Pub Date : 2022-05-27DOI: 10.1080/09298215.2023.2192411
William Ashley Sol
Study of musical improvisation has proven a significantly worthwhile topic of psychological and musicological research. This qualitative study asked: How do musicians experience sense of agency and state of mind while freely improvising? Twenty-four experts in free form music (Morris, 2012. Perpetual frontier: The properties of free music. Riti) performed short free improvisations that were explored via semi-structured interviews and thematic analysis. Participants reported low sense of agency, minimal conscious thought, and decisions experienced as body-doing or action guided by intuition, as well as moments of increased agency. Frequent reports of focused present-moment awareness suggest parallels between improvisation and mindfulness.
{"title":"Music in the moment: how twenty-four expert free form musicians experienced sense of agency and an improvisational state of mind","authors":"William Ashley Sol","doi":"10.1080/09298215.2023.2192411","DOIUrl":"https://doi.org/10.1080/09298215.2023.2192411","url":null,"abstract":"Study of musical improvisation has proven a significantly worthwhile topic of psychological and musicological research. This qualitative study asked: How do musicians experience sense of agency and state of mind while freely improvising? Twenty-four experts in free form music (Morris, 2012. Perpetual frontier: The properties of free music. Riti) performed short free improvisations that were explored via semi-structured interviews and thematic analysis. Participants reported low sense of agency, minimal conscious thought, and decisions experienced as body-doing or action guided by intuition, as well as moments of increased agency. Frequent reports of focused present-moment awareness suggest parallels between improvisation and mindfulness.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"203 - 224"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-27DOI: 10.1080/09298215.2023.2201242
E. Olivier, A. Pras
In Mali, the introduction of 3G alongside growing access to digital audio technologies throughout the 2010s has led a sharp increase in the number of recording studios. Using an ethnography of Bamako studios, we establish a theoretical framework and a methodology to remap music production studies beyond the limits of a Northerncentric narrative. We discuss the notions of high, low and alt tech, and lofi and hifi within the 2010s’ recording studio literature. Drawing upon the description of a tradi-trap production, this paper contrasts local discourses and uses of globalized technologies to highlight the constraints and capabilities of studio practitioners.
{"title":"Creative uses of low tech in Bamako recording studios (Mali)","authors":"E. Olivier, A. Pras","doi":"10.1080/09298215.2023.2201242","DOIUrl":"https://doi.org/10.1080/09298215.2023.2201242","url":null,"abstract":"In Mali, the introduction of 3G alongside growing access to digital audio technologies throughout the 2010s has led a sharp increase in the number of recording studios. Using an ethnography of Bamako studios, we establish a theoretical framework and a methodology to remap music production studies beyond the limits of a Northerncentric narrative. We discuss the notions of high, low and alt tech, and lofi and hifi within the 2010s’ recording studio literature. Drawing upon the description of a tradi-trap production, this paper contrasts local discourses and uses of globalized technologies to highlight the constraints and capabilities of studio practitioners.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"225 - 242"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42777774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-27DOI: 10.1080/09298215.2023.2202641
Gilberto Bernardes, Nádia Carvalho, Samuel Pereira
FluidHarmony is an algorithmic method for defining a hierarchical harmonic lexicon in equal temperaments. It utilizes an enharmonic weighted Fourier transform space to represent pitch class set (pcsets) relations. The method ranks pcsets based on user-defined constraints: the importance of interval classes (ICs) and a reference pcset. Evaluation of 5,184 Western musical pieces from the 16th to 20th centuries shows FluidHarmony captures 8% of the corpus's harmony in its top pcsets. This highlights the role of ICs and a reference pcset in regulating harmony in Western tonal music while enabling systematic approaches to define hierarchies and establish metrics beyond 12-TET.
