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By Anne, Ms Danielsen

"Musical Rhythm within the Age of electronic replica" offers new insights into the examine of musical rhythm via investigations of the micro-rhythmic layout of groove-based song. the most objective of the ebook is to enquire how technological mediation - within the age of electronic song construction instruments - has encouraged the layout of rhythm on the micro point. via shut readings of technology-driven well known tune genres, similar to modern R&B, hip-hop, trip-hop, electro-pop, electronica, condo and techno, in addition to performed people track kinds, the ebook sheds gentle on how investigations of the musical-temporal relationships of groove-based musics may be fruitfully pursued, particularly with reference to their micro-rhythmic gains. This publication relies on contributions to the undertaking Rhythm within the Age of electronic replica (RADR), a five-year study venture operating from 2004 to 2009 that used to be funded by way of the Norwegian learn Council.

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In ‘Left and Right’, then, the beat shape of the pulse changes from a narrower, point-like design to a broader beat bin that comprises all of the pulse locations suggested by the different layers. This further implies the extension of the beat window in time via an increase in the listener’s rhythmic tolerance. The only restriction on the length of this ‘extended’ beat is perhaps the postulated limit 15 A parallel conception of rhythmic categories is found in Desain and Honing’s article reporting on their empirical work on metric priming and the formation of rhythmic categories.

The second  PG Music Inc. 1998. A similar package by the same publisher was used by Walter Gerard Busse (2002) to derive models of jazz piano performance. 42 Musical Rhythm in the Age of Digital Reproduction criterion was the explicit presence of the surface rhythm of son clave. To ensure the integrity of the study and its focus on the effects of clave, each song in the study had to have the clave pattern performed throughout by a percussion instrument.  The third criterion was metre. Only songs in common or cut time were considered; this excluded songs in 6/8 time.

We might then wonder: what aspects of the music influence the shaping and reshaping processes that ultimately extend the beat category and define or redefine the pulse? In ‘Left and Right’ the temporal relationships between actual sounds seem to cause the difficulty and then resolve it. However, other musical aspects, such as characteristics of the actual sounds, are also likely to influence the constitution of the beat category. The dull sound of many rhythmic events in the bass register in hip-hop-related styles, for example, is probably not coincidental, because a deep sound with an unclear attack point (often the ‘One’ or primary beat of a groove in such styles) will immediately establish a wider time window for the beat shape of the pulse, thus increasing our rhythmic tolerance for the groove as a quavers have a ratio of 1:1, while pure triplets are in a ratio of 2:1.

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