In speech and music, the acoustic and perceptual onset(s) of a sound are usually not congruent with its perceived temporal location. Rather, these "P-centers" are heard some milliseconds after the acoustic onset, and a ...

This paper reports on an experiment investigating the expressive means with which performers of groove-based musics signal the intended timing of a rhythmic event. Ten expert drummers were instructed to perform a rock ...

Artikkelen problematiserer den rollen svart rytmisk musikk har spilt innenfor populærmusikkfeltet i etterkrigstiden. Den begynner med en gjennomgang av den historiske bakgrunnen for forestillingen om svart rytme som ...

The use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In ...

Today, a live concert no longer necessarily presents a temporal or physical correspondence between the sound and its production, though it continues to promise an experience characterized by immediacy. In this article, we ...

Recorded sound is acousmatic, meaning that it does not display any visual sound sources. When people listen to recorded/acousmatic sound, they generally apply their previous experiences with the acoustical conditions of ...

I afroamerikanske rytmiske musikktradisjoner er utformingen av rytmikken på mikronivå, for eksempel timing, frasering og valg av lyd, avgjørende for kvaliteten på musikken. Det er ikke nok å spille det riktige mønsteret, ...

This chapter addresses the relationship between repetition and variation in repetitive music. Building on philosopher Gilles Deleuze’s discussion of repetition (Difference and Repetition, 1994), and more particularly on ...