{"title":"FluidHarmony: Defining an equal-tempered and hierarchical harmonic lexicon in the Fourier space","authors":"Gilberto Bernardes, Nádia Carvalho, Samuel Pereira","doi":"10.1080/09298215.2023.2202641","DOIUrl":"https://doi.org/10.1080/09298215.2023.2202641","url":null,"abstract":"FluidHarmony is an algorithmic method for defining a hierarchical harmonic lexicon in equal temperaments. It utilizes an enharmonic weighted Fourier transform space to represent pitch class set (pcsets) relations. The method ranks pcsets based on user-defined constraints: the importance of interval classes (ICs) and a reference pcset. Evaluation of 5,184 Western musical pieces from the 16th to 20th centuries shows FluidHarmony captures 8% of the corpus's harmony in its top pcsets. This highlights the role of ICs and a reference pcset in regulating harmony in Western tonal music while enabling systematic approaches to define hierarchies and establish metrics beyond 12-TET.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"142 - 161"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44033893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-27DOI: 10.1080/09298215.2023.2233831
J. Devaney, D. Meredith
The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon ofWestern classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.1
{"title":"What do we mean by ‘systematic’, ‘empirically grounded’ research in music?","authors":"J. Devaney, D. Meredith","doi":"10.1080/09298215.2023.2233831","DOIUrl":"https://doi.org/10.1080/09298215.2023.2233831","url":null,"abstract":"The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon ofWestern classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.1","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"103 - 105"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45330879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-27DOI: 10.1080/09298215.2023.2174144
Mattias Sköld
This text describes the musical evaluation of a hybrid music notation system that combines traditional notation with symbols and concepts from spectromorphological analysis. During three academic years from 2017 to 2020, three groups of composition students learned to work with sound notation, recreating and interpreting short electroacoustic music sketches based solely on their notation transcriptions – they had not heard the original sketches. The students’ score interpretations bore obvious similarities to the original music sketches and their written reflections showed that there were no major difficulties in understanding the notation although some difficulties existed concerning finding suitable sounds, especially sounds with stable pitch.
{"title":"Notation as visual representation of sound-based music","authors":"Mattias Sköld","doi":"10.1080/09298215.2023.2174144","DOIUrl":"https://doi.org/10.1080/09298215.2023.2174144","url":null,"abstract":"This text describes the musical evaluation of a hybrid music notation system that combines traditional notation with symbols and concepts from spectromorphological analysis. During three academic years from 2017 to 2020, three groups of composition students learned to work with sound notation, recreating and interpreting short electroacoustic music sketches based solely on their notation transcriptions – they had not heard the original sketches. The students’ score interpretations bore obvious similarities to the original music sketches and their written reflections showed that there were no major difficulties in understanding the notation although some difficulties existed concerning finding suitable sounds, especially sounds with stable pitch.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"186 - 202"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47421583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-27DOI: 10.1080/09298215.2022.2150651
Lior Arbel, F. Gautier
Musical acoustics is a scientific field essential for an in-depth understanding of musical instruments and sounds. As such, it is relevant to wide audiences involved with music, including musicians, composers and even casual listeners. This work describes a twofold approach for introductory, hands-on education in musical acoustics. First, a concise classification approach for acoustic instruments is described. The approach consists of classifying instruments based on their fundamental acoustic properties of vibration generation, resonance and radiation. Then, an assembly kit of modular instrument components is described. The kit contains stand-alone resonator and radiator modules of various types, allowing the assembly of different fully functioning instrument prototypes. Students and general audiences, guided by educators, may use the kit to learn and experience the acoustic behaviour of musical instruments, as well as specific acoustic phenomena.
{"title":"LeMo: an assembly kit for musical acoustics education","authors":"Lior Arbel, F. Gautier","doi":"10.1080/09298215.2022.2150651","DOIUrl":"https://doi.org/10.1080/09298215.2022.2150651","url":null,"abstract":"Musical acoustics is a scientific field essential for an in-depth understanding of musical instruments and sounds. As such, it is relevant to wide audiences involved with music, including musicians, composers and even casual listeners. This work describes a twofold approach for introductory, hands-on education in musical acoustics. First, a concise classification approach for acoustic instruments is described. The approach consists of classifying instruments based on their fundamental acoustic properties of vibration generation, resonance and radiation. Then, an assembly kit of modular instrument components is described. The kit contains stand-alone resonator and radiator modules of various types, allowing the assembly of different fully functioning instrument prototypes. Students and general audiences, guided by educators, may use the kit to learn and experience the acoustic behaviour of musical instruments, as well as specific acoustic phenomena.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"106 - 120"},"PeriodicalIF":1.1,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43495684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2023.2199231
Johanna Devaney, David Meredith
