Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment‐by‐moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music‐theoretically motivated (...) grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic‐processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof‐of‐concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small‐scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large‐scale and ecological testing. (shrink)

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 twelve 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. (shrink)