempi (>150 bpm) the duration of the second note is approximately constant about 100 ms.

Swing ratio and tempo in jazz performance

The duration of the short tone of the long–short pattern:

Swing ratio and tempo in jazz performance

Oppsummering

• Rytme

• Tempo/Puls

• Standardrytmer

• Metrisk tvetydighet

• Fluktuering i tempo

• Timing

• Ikke-isokron takt

• Ikke-isokrone underdelinger

Agawu, V. Kofi. (2003). Representing African music : postcolonial notes, queries, positions. New York: Routledge.Benadon, Fernando. (2006). Slicing the beat: Jazz eighth-notes as expressive microrhythm. Ethnomusicology,

50(1), 73 -- 98. Bengtsson, Ingmar. (1987). Notation, motion and perception: Some aspects of musical rhythm. In A. Gabrielsson

(Ed.), Action and Perception in Rhythm and Music (Vol. 55, pp. 69--80). Stockholm: The Royal Swedish Academy of Music.

Clarke, Eric F. (1985). Structure and Expression in Rhythmic Performance. In P. Howell, West, Robert & Cross, Ian (Ed.), Musical structure and cognition (pp. 209--236). London: Academic Press.

Clarke, Eric F. (1987). Categorical rhythm perception: an ecological perspective. In A. Gabrilesson (Ed.), Action and Perception in Rhythm and Music (Vol. 55, pp. 19--33). Stockholm: The Royal Swedish Academy of Music.

Collier, Geoffrey L., & Collier, James Lincoln. (1994). An Exploration of the Use of Tempo in Jazz. Music Perception: An Interdisciplinary Journal, 11(3), 219--242. doi: 10.2307/40285621

Desain, Peter, & Honing, Henkjan. (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56(4), 285--292. doi: 10.1007/bf00419658

Fraisse, Paul. (1982). Rhythm and tempo. In D. Deutsch (Ed.), The psychology of music (Vol. 1, pp. 149 -- 180). New York, NY: Academic Press.

Friberg, Anders, & Sundstrom, Andreas. (2002). Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern. Music Perception: An Interdisciplinary Journal, 19(3), 333 -- 349. doi: 10.1525/mp.2002.19.3.333

Gabrielsson, Alf. (1985). Interplay between Analysis and Synthesis in Studies of Music Performance and Music Experience. Music Perception: An Interdisciplinary Journal, 3(1), 59--86. doi: 10.2307/40285322

Gabrielsson, Alf. (1999). The performance of music. In D. Deutsch (Ed.), The psychology of music (Vol. 2, pp. 501--602). New York: Academic Press.

Gerischer, Christiane. (2006). O suingue baiano: Rhythmic feeling and microrhythmic phenomena in Brazilian percussion. Ethnomusicology, 50(1), 99--119.

Referanser

Gouyon, Fabien. (2007). Microtiming in “Samba de Roda” — Preliminary experiments with polyphonic audio. Paper presented at the SBCM 2007 Proceedings.

Haugen, Mari Romarheim, & Godøy, Rolf Inge. (2014). Rhythmical Structures in Music and Body Movement in Samba Performance. Paper presented at the Proceedings of the ICMPC-APSCOM 2014 Joint Conference: 13th Biennial International Conference for Music Perception and Cognition and 5th Triennial Conference of the Asia Pacific Society for the Cognitive Sciences of Music, Seoul, South Korea.

Iyer, Vijay. (2002). Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music. Music Perception, 19(3), 387--414

Keil, Charles. (1987 ). Participatory Discrepancies and the Power of Music. Cultural Anthropology, 2(3), 275 -- 283.

Keil, Charles. (1995). The Theory of Participatory Discrepancies: A Progress Report. Ethnomusicology, 39(1), 1 -- 19. doi: 10.2307/852198

Keil, Charles, & Feld, Steven. (2005). Music grooves : essays and dialogues (2nd ed. ed.). Tucson, Ariz: Fenestra.Kvifte, Tellef. (1999). Fenomenet "asymmetrisk takt" i norsk og svensk folkemusikk. Studia musicologica

norvegica, 25, 387 -- 430. Kvifte, Tellef. (2004). Description of grooves and syntax/process dialectics. Studia musicologica norvegica, 30, 54

-- 77. Kvifte, Tellef. (2007). Categories and Timing: On the perception of Meter. Ethnomusicology, Vol. 51(No. 1), 64 --

84. London, Justin. (2012). Hearing in time: psychological aspects of musical meter. Oxford: Oxford University Press.Naveda, Luiz, Gouyon, F. , Guedes, C. , & Leman, M. (2009). Multidimentional microtiming in Samba music.

Paper presented at the 12th Brazilian Symposium on Computer Music, Recife. Nielsen, Steen. (1985). Mennesker og musik i Afrika. Herning: Systime.Polak, R. (2010). Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision on Jembe Music from Mali. Music

Theory Online, 16(4). Repp, Bruno. (1994). On determining the basic tempo of an expressive music performance. Psychology of Music,

22, 157--167. Repp, Bruno H. (1994). Relational invariance of expressive microstructure across global tempo changes in music

performance: An exploratory study. Psychological Research, 56(4), 269--284. doi: 10.1007/bf00419657Sethares, William A. (2007). Rhythm and transforms. London: Springer.Snyder, Bob. (2000). Music and memory: an introduction. Cambridge, Mass.: MIT Press.van Noorden, Leon, & Moelants, Dirk. (1999). Resonance in the Perception of Musical Pulse. Journal of New

Music Research, 28(1), 43--66. doi: 10.1076/jnmr.28.1.43.3122