PopMAC day 1: Temporality and Microrhythm in Groove-Based Musics. #popmac

Temporality and Microrhythm in Groove-Based Musics. Analytical perspectives. Anne Danielsen, University of Oslo.

[abstract] The state of listening to groove-based music has been described as a condition of heightened presence in the musical here-and-now. This experience is often ascribed to the rhythms’ circular structural design and the groove’s repetitive form, which can last from several minutes to several hours depending on the context. However, also the presence of subtle microrhythmic features is crucial to the experience of groove. How can we analyze microrhythm in groove-based musics? And what can be said about form in groove-based music, which often seems to be completely devoid of form in the traditional sense? Last but not least, how can the analyses of temporality and micro rhythm inform us about the particular experience of time linked with dancing and listening to a groove? I will start with a discussion of previous empirical and theoretical work on rhythm within musicology, ethnomusicology and music psychology. Then I present a framework for analyzing groove-based music inspired by the philosophy of Gilles Deleuze, and apply it to various groove- based musics. Here, I propose to engage with rhythm as an interaction between two analytically separable levels—virtual reference structures and actual sounds—that evokes the interaction between syntax and actual speech or writing in linguistics. I will use auditory analysis and various visual representations of sound, such as waveform curves and spectrograms, to explore the rhythmic design in detail. Finally, I touch upon how digital music technology has changed the feel of contemporary groove-based music.

Anne Danielsen is Professor in Musicology at the University of Oslo. She has published widely on rhythm, groove and music production in post-war African-American popular music and is the author of Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Wesleyan University Press, 2006), for which she received the Lowens Book Award from the Society for American Music. She is also the editor of the anthology Musical Rhythm in the Age of Digital Reproduction (Ashgate, 2010).

Anne’s opening question (inherent in much of her research) ‘how can we analyse micro-groove?’ and although she focuses on musical analytical perspectives today, she asserts that this does not preclude a cultural analytical approach. She starts with a brief discussion of previous work in musicology, ethnomusicology and music psychology.