We are delighted to take over the editorship of the Journal of New Music Research. We would like to start this editorial to our first issue by thanking Alan Marsden for his excellent stewardship of the journal for nearly two decades. During his tenure, he oversaw the expansion to five issues a year from its previous four, allowing for a greater range of articles to be published each year. Through this and other editorial actions, the readership of the journal grew, with full-text downloads increasing from 3,554 in 2005 to 51,999 in 2022. Alan also guarded and expanded the journal’s interdisciplinary legacy, publishing high-quality work from a range of disciplinary orientations, including musicological, compositional, psychological, and computational. As we enter a new era for the journal with new editorship, we would like to reaffirm our commitment to maintaining the journal as a home for in-depth reports on research that is innovative and empirically grounded, while also exploring how we can broaden the journal’s diversity. We recognise that academia as a whole is strugglingwith issues of diversity, equity, and inclusion, raising questions as to whose work is being published, whose voice is being included in the discourse, and whose culture is being studied. We are dedicated to diversifying both the content in terms of the range of musical traditions engaged with, as well as the methodologies adopted, while keeping true to the journal’s stated aims and scope. We also aim to broaden the reach and relevance of the journal in terms of its geographical range and the backgrounds and identities of the authors. In addition to diversifying the papers published in the journal, we will also be working towards refreshing and diversifying the editorial board and reviewer pools. So we welcome offers frommembers of the relevant research communities to contribute to the journal’s future in either of these capacities. In this issue, we are very pleased to be able to present five fascinating studies on a broad range of topics, including drumming performance practice, sound sculptures, computer-assisted orchestration and music generation. The first paper is by Guilherme Schmidt Câmara, George Sioros and Anne Danielsen from the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. This study reveals that drummers adopt one of three general strategies when differentiating laid-back or pushed from on-beat performances when expressing a simple ‘back-beat’ pattern. The authors analyse the relative frequencies with which different types of onset asynchronies and intensities occur in the drummers’ performances, and show that performances can be classified using hierarchical clustering into three onset and intensity archetypes that are visualised using phylogenetic trees. In the second paper in this issue, Leonardo Salzano and Manuel C. Eguia from the Universidad Nacional de Quilmes in Buenos Aires, present a fascinating musical
{"title":"Inaugural editorial","authors":"Johanna Devaney, David Meredith","doi":"10.1080/09298215.2023.2199231","DOIUrl":"https://doi.org/10.1080/09298215.2023.2199231","url":null,"abstract":"We are delighted to take over the editorship of the Journal of New Music Research. We would like to start this editorial to our first issue by thanking Alan Marsden for his excellent stewardship of the journal for nearly two decades. During his tenure, he oversaw the expansion to five issues a year from its previous four, allowing for a greater range of articles to be published each year. Through this and other editorial actions, the readership of the journal grew, with full-text downloads increasing from 3,554 in 2005 to 51,999 in 2022. Alan also guarded and expanded the journal’s interdisciplinary legacy, publishing high-quality work from a range of disciplinary orientations, including musicological, compositional, psychological, and computational. As we enter a new era for the journal with new editorship, we would like to reaffirm our commitment to maintaining the journal as a home for in-depth reports on research that is innovative and empirically grounded, while also exploring how we can broaden the journal’s diversity. We recognise that academia as a whole is strugglingwith issues of diversity, equity, and inclusion, raising questions as to whose work is being published, whose voice is being included in the discourse, and whose culture is being studied. We are dedicated to diversifying both the content in terms of the range of musical traditions engaged with, as well as the methodologies adopted, while keeping true to the journal’s stated aims and scope. We also aim to broaden the reach and relevance of the journal in terms of its geographical range and the backgrounds and identities of the authors. In addition to diversifying the papers published in the journal, we will also be working towards refreshing and diversifying the editorial board and reviewer pools. So we welcome offers frommembers of the relevant research communities to contribute to the journal’s future in either of these capacities. In this issue, we are very pleased to be able to present five fascinating studies on a broad range of topics, including drumming performance practice, sound sculptures, computer-assisted orchestration and music generation. The first paper is by Guilherme Schmidt Câmara, George Sioros and Anne Danielsen from the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. This study reveals that drummers adopt one of three general strategies when differentiating laid-back or pushed from on-beat performances when expressing a simple ‘back-beat’ pattern. The authors analyse the relative frequencies with which different types of onset asynchronies and intensities occur in the drummers’ performances, and show that performances can be classified using hierarchical clustering into three onset and intensity archetypes that are visualised using phylogenetic trees. In the second paper in this issue, Leonardo Salzano and Manuel C. Eguia from the Universidad Nacional de Quilmes in Buenos Aires, present a fascinating musical","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"1 - 2"},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46442086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2023.2169713
M. Hamanaka, K. Hirata, S. Tojo
This paper proposes a new morphing method to generate a melody, given two melodies represented by time-span trees obtained from the generative theory of tonal music (GTTM). In this paper, we define a feature structure based on a time-span tree and the distance between two structures. Next, we construct a lattice of subsumption relations among these structures and define three algebraic operations: reduction, meet, and join. First, we conduct these operations in the pure algebraic domain and a new melody is as an interpolation in the lattice; thereafter, we render the obtained tree into a music melody, assigning a priority order among candidate branches. We confirmed that our morphing algorithm generated new variations with satisfactory quality.
