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By using our website you agree to our use of cookies. Dispatched from the UK in 10 business days When will my order arrive? Lucy Green. Professor Allan F. Benjamin Halligan. Tovey Professor of Music Simon Frith. Kevin Holm-Hudson. Richard Osborne. Dr Matthew Bannister. Roy Shuker. Tanya Dalziell. Andy Bennett. Marion Leonard. Jerry Zolten. Timothy Warner. Dr Sarah Hill. Arie, Q-Tip, and Saadiq. Since its original popularity, neo soul has been expanded and diversified musically through the works of both American and international artists.

So unsurpassable that it'd be eight years before we'd hear from Erykah Badu and Maxwell again, while Hill and D'Angelo remain missing. From Wikipedia, the free encyclopedia. Guitar bass electric piano organ drums vocals singing , rapping synthesizer horns drum machine. Acid jazz alternative hip hop African-American music hip hop soul nu jazz psychedelic soul rare groove.

By definition, neo-soul is a paradox. Neo means new. Soul is timeless. All the neo-soul artists, in various ways, perform balancing acts, exploring classic soul idioms while injecting a living, breathing presence into time-tested formulas.

Like sushi, neo-soul is fresh enough to be served raw. Produced by musical group Sa-Ra , Bilal 's song "Something to Hold on To" contains yearning lyrics about love and chiming piano in its groove -based sound. Routledge : pp. Retrieved November 2, Vibe : February Rough Guides. Chicago Tribune : 1.

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July 21, Billboard : 30, June 1, Review: Airtight's Revenge. Retrieved September 28, CBC News. Canadian Broadcasting Centre. Billboard : May 8, June 3, Richmond Times. Out of a Rut and Into a New Groove. The New York Times. Retrieved May 9, Music: Neo-Soul on a Roll. November 11, Los Angeles Times. Retrieved November 10, Musical Rhythm in the Age of Digital Reproduction. Ashgate Publishing.

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LA Weekly. Retrieved March 6, November 30, The Philadelphia Inquirer. Archived from the original on July 17, Retrieved April 26, Lexington Books. New York: Spin Media. Retrieved July 17, May American Visions : June 1, All About Jazz. The Atlantic. Although it might seem intuitively likely that the music that elicits the most desire to move also promotes the most successful synchronisation, there is no evidence to support this assumption. Our study shows that across a wide range of nationalities, syncopation is related to wanting to move and pleasure in an inverted U-shaped way.

However, the role of syncopation in music can differ according to culture, and thus culture-specific responses to syncopation may differ correspondingly [53] , [54]. Our study leaves open the question whether culture affects the desire to move and experience of pleasure in response to syncopated drum-breaks, but shows that broadly, listeners prefer medium degrees of syncopation in groove.

Understanding what it is about music that motivates spontaneous affective and motor behaviour is of interest for music researchers, performers, educators and therapists. Our study is the first to demonstrate that in groove, pleasure and desire for body-movement are related to syncopation in an inverted U-shaped way, suggesting that Berlyne's theory of optimal perceptual stimulation in art [48] could be extended to include body-movement and dance. Since groove joins pleasure and sensorimotor synchronisation [10] , both thought to promote adaptive functioning [16] , [26] — [29] , the study of groove furthers our knowledge about musical behaviour more broadly, a behaviour that remains uniquely human and culturally ubiquitous.

Performed the experiments: MAGW.


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Browse Subject Areas? Click through the PLOS taxonomy to find articles in your field. Abstract Moving to music is an essential human pleasure particularly related to musical groove. Introduction What is it about certain kinds of music that makes us want to move, and why does it feel good? Methods Ethics Statement This study investigates subjective experiences of music via a web-based survey. Download: PPT. Stimuli The stimuli consisted of 50 drum-breaks programmed using a synthesised drum-kit bass-drum, snare-drum and hihat in GarageBand 5.

Procedure Participants were invited to visit a webpage to take part in the survey.

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During each drum-break, participants were asked to rate: To what extent does this rhythm make you want to move? How much pleasure do you experience listening to this rhythm? Analysis Although wanting to move and pleasure are strongly connected in groove [10] , it was decided to treat these measures separately in order to test the extent to which they are linked and how they interact with other variables, such as musical background. Individual Regressions As a first indication of the relationship between movement- and pleasure-ratings and syncopation and joint audio entropy, each participant's ratings were first regressed against the drum-breaks with the two complexity measures as predictors.

Model Comparisons In order to test whether these observations were statistically significant, a three-way within-subjects ANOVA was performed on the adjusted R 2 value for each subject's regressions of ratings as the dependent variable; and predictor syncopation vs. Predictor Contributions In order to test the relative contribution of the two predictors and statistically determine whether the model had a negative or positive fit, a multiple regression analysis was performed on mean ratings for each drum-break, using only quadratic models.

Musical Background and Interactions Although the regression analysis differentiates between the fit of quadratic and linear models to the relationships between predictors and ratings for each drum-break, it ignores the effects of participants' musical backgrounds. Results Overall, the results of our study support the hypothesis that there is an inverted U-shaped relationship between degree of syncopation and ratings of wanting to move and feelings of pleasure.

Individual Regressions Figure 1 shows each participant's ratings fitted with linear and quadratic regressors, for predictors and rating questions separately. Model Comparisons The within-subjects ANOVA performed on adjusted R 2 values for each subject's linear and quadratic regression confirmed these observations, showing a significant main effect of predictor and model, but not of rating question Table 2. Table 2.

Main effects and interactions of predictor, model and rating question on adjusted R 2. Table 3. Paired contrasts for predictor and model on adjusted R 2. Predictor Contributions The multiple regression on average ratings showed that, for both wanting to move and experience of pleasure, only the syncopation predictor contributed significantly to the U-shaped model. Table 5. Paired contrasts for syncopation and rating question on ratings. Discussion Using a web-based rating survey we found an inverted U-shaped relationship between degree of syncopation in drum-breaks and movement- and pleasure-ratings, indicating that intermediate degrees of syncopation elicit the most desire to move and pleasure in music associated with groove.

Supporting Information. Figure S1. Notational transcripts and audio descriptor values. Figure S2. Figure S3. Figure S4. Figure S5. Model of metric salience. Figure S6. Figure S7. Figure S8.

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Demographics questionnaire. Figure S9. Rating survey.