Relevant bibliographies by topics / Pattern-pulse Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Pattern-pulse Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Pattern-pulse Music"

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Magill, Jonathan M., and Jeffrey L. Pressing. "Asymmetric Cognitive Clock Structures in West African Rhythms." Music Perception 15, no. 2 (1997): 189–221. http://dx.doi.org/10.2307/40285749.

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Results of an experimental investigation of pattern production by a West African (Asante) master drummer are reported. He performed bimanual tapping, with the Kete time-line pattern in one hand and either a regular 3-pulse or a regular 4-pulse in the other hand. Experimental variables manipulated were pulse-stream size (three or four), pulse hand allocation (left or right), and recording protocol, which was either synchronous (played in relation to a computer-generated tone) or spontaneous (no tone). Structural equation modeling was used to systematically examine the comparative fit of two men
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Snyder, Joel, and Carol L. Krumhansl. "Tapping to Ragtime: Cues to Pulse Finding." Music Perception 18, no. 4 (2001): 455–89. http://dx.doi.org/10.1525/mp.2001.18.4.455.

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Two experiments investigated cues to pulse finding using a relatively unconstrained, naturalistic paradigm. Participants tapped what they felt was a comfortable pulse on a keyboard playing a percussive sound. The stimulus materials were based on ragtime excerpts, played metronomically (i.e., without expressive timing or tempo variation). The first experiment, with 8 musically experienced and 8 musically inexperienced subjects, played each excerpt in two versions: a pitch-varied version (the original excerpt) and a monotonic version (with all tones changed to middle C) that was designed to remo
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Henderson, Darwin L., Brenda Dales, and Teresa Young. "These Books Are Not Quiet Bebop, Blues, Swing, and Soul: Jazz in Children’s Books." Children and Libraries 14, no. 1 (2016): 20. http://dx.doi.org/10.5860/cal.14n1.20.

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Pages seem to pulse as they fill the senses with rhythm, setting, and pattern. Reflecting attitude and time, young readers and listeners are inducted into the world of . . . jazz. Music and musicians are represented in visual and textual styles that mix and balance, amplify, and absorb, like the sounds that jazz makes.
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Haugen, Mari Romarheim. "Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance." Empirical Musicology Review 11, no. 3-4 (2017): 272. http://dx.doi.org/10.18061/emr.v11i3-4.5029.

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The pulse level in music is often described as a series of isochronous beats that provides an underlying reference structure against which we perceive rhythmic patterns. This notion is challenged by music styles that seem to feature an underlying reference structure that consists of beats of uneven duration, such as certain traditional Scandinavian dance music genres in so-called asymmetrical meter. This study investigates periodic body motion as a reference structure in a specific style of traditional Norwegian dance music called telespringar. The intimate relationship between music and motio
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Neuhoff, Hans, Rainer Polak, and Timo Fischinger. "Perception and Evaluation of Timing Patterns in Drum Ensemble Music from Mali." Music Perception 34, no. 4 (2017): 438–51. http://dx.doi.org/10.1525/mp.2017.34.4.438.

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Polak’s (2010) chronometric analyses of Malian jembe music suggested that the characteristic “feel” of individual pieces rests upon nonisochronous subdivisions of the beat. Each feel is marked by a specific pattern of two or three different subdivisional pulses—these being either short, medium, or long. London (2010) called the possibility of more than two different pulse classes into question on psychological and theoretical grounds. To shed light on this issue, 23 professional Malian percussionists and dancers were presented with timing-manipulated phrases from a piece of Malian drumming mus
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Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

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This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures s
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Fakhleri Fallen, Aryuda, and Agung Dwi Putra. "PENEKANAN PEMAHAMAN PULSA PADA MATERI AJAR DRUMS 1 YAMAHA MUSIC FOUNDATION." Jurnal Sendratasik 9, no. 3 (2020): 31. http://dx.doi.org/10.24036/jsu.v9i1.109381.

