Groove as a multidimensional participatory experience

IF 1.6 3区心理学 0 MUSIC

Psychology of Music Pub Date : 2023-06-08 DOI:10.1177/03057356231165327

D. Duman, Nerdinga Snape, A. Danso, P. Toiviainen, G. Luck

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引用次数: 2

Abstract

Groove is a popular and widely used concept in the field of music. Yet, its precise definition remains elusive. Upon closer inspection, groove appears to be used as an umbrella term with various connotations depending on the musical era, the musical context, and the individual using the term. Our aim in this article was to explore different definitions and connotations of the term groove so as to reach a more detailed understanding of it. Consequently, in an online survey, 88 participants provided free-text descriptions of the term groove. A thematic analysis revealed that groove is a multifaceted phenomenon, and participants’ descriptions fit into two main categories: music- and experience-related aspects. Based on this analysis, we propose a contemporary working definition of the term groove as used in the field of music psychology: “Groove is a participatory experience (related to immersion, movement, positive affect, and social connection) resulting from subtle interaction of specific music- (such as time- and pitch-related features), performance-, and/or individual-related factors.” Importantly, this proposed definition highlights the participatory aspect of the groove experience, which participants frequently mentioned, for example describing it as an urge to be “involved in” the music physically and/or psychologically. Furthermore, we propose that being immersed in music might be a prerequisite for other experiential qualities of groove, whereas the social aspect could be a secondary quality that comes into play as a consequence of musical activity. Overall, we anticipate that these findings will encourage a greater variety of research on this significant yet still not fully elucidated aspect of the musical experience.

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Groove是一种多维度的参与式体验

Groove是音乐领域中一个流行且广泛使用的概念。然而，它的确切定义仍然难以捉摸。仔细观察，凹槽似乎是一个总括性术语，根据音乐时代、音乐背景和使用该术语的个人，它有各种含义。我们在这篇文章中的目的是探索“凹槽”一词的不同定义和含义，以便对其有更详细的了解。因此，在一项在线调查中，88名参与者提供了“凹槽”这个词的免费文本描述。一项主题分析显示，凹槽是一种多方面的现象，参与者的描述分为两大类：与音乐和体验相关的方面。基于这一分析，我们提出了音乐心理学领域中使用的“凹槽”一词的当代工作定义：“凹槽是一种参与性体验（与沉浸、运动、积极情感和社会联系有关），由特定音乐（如与时间和音高相关的特征）、表演和/或个人相关因素的微妙互动产生。“重要的是，这一拟议的定义强调了凹槽体验的参与性，参与者经常提到这一点，例如将其描述为在身体和/或心理上“参与”音乐的冲动。此外，我们提出，沉浸在音乐中可能是凹槽的其他体验品质的先决条件，而社会方面可能是音乐活动的次要品质。总的来说，我们预计这些发现将鼓励对音乐体验的这一重要但尚未完全阐明的方面进行更广泛的研究。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Psychology of Music Multiple-

CiteScore

4.00

自引率

17.60%

发文量

期刊介绍： Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.