The Oxford Handbook of Time in Music最新文献_第3页

Forms of Time in Nineteenth-Century Music: Geology, the Railway, and the Novel 19世纪音乐中的时间形式:地质学、铁路和小说

The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.7

L. Kramer

引用次数: 0

The Radical Temporality of Drum and Bass 鼓和贝斯的根本时间性

The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.29

Toby Young

{"title":"The Radical Temporality of Drum and Bass","authors":"Toby Young","doi":"10.1093/oxfordhb/9780190947279.013.29","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.29","url":null,"abstract":"One of the key features of many genres within Electronic Dance Music (EDM) is the creation of simultaneous temporal layers. Genres such as drum and bass, dubstep, and future bass frequently use manipulation of rhythmic ostinati and subtle sonic shading to shift the listener’s perception between these multiple layers; for example, from a fast, intricate motion in the groove, suggestive of the ‘tensed’ experience of A-time, to a slow (or even a-temporal) motion in the vocals, pads, or instrumental lines, creating a sudden feeling of musical ‘space’, which might in turn connote a ‘tenseless’ B-time. This technique allows producers to create layered temporal narratives within the music, creating a complex landscape of musical momentum. Drawing on literature and methods from both sociology and philosophy, this chapter explores the complex relationship between these temporal systems, and in turn demonstrates how drum and bass offers a form of temporal resistance to contemporary life through both the sonic and social experience that the music offers. It concludes by arguing that, through the temporal ruptures caused by its uncertain shifting temporality, drum and bass provides clubgoers with a powerful ontological experience that illuminates the contradictions of time in a uniquely embodied way.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"18 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":"130739928","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

Non-isochronous Metre in Music from Mali 马里音乐中的非等时拍子

The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.22

Rainer Polak

{"title":"Non-isochronous Metre in Music from Mali","authors":"Rainer Polak","doi":"10.1093/oxfordhb/9780190947279.013.22","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.22","url":null,"abstract":"The basic building blocks for rhythmic structure in music are widely believed to be universally confined to small-integer ratios. In particular, basic metric processes such as pulse perception are assumed to depend on the recognition and anticipation of even, categorically equivalent durations or inter-onset intervals, which are related by the ratio of 1:1 (isochrony). Correspondingly, uneven (non-isochronous) beat subdivisions are theorized as instances of expressive microtiming variation, i.e. as performance deviations from some underlying, categorically isochronous temporal structure. By contrast, ethnographic experience suggests that the periodic patterns of uneven beat subdivision timing in various styles of music from Mali themselves constitute rhythmic and metric structures. The present chapter elaborates this hypothesis and surveys a series of empirical research projects that have found evidence for it. These findings have implications for metric theory as well as for our broader understanding of how human perception relates to cultural environments. They suggest that the bias towards isochrony, which according to many accounts of rhythm and metre underlies pulse perception, is culturally specific rather than universal. Claims regarding cultural diversity in the study of music typically concern styles and meanings of performance practices. In this chapter, I will claim that basic structures of perception can vary across cultural groups too.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"110 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":"114257454","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 Mind Is a DJ: Rhythmic Entrainment in Beatmatching and Embodied Temporal Processing 心灵是一个DJ:节奏匹配和具体化时间加工中的节奏干扰

The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.13

Maria A. G. Witek

引用次数: 0

Cross-Modality and Embodiment of Tempo and Timing 节奏与时间的交叉调式与体现

The Oxford Handbook of Time in Music Pub Date : 2021-12-08 DOI: 10.1093/oxfordhb/9780190947279.013.10

R. Timmers

{"title":"Cross-Modality and Embodiment of Tempo and Timing","authors":"R. Timmers","doi":"10.1093/oxfordhb/9780190947279.013.10","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190947279.013.10","url":null,"abstract":"This chapter explores the insights that research into cross-modal correspondences and multisensory integration offer to our understanding and investigation of tempo and timing in music performance. As tempo and timing are generated through action, actions and sensory modalities are coupled in performance and form a multimodal unit of intention. This coupled intention is likely to demonstrate characteristics of cross-modal correspondences, linking movement and sound. Testable properties predictions are offered by research into cross-modal correspondences that have so far mainly found confirmation in controlled perceptual experiments. For example, fast tempo is predicted to be linked to smaller movement that is higher in space. Confirmation in the context of performance is complicated by interacting associations with intentions related to e.g. dynamics and energy, which can be addressed through appropriate experimental manipulation. This avenue of research highlights the close association between action and cross-modality, conceiving action as a source of cross-modal correspondences as well as indicating the cross-modal basis of actions. For timing and tempo concepts, action and cross-modality offer concrete and embodied modalities of expression.","PeriodicalId":166254,"journal":{"name":"The Oxford Handbook of Time in Music","volume":"17 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":"123391853","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: 1