Senn Olivier, Bullerjahn Claudia, Kilchenmann Lorenz, von Georgi Richard
School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland.
Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen, Giessen, Germany.
Front Psychol. 2017 Oct 12;8:1709. doi: 10.3389/fpsyg.2017.01709. eCollection 2017.
Microtiming has been assumed to be vital for the experience of groove, but past research presented conflicting results: some studies found that microtiming is irrelevant for groove, others reported that microtiming has a detrimental effect on the groove experience, yet others described circumstances under which microtiming has no negative impact on groove. The three studies in this paper aim at explaining some of these discrepancies by clarifying to what extent listeners' emotional responses to microtiming depend on the distribution of microtiming deviations across instrumental parts (voicing) or other moderating factors like tempo or rhythmic density. The studies use data from two listening experiments involving expert bass and drums duo recordings in swing and funk style. - investigates the effect of fixed time displacements within and between the parts played by different musicians. Listeners ( = 160) reacted negatively to irregularities within the drum track, but the mutual displacement of bass vs. drums did not have an effect.- develops three metrics to calculate the average microtiming magnitude in a musical excerpt. The experiment showed that listeners' ( = 160) emotional responses to expert performance microtiming aligned with each other across styles, when microtiming magnitude was adjusted for rhythmic density. This indicates that rhythmic density is a unifying moderator for listeners' emotional response to microtiming in swing and funk.- used the data from both experiments in order to compare the effect of fixed microtiming displacements (from ) with scaled versions of the originally performed microtiming patterns (from ). It showed that fixed snare drum displacements irritated expert listeners more than the more flexible deviations occurring in the original performances. This provides some evidence that listeners' emotional response to microtiming deviations not only depends on the magnitude of the deviations, but also on the kind and origin of the microtiming patterns (fixed lab displacements vs. flexible performance microtiming).
微节奏被认为对韵律体验至关重要,但过去的研究结果相互矛盾:一些研究发现微节奏与韵律无关,另一些研究报告称微节奏对韵律体验有负面影响,还有一些研究描述了微节奏对韵律没有负面影响的情况。本文中的三项研究旨在通过阐明听众对微节奏的情感反应在多大程度上取决于微节奏偏差在乐器部分(发声)之间的分布或其他调节因素(如节奏或节奏密度)来解释其中一些差异。这些研究使用了来自两项听力实验的数据,实验涉及摇摆乐和放克风格的专业贝斯和鼓二重奏录音。- 研究不同音乐家所演奏部分内部和之间固定时间偏移的影响。听众(n = 160)对鼓轨中的不规则之处反应消极,但贝斯与鼓之间的相互偏移没有影响。- 开发了三种指标来计算音乐片段中的平均微节奏幅度。实验表明,当根据节奏密度调整微节奏幅度时,听众(n = 160)对专业表演微节奏的情感反应在不同风格之间是一致的。这表明节奏密度是听众对摇摆乐和放克乐中微节奏情感反应的统一调节因素。- 使用两项实验的数据,以便比较固定微节奏偏移(来自实验一)与原始表演微节奏模式的缩放版本(来自实验二)的效果。结果表明,固定的小军鼓偏移比原始表演中出现的更灵活的偏差更能激怒专业听众。这提供了一些证据,表明听众对微节奏偏差的情感反应不仅取决于偏差的幅度,还取决于微节奏模式的类型和来源(固定的实验室偏移与灵活的表演微节奏)。