{"title":"箱子、跨度和容忍:微计时行为的三种理论","authors":"A. Danielsen, Mats Johansson, C. Stover","doi":"10.1093/mts/mtad005","DOIUrl":null,"url":null,"abstract":"\n This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior\",\"authors\":\"A. Danielsen, Mats Johansson, C. Stover\",\"doi\":\"10.1093/mts/mtad005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.\",\"PeriodicalId\":44994,\"journal\":{\"name\":\"MUSIC THEORY SPECTRUM\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.6000,\"publicationDate\":\"2023-07-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"MUSIC THEORY SPECTRUM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/mts/mtad005\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"MUSIC THEORY SPECTRUM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/mts/mtad005","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior
This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.
期刊介绍:
A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.