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Rhythm Quantization: Notes on the History of a Technocultural Practice 节奏量化:技术文化实践的历史笔记
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.18
Landon Morrison
{"title":"Rhythm Quantization: Notes on the History of a Technocultural Practice","authors":"Landon Morrison","doi":"10.1093/oxfordhb/9780190947279.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.18","url":null,"abstract":"This chapter sketches a general history of rhythm quantization as a widespread practice in popular music culture. Quantization—a sound technology that automatically maps microrhythmic fluctuations onto the nearest beat available within a predefined metric grid—challenges traditional notions of musicking as an embodied activity that is grounded in the co-presence of human agents. At the same time, it encapsulates cultural and cognitive processes that are entirely human, fitting into a broader historical shift towards chronometric precision in Western music. Questions arising from this apparent contradiction are taken up in this chapter, which situates rhythm quantization as an emergent technocultural practice, examining its attendant technologies and requisite structures of music-theoretical knowledge, as well as its reception within the context of different musical genres.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131384195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Musical Time in a Fast World 快世界里的音乐时光
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.27
Samuel Wilson
{"title":"Musical Time in a Fast World","authors":"Samuel Wilson","doi":"10.1093/oxfordhb/9780190947279.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.27","url":null,"abstract":"In this chapter Wilson addresses the relation between musical temporality and dominant conceptions of time under recent or ‘liquid’ modernity. He argues that the sonic arts (music, sound art, etc.) variously withdraw from and/or embrace normative time-making—thereby critically calling into question our assumptions about lived temporality. Wilson engages two examples, both intimately connected with the city of New York and the year 1983: Morton Feldman’s minimal yet durational String Quartet No. 2, and Bill Fontana’s Oscillating Steel Grids along the Brooklyn Bridge, the latter of which involved sounds from this bridge (traffic, the metal strut work, etc.) relayed live and broadcast in downtown Manhattan. Both works criss-crossed different temporalities and lived rhythms that contrasted with the speed implicit in 1980s hypercapitalism, forming dialogues between musical time and the cultures of its production.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"40 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132330229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Politics of Musical Time in the Everyday Life of Ballet Dancers 芭蕾舞演员日常生活中的音乐时间政治
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.20
Jonathan Still
{"title":"The Politics of Musical Time in the Everyday Life of Ballet Dancers","authors":"Jonathan Still","doi":"10.1093/oxfordhb/9780190947279.013.20","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.20","url":null,"abstract":"This chapter discusses disagreements and misunderstandings about musical time in the context of ballet classes and rehearsals, and the degree to which musicians’ metric-counting is regarded by both musicians and dancers as more correct than ‘dancers’ counts’. Metrical anomalies in music by Tchaikovsky, Bizet, and Verdi used in children’s ballet classes are examined in the light of research by William Rothstein on national metrical types and Franco-Italian hypermetre, and found to be less anomalous than they might seem at first. The problems of representation and human movement in these examples are discussed with reference to debates about dance in non-representational theory (NRT), and conceptual and disciplinary boundaries in music and dance scholarship.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133692822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Understanding Musical Instants 理解音乐瞬间
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.9
R. I. Godøy
{"title":"Understanding Musical Instants","authors":"R. I. Godøy","doi":"10.1093/oxfordhb/9780190947279.013.9","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.9","url":null,"abstract":"We may typically experience music as continuous streams of sound and associated body motion, yet we may also perceive music as sequences of more discontinuous events, or as strings of chunks with multimodal sensations of sound and body motion, chunks that can be called ‘sound-motion objects’. The focus in this chapter is on how such sound-motion objects emerge at intermittent points in time called ‘musical instants’, and how musical instants are necessary in order to perceive salient features in music such as of timbre, pitch, texture, contour, and overall stylistic and affective features. The emergence of musical instants is also understood as based on the combined constraints of musical instruments, sound-producing body motion, and music perception, also suggesting that understanding musical instants may have practical applications in making music.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126766582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Time in Music and Philosophy 音乐与哲学中的时间
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.1
Andrew Bowie
{"title":"Time in Music and Philosophy","authors":"Andrew Bowie","doi":"10.1093/oxfordhb/9780190947279.013.1","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.1","url":null,"abstract":"The kind of sense music makes, is bound up with how forms of meaning, including in verbal language, are connected to time. Traditional cyclical, epic, and goal-oriented senses of time all play a role in modern musical forms, even though the mythical, religious, and metaphysical content of these forms is hollowed out by scientific advances. The chapter considers aspects of the work of Descartes, Rousseau, Kant, Schelling, Friedrich Schlegel, Dewey, Hegel, Merleau-Ponty, Bergson, Nietzsche, and Heidegger, focusing particularly on the relations between self-consciousness, time, and rhythm, and on how these contribute to the constitution of meaning. The chapter argues that it may make more sense for philosophy to attend to what music reveals about time which can only be grasped by active participation in music, than to seek a comprehensive explanatory account of music and time.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128964705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Music, Evolution, and the Experience of Time 音乐、进化和时间的体验
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.14
John Bispham
