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      Microtiming in Swing and Funk affects the body movement behavior of music expert listeners

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          Abstract

          The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to 12 music clips in either Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners' beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design Four-Factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners' entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only.

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          Most cited references36

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          Syncopation, Body-Movement and Pleasure in Groove Music

          Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.
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            Temporal control of movements in sensorimotor synchronization.

            Under conditions in which the temporal structure of events (e.g., a sequence of tones) is predictable, performing movements in synchrony with this sequence of events (e.g., dancing) is an easy task. A rather simplified version of this task is studied in the sensorimotor synchronization paradigm. Participants are instructed to synchronize their finger taps with an isochronous sequence of signals (e.g., clicks). Although this is an easy task, a systematic error is observed: Taps usually precede clicks by several tens of milliseconds. Different models have been proposed to account for this effect ("negative asynchrony" or "synchronization error"). One group of explanations is based on the idea that synchrony is established at the level of central representations (and not at the level of external events), and that the timing of an action is determined by the (anticipated) action effect. These assumptions are tested by manipulating the amount of sensory feedback available from the tap as well as its temporal characteristics. This article presents an overview of these representational models and the empirical evidence supporting them. It also discusses other accounts briefly in the light of further evidence. Copyright 2001 Elsevier Science (USA).
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              Synchronization of Timing and Motion Among Performing Musicians

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                Author and article information

                Contributors
                Journal
                Front Psychol
                Front Psychol
                Front. Psychol.
                Frontiers in Psychology
                Frontiers Media S.A.
                1664-1078
                20 August 2015
                2015
                : 6
                : 1232
                Affiliations
                School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
                Author notes

                Edited by: Werner Goebl, University of Music and Performing Arts Vienna, Austria

                Reviewed by: Guy Madison, Umeå University, Sweden; Mark Doffman, University of Oxford, UK; Martin Pfleiderer, Department for Musicology Weimar-Jena, Germany

                *Correspondence: Olivier Senn, School of Music, Lucerne University of Applied Sciences and Arts, Zentralstrasse 18, Lucerne CH-6003, Switzerland olivier.senn@ 123456hslu.ch

                This article was submitted to Performance Science, a section of the journal Frontiers in Psychology

                Article
                10.3389/fpsyg.2015.01232
                4542135
                26347694
                1190b6e6-48f9-4427-93b2-ec5b70a3e60b
                Copyright © 2015 Kilchenmann and Senn.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                History
                : 20 May 2015
                : 03 August 2015
                Page count
                Figures: 4, Tables: 5, Equations: 0, References: 68, Pages: 14, Words: 11673
                Categories
                Psychology
                Original Research

                Clinical Psychology & Psychiatry
                microtiming,groove,entrainment,body movement,participatory discrepancies,funk,swing,musical expertise

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