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引用次数: 22
摘要
本章概述了凹槽的概念,研究了凹槽的音乐和声音成分以及与愉悦、过程和情感相关的方面。它首先解决三个不同的一般理解槽:(1)模式和性能;(2)愉悦和“想动”;(3)一种存在状态。然后,作者提出了一组典型的(节奏)特征,这些特征似乎是广泛的基于凹槽的风格所共有的,探索了五个主要类别:脉冲或常规节拍;节拍的细分;切分法;counter-rhythm;和microrhythm。最后,本章提出了一些可行的方法来分析groove,重点关注James Brown的“Get Up (I Feel Like Being A) Sex Machine”(1970)中的摇摆和预期节拍,Jackie Wilson的“(Your Love Keeps Lifting Me) Higher and Higher”(1967)中的反节奏方面,以及D 'Angelo的“Left & Right”(2000)和Rihanna的“Needed Me”(2016)中的节拍扩展到节拍箱。
This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).