{"title":"Implementation of melodic morphing based on generative theory of tonal music","authors":"M. Hamanaka, K. Hirata, S. Tojo","doi":"10.1080/09298215.2023.2169713","DOIUrl":"https://doi.org/10.1080/09298215.2023.2169713","url":null,"abstract":"This paper proposes a new morphing method to generate a melody, given two melodies represented by time-span trees obtained from the generative theory of tonal music (GTTM). In this paper, we define a feature structure based on a time-span tree and the distance between two structures. Next, we construct a lattice of subsumption relations among these structures and define three algebraic operations: reduction, meet, and join. First, we conduct these operations in the pure algebraic domain and a new melody is as an interpolation in the lattice; thereafter, we render the obtained tree into a music melody, assigning a priority order among candidate branches. We confirmed that our morphing algorithm generated new variations with satisfactory quality.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"86 - 102"},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48541102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2022.2049313
Leonardo Salzano, M. Eguia
This article discusses the use of sound sculptures as tunable modulators of the transmission characteristics of acoustic sources during performance. We propose IRIS, a sculpture consisting of a periodic composite formed by an acoustic double-fishnet made up of two discs with periodic perforations and independent rotation. From the analysis of the transmitted field and binaural impulse responses, we observed a sound focusing whose spectral and spatial location varies depending on the relative angle of rotation between the disks. This effect is verified using a synthesized sustained sound and a chord progression, and finally validated perceptually in a listening test with 11 musicians.
{"title":"IRIS: A tunable sound sculpture based on acoustic periodic composites for musical performance","authors":"Leonardo Salzano, M. Eguia","doi":"10.1080/09298215.2022.2049313","DOIUrl":"https://doi.org/10.1080/09298215.2022.2049313","url":null,"abstract":"This article discusses the use of sound sculptures as tunable modulators of the transmission characteristics of acoustic sources during performance. We propose IRIS, a sculpture consisting of a periodic composite formed by an acoustic double-fishnet made up of two discs with periodic perforations and independent rotation. From the analysis of the transmitted field and binaural impulse responses, we observed a sound focusing whose spectral and spatial location varies depending on the relative angle of rotation between the disks. This effect is verified using a synthesized sustained sound and a chord progression, and finally validated perceptually in a listening test with 11 musicians.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"27 - 39"},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42758877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1080/09298215.2022.2150649
Guilherme Schmidt Câmara, G. Sioros, A. Danielsen
ABSTRACT We explored how drummers express a ‘back-beat’ pattern with different timing styles (laid-back, on-beat, pushed) via stroke onset and intensity features. Based on hierarchical clustering analyses and phylogenetic trees, we found three main strategies: (1) ‘general earliness/lateness’, where most instruments are consistently played earlier/later in time relative to a metrical grid; (2) ‘early/late flam’, where at least one instrument is played as a flam; and (3) ‘ambiguously early/late compound sound’, where in a dyad, one instrument is played synchronously with the grid, and the other early/late. Intensity strategies were not used uniformly to exclusively distinguish between laid-back/pushed and on-beat timing.
{"title":"Mapping timing and intensity strategies in drum-kit performance of a simple back-beat pattern","authors":"Guilherme Schmidt Câmara, G. Sioros, A. Danielsen","doi":"10.1080/09298215.2022.2150649","DOIUrl":"https://doi.org/10.1080/09298215.2022.2150649","url":null,"abstract":"ABSTRACT We explored how drummers express a ‘back-beat’ pattern with different timing styles (laid-back, on-beat, pushed) via stroke onset and intensity features. Based on hierarchical clustering analyses and phylogenetic trees, we found three main strategies: (1) ‘general earliness/lateness’, where most instruments are consistently played earlier/later in time relative to a metrical grid; (2) ‘early/late flam’, where at least one instrument is played as a flam; and (3) ‘ambiguously early/late compound sound’, where in a dyad, one instrument is played synchronously with the grid, and the other early/late. Intensity strategies were not used uniformly to exclusively distinguish between laid-back/pushed and on-beat timing.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"51 1","pages":"3 - 26"},"PeriodicalIF":1.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41844597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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