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AbstractThis study aims to find out how the emphasizing is on pulses understanding in the Drums 1 Yamaha Music Foundation teaching material. The type of this research is a qualitative paradigm with a content analysis approach. The object of this research was the Drums 1 Yamaha Music Foundation book, and the research subject was pulse suppression contained in the drum practice material. The research instrument was the author itself and was assisted by supporting instruments such as stationery, laptop, and mobile phone. The data were collected through observation, interview, and documentation. T
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Mcguiness, Andy. "Modelling Microtiming Beat Variations with Pulse-Coupled Oscillators." Timing & Time Perception 3, no. 1-2 (2015): 155–71. http://dx.doi.org/10.1163/22134468-00002046.

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Patterns of microtiming variation at the beat level are known to be associated with music that evokes an experience of groove. The microtiming of Clyde Stubblefield’s drum break on James Brown’s track The Funky Drummer exhibits a pattern of variation in individual beat periods, but bar durations are unaffected. The aim of the study was to model the production of these two apparently paradoxical attributes. In the computational model presented here, microtiming variations at the beat level emerge together with uniform bar durations, due to the interaction of two oscillators via pulse coupling.
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London, Justin. "Cognitive Constraints on Metric Systems: Some Observations and Hypotheses." Music Perception 19, no. 4 (2002): 529–50. http://dx.doi.org/10.1525/mp.2002.19.4.529.

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This paper is a music-theoretic discussion of various studies on rhythmic perception and performance and their ramifications for discussions of musical meter. Meter is defined as a stable and recurring pattern of hierarchically structured temporal expectations. Metrical patterns, although related to the pattern of interonset intervals present in the musical surface, are distinct from that pattern. Studies of subjective rhythmization, spontaneous tempo, pulse perception, durational discrimination, and so forth are discussed with respect to their implications for meter. Not only do there seem to
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KIVLE, INETA. "P. CHEYNE, A. HAMILTON, M. PADDISON (EDS.) PHILOSOPHY OF RHYTHM: AESTHETICS, MUSIC, POETICS. New York: Oxford University Press, 2019 ISBN 978-0-19-934778-0." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 312–19. http://dx.doi.org/10.21638/2226-5260-2021-10-1-312-319.

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The review provides an outline of the collective monograph The Philosophy of Rhythm: Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, 2019. Concept of rhythm is analysed from different perspectives—philosophical, musicological and psychological. It considers a multidisciplinary approach and also includes both analytic and continental philosophical traditions. Rhythm is viewed as a pulse that is going through various metric structures including particular pieces of music, paintings, examples of poetry and philosophy. Twent
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Dissertations / Theses on the topic "Pattern-pulse Music"

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Widengren, Mattias. "EXPLORING THE LIMITS OF BEAT TEMPO WITH AN ILLUSION OF INFINITE TEMPO CHANGE IN A METRICAL PATTERN." Thesis, Umeå universitet, Institutionen för psykologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-159935.

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Humans have the ability to synchronise with sounds divided by equal intervals and predict when the next sound is coming, as opposed to reacting to them. By creating a pulse within ourselves based on these recurrent sounds we are able to, for instance, play music and dance. A stable pulse can be maintained accurately even without external stimuli for up to about two seconds. Previous research showed that this limit could be extended to about eight seconds if the pulse was supported by a sound pattern with a facilitating temporal structure, which also seemed to be slowing down infinitely. The pr
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Simpson, Robert R. "Prägnanz for Orchestra." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/172.

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Prägnanz is a single movement composition for orchestra. This composition reflects the influence of minimalist composers such as Phillip Glass and Steve Reich. The structure of the piece is generated by a rhythmic motive that is transformed through a large-scale additive process. This overarching process is periodically interrupted by contrasting episodes, creating a form similar to a rondo. Several themes and gestures are explored, including a phasing rhythmic motive. The harmonic language is static, almost monolithic, in order to accentuate the gradual motion of the piece towards its goal. T
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Book chapters on the topic "Pattern-pulse Music"

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"Teaching Rhythm and Rhythm Reading: Audiation, Pulse, Pattern,." In Instrumental Music Education. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-9.

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