Sound-producing actions in guitar performance of groove-based microrhythm
This paper reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 e...
| Main Authors: | , , , , |
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| Format: | Article |
| Language: | English |
| Published: |
The Ohio State University Libraries
2024-01-01
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| Series: | Empirical Musicology Review |
| Subjects: | |
| Online Access: | https://emusicology.org/index.php/EMR/article/view/9124 |
| _version_ | 1797351270053314560 |
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| author | Guilherme Schmidt Câmara George Sioros Kristian Nymoen Mari Romarheim Haugen Anne Danielsen |
| author_facet | Guilherme Schmidt Câmara George Sioros Kristian Nymoen Mari Romarheim Haugen Anne Danielsen |
| author_sort | Guilherme Schmidt Câmara |
| collection | DOAJ |
| description | This paper reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 expert electric guitarists were instructed to perform a simple rhythmic pattern in three different timing styles—"laidback," "on-the-beat," and "pushed"—in tandem with a metronome. Results revealed systematic differences across participants in the striking velocity and movement duration of chords in the different timing styles. In general, laid-back strokes were played with lower striking velocity and longer movement duration relative to on-the-beat and pushed strokes. No differences in the fretboard striking position were found (either closer to the "bridge" [bottom] or to the "neck" [head]). Correlations with previously-reported audio features of the guitar strokes were also investigated, where lower velocity and longer movement duration generally corresponded with longer acoustic attack duration (signal onset to offset). |
| first_indexed | 2024-03-08T12:57:55Z |
| format | Article |
| id | doaj.art-29bdc0cd13114e52ae261ea3945c3236 |
| institution | Directory Open Access Journal |
| issn | 1559-5749 |
| language | English |
| last_indexed | 2024-03-08T12:57:55Z |
| publishDate | 2024-01-01 |
| publisher | The Ohio State University Libraries |
| record_format | Article |
| series | Empirical Musicology Review |
| spelling | doaj.art-29bdc0cd13114e52ae261ea3945c32362024-01-19T13:45:22ZengThe Ohio State University LibrariesEmpirical Musicology Review1559-57492024-01-01181213610.18061/emr.v18i1.91248302Sound-producing actions in guitar performance of groove-based microrhythmGuilherme Schmidt Câmara0George Sioros1Kristian Nymoen2Mari Romarheim Haugen3Anne Danielsen4RITMO Center for Interdisciplinary Studies in Rhythm, Time and Motion, University of OsloRITMO Center for Interdisciplinary Studies in Rhythm, Time and Motion, University of OsloRITMO Center for Interdisciplinary Studies in Rhythm, Time and Motion, University of OsloRITMO Center for Interdisciplinary Studies in Rhythm, Time and Motion, University of OsloRITMO Center for Interdisciplinary Studies in Rhythm, Time and Motion, University of OsloThis paper reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 expert electric guitarists were instructed to perform a simple rhythmic pattern in three different timing styles—"laidback," "on-the-beat," and "pushed"—in tandem with a metronome. Results revealed systematic differences across participants in the striking velocity and movement duration of chords in the different timing styles. In general, laid-back strokes were played with lower striking velocity and longer movement duration relative to on-the-beat and pushed strokes. No differences in the fretboard striking position were found (either closer to the "bridge" [bottom] or to the "neck" [head]). Correlations with previously-reported audio features of the guitar strokes were also investigated, where lower velocity and longer movement duration generally corresponded with longer acoustic attack duration (signal onset to offset).https://emusicology.org/index.php/EMR/article/view/9124rhythmgroovemovementmicrorhythmguitar performanceaction-sound |
| spellingShingle | Guilherme Schmidt Câmara George Sioros Kristian Nymoen Mari Romarheim Haugen Anne Danielsen Sound-producing actions in guitar performance of groove-based microrhythm Empirical Musicology Review rhythm groove movement microrhythm guitar performance action-sound |
| title | Sound-producing actions in guitar performance of groove-based microrhythm |
| title_full | Sound-producing actions in guitar performance of groove-based microrhythm |
| title_fullStr | Sound-producing actions in guitar performance of groove-based microrhythm |
| title_full_unstemmed | Sound-producing actions in guitar performance of groove-based microrhythm |
| title_short | Sound-producing actions in guitar performance of groove-based microrhythm |
| title_sort | sound producing actions in guitar performance of groove based microrhythm |
| topic | rhythm groove movement microrhythm guitar performance action-sound |
| url | https://emusicology.org/index.php/EMR/article/view/9124 |
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