scholarly journals Drum Groove Corpora

2021 ◽  
Vol 16 (1) ◽  
pp. 114-123
Author(s):  
Fred Hosken ◽  
Toni Bechtold ◽  
Florian Hoesl ◽  
Lorenz Kilchenmann ◽  
Olivier Senn
Keyword(s):  
Popular Music ◽  
Music Performance ◽  
Common Point ◽  
Future Studies ◽  
Fair Principles ◽  
Anglo American ◽  
American Popular Music ◽  
Point Of Reference

Patterned microtiming deviations from metronomic regularity are ubiquitous in the performance of metered music. The relevance of microtiming to the perception of music has been studied since the 1980s. Most recently, microtiming has been investigated as a cause of groove (i.e., the pleasant urge to move in response to music). The study of microtiming relies on the availability of microtiming data. This report presents three large corpora of onset timings derived from drum kit performances in popular Anglo-American popular music styles. These data are made freely available (CC 4.0 license) to provide a resource for use by analysts and experimenters alike. They offer a common point of reference for future studies into the temporal facets of music performance. The datasets adhere to FAIR principles; they thus facilitate replication of analyses and experimental stimuli.

scholarly journals Negotiating ‘His Master’s Voice’: Gramophone Music and Cosmopolitan Modernity in British Malaya in the 1930s and Early 1940s

2013 ◽  
Vol 169 (4) ◽  
pp. 457-494 ◽  
Author(s):  
Keyword(s):  
Popular Music ◽  
Recording Technology ◽  
Production And Distribution ◽  
Anglo American ◽  
American Popular Music ◽  
Musical Elements

Abstract The label ‘His Master’s Voice’ (HMV) dominated the recording technology, production and distribution of 78 rpm discs in British Malaya in the 1930s and early 1940s. By analysing the lagu Melayu which formed a large part of the repertoire recorded by HMV, this article shows that musicians were able to decentre colonial hegemony by combining Anglo-American popular music idioms with Malay and other foreign musical elements. The new hybrid music with texts about progress was a vehicle for disseminating a form of national culturalism that advocated vernacular modernity, rooted cosmopolitanism, inclusiveness, and a broader sense of Malayness.

Remembering Popular Music, Documentary Style

2011 ◽  
Vol 12 (6) ◽  
pp. 513-530 ◽  
Author(s):  
Alison Huber
Keyword(s):  
Popular Music ◽  
Wide Audience ◽  
The Past ◽  
History Of ◽  
Entire History ◽  
The Senses ◽  
Anglo American ◽  
American Popular Music ◽  
To Come ◽  
Aesthetic Characteristics

Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music’s past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer’s epic seventeen-part narrative, All You Need Is Love. While this series makes strong historical claims—in Palmer’s words, it sets out to tell “nothing less than the entire history and development of popular music”—the author argues that the series is, in fact, based on the tropes and discourses of memory. Through an analysis of some of the particular formal and aesthetic characteristics of the series, this article reveals the ways in which talking and thinking about the past of popular music and its culture necessarily call on an experience of the senses that is simultaneously replayed and refracted as memory.

Un Naw Chwech Wyth

2018 ◽  
Vol 42 (3) ◽  
pp. 300-305
Author(s):  
Sarah Hill
Keyword(s):  
Social Change ◽  
Popular Music ◽  
Political Activism ◽  
Global Motion ◽  
Anglo American ◽  
American Popular Music ◽  
The 1960S ◽  
The Relationship

The politically-oriented Anglo-American popular music of the 1960s was notable for its ability to inspire activism in cultures around the globe. In this paper I focus on the relationship between popular music and political activism in Wales, and suggest that 1968 was but one brief point on a much longer timeline: an arbitrary marker in local political terms, but part of a larger global motion toward radical social change.

scholarly journals Expanding and Contracting Definitions of Syncopation: Commentary on Temperley 2019

2019 ◽  
Vol 14 (1-2) ◽  
pp. 81
Author(s):  
Nat Condit-Schultz
Keyword(s):  
Popular Music ◽  
19Th Century ◽  
Vocal Music ◽  
Western Music ◽  
Music Notation ◽  
Statistical Assumptions ◽  
Anglo American ◽  
American Popular Music ◽  
Future Work ◽  
Fourth Position

In the article Second-Position Syncopation in European and American Vocal Music, David Temperley presents an empirical, socio-cultural survey of syncopation in 19th-century Western music. He espouses the following novel ideas about operational definitions of syncopation: 1) that syncopations on the second position of a duple hierarchy are musically, and culturally, distinct from fourth-position syncopations; 2) that more detailed operational definitions of syncopation, what Temperley calls "acute" syncopations, are needed to properly understand syncopation. Following up on Temperley's work, I apply his definitions of syncopation to a corpus of more recent Anglo-American popular music (Gauvin, Condit-Schultz, & Arthur 2017). I discuss how Temperley's definitions must be adapted and expanded to fit this different, more diverse, dataset, proposing several new syncopation definitions of my own. I also discuss some statistical assumptions that ought to be better addressed in future work, and speculate on how inconsistencies of music notation might hinder historical studies like Temperley's.

scholarly journals Characterization of CRISPR Spacer and Protospacer Sequences in Paenibacillus larvae and Its Bacteriophages

Viruses ◽  
2021 ◽  
Vol 13 (3) ◽  
pp. 459
Author(s):  
Casey Stamereilers ◽  
Simon Wong ◽  
Philippos K. Tsourkas
Keyword(s):  
Comparative Studies ◽  
Point Mutations ◽  
Paenibacillus Larvae ◽  
Bacterial Disease ◽  
American Foulbrood ◽  
Antibiotic Resistant ◽  
Future Studies ◽  
Complete Genomes ◽  
Point Of Reference

The bacterium Paenibacillus larvae is the causative agent of American foulbrood, the most devastating bacterial disease of honeybees. Because P. larvae is antibiotic resistant, phages that infect it are currently used as alternative treatments. However, the acquisition by P. larvae of CRISPR spacer sequences from the phages could be an obstacle to treatment efforts. We searched nine complete genomes of P. larvae strains and identified 714 CRISPR spacer sequences, of which 384 are unique. Of the four epidemiologically important P. larvae strains, three of these have fewer than 20 spacers, while one strain has over 150 spacers. Of the 384 unique spacers, 18 are found as protospacers in the genomes of 49 currently sequenced P. larvae phages. One P. larvae strain does not have any protospacers found in phages, while another has eight. Protospacer distribution in the phages is uneven, with two phages having up to four protospacers, while a third of phages have none. Some phages lack protospacers found in closely related phages due to point mutations, indicating a possible escape mechanism. This study serve a point of reference for future studies on the CRISPR-Cas system in P. larvae as well as for comparative studies of other phage–host systems.

East meets West: Investigating the state of DJing culture and turntablism pedagogy in China

2021 ◽  
pp. 025576142199081
Author(s):  
Rhythy Quin
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Performance ◽  
Independent Learning ◽  
Performance Practices ◽  
Political Values ◽  
Music Classroom ◽  
Music Practice ◽  
Chinese Music ◽  
Self Discovery

In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

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