{"title":"Music, Evolution, and the Experience of Time","authors":"John Bispham","doi":"10.1093/oxfordhb/9780190947279.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.14","url":null,"abstract":"This chapter explores the psychological structure and perception of time in music in light of recent theoretical discussion and proposals for specific features of the human faculty for music—qualities that are at once universally present and operational in music across cultures whilst also being unique to our species and to the domain of music. The author contends that music’s architectural foundations—configurations of musical pulse, musical tone, and musical motivation—provide a sustained attentional structure for managing personal experience and interpersonal interaction and offer a continually renewing phenomenological link between the immediate past, the perceptual present and future expectation. A crucial and distinguishing feature of our experience with music is thus the particular way in which we share intersubjective time and enact and create an extended moment by constantly merging from one perceptual present into the next.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128291142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Here at the Bottom of the Sky…: Negotiating Time through Phrase, Form, and Tradition within a New York Performance Network 在天空的底部…:在纽约表演网络中通过短语，形式和传统来协商时间
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.26
Nathan C. Bakkum
{"title":"Here at the Bottom of the Sky…: Negotiating Time through Phrase, Form, and Tradition within a New York Performance Network","authors":"Nathan C. Bakkum","doi":"10.1093/oxfordhb/9780190947279.013.26","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.26","url":null,"abstract":"While improvisational interaction is often understood as the momentary give-and-take between musicians in performance, this chapter considers ways in which relationships between improvisers function at a range of different timescales. Organized around extensive conversation with drummer Tom Rainey, bassist Drew Gress, and other members of their performance network, the chapter reveals ways in which this group of musicians employs shared cognitive schemas, collaborative approaches to composition, and common musical histories to shape small- and large-scale musical time at the levels of gesture, form, and tradition. Through analysis of musical examples from several of Rainey’s working ensembles, the chapter demonstrates specific ways in which those shared conceptions of time are realized in sound.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133878714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Towards a Cognitively Based Quantification of Metrical Dissonance 以认知为基础的格律失调量化研究
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.12
Mark Gotham
{"title":"Towards a Cognitively Based Quantification of Metrical Dissonance","authors":"Mark Gotham","doi":"10.1093/oxfordhb/9780190947279.013.12","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.12","url":null,"abstract":"Metrical dissonance is a powerful tool for creating and manipulating musical tension. The relative extent of tension can be more or less acute depending (in part) on the type of dissonance used and moving among those dissonance types can contribute to the shape of a musical work. This chapter sets out a model for quantifying relative dissonance that incorporates experimentally substantiated principles of cognitive science. A supplementary webpage [**html page] provides an interactive guide for testing out these ideas, and a further online supplement [**URL—included in the main text as Section ref{sec:online}] provides mathematical formalizations for the principles discussed. We begin with a basic model of metre where a metrical position’s weight is given simply by the number of pulse levels coinciding there. This alone enables a telling categorization of displacement dissonances for simple metres and a first sense of the relative differences between them. These arbitrary weighting ‘values’ are then refined on the basis of tempo and pulse salience. This provides a more subtle set of gradations that reflect the cognitive experience of metre somewhat better while still retaining a clear sense of the simple principles that govern relative dissonance. Additionally, this chapter sees the model applied in a brief, illustrative analysis and in a preliminary extension to ‘mixed’ metres (5s, 7s,…). This sheds light on known problems such as the relative stability of mixed metres in different rotations, and suggests a new way of thinking about mixed metres’ relative susceptibility to metrical dissonance.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130980827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Rhythm, Time, and Presence 节奏、时间和存在
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.8
A. Danielsen
{"title":"Rhythm, Time, and Presence","authors":"A. Danielsen","doi":"10.1093/oxfordhb/9780190947279.013.8","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.8","url":null,"abstract":"Repetitive rhythm-oriented or groove-based music is specifically designed to usher the listener into a state of absorption or presence in the music. This chapter argues that this particular form of musical time originates with the repetition of a certain inner dynamics within the basic rhythmic pattern of the groove. The first part of the chapter presents structural and microrhythmic features that seem to be particularly impactful upon the listener’s state of groove absorption. The second part discusses the consequences of the fact that it is impossible to describe such an experience of musical time without stepping outside it. An initial observation is that in the very moment one starts to consider the state of being-in-the-groove, one’s state of being is changed.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"299 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122742013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
To Be in Time: Repetition, Temporality, and the Musical Work 在时间里:重复、时间性与音乐作品
The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.6
Nathan Mercieca
{"title":"To Be in Time: Repetition, Temporality, and the Musical Work","authors":"Nathan Mercieca","doi":"10.1093/oxfordhb/9780190947279.013.6","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.6","url":null,"abstract":"This chapter begins by examining recent scholarship in ‘music as performance’, especially that of Nicholas Cook, and its implications for the work concept. By exploring various formulations of the work concept from a temporal perspective, it becomes clear that contradictions occur whenever the work concept is tied too closely to the notion of a musical work’s identity. Instead, a Deleuzian understanding of the musical work is advanced, based on Deleuze’s idea of repetition: this is seen as allying closely with a deconstructive approach to musical material, which provides an additional opportunity to consider musical temporality, in the arena of history and the musical past. Finally, to recapture the spirit of Cook’s original theories, and drawing on Hannah Arendt, a parallel between musical and human ontology is drawn, based on their identical interaction with time, which reconstitutes but fundamentally changes the idea of (the) musical ‘work’.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125290654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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