Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section
Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section
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寻找摇摆乐：爵士节奏部分的参与性差异
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发表时间：
1995
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影响因子：
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通讯作者：
J. Progler
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作者：
J. Progler
基于垂直轴的“节拍”：Adeyola的节拍线之前（-）或之后（+）的毫秒，增量为5。图7中所示的同一种比较的宏观视图，除了这里我们只看到一组关系。为了说明辛克莱和卡迪尔的节奏与节拍的关系，阿德约拉的低音线被视为抽象的“节拍”，因此看起来是一条直线。此内容于2016年6月20日星期一05：36：00 UTC从 157.55.39.104下载所有使用受 http://about.jstor.org/terms搜索Swing 43条5，6，7和8）。回想一下，在这个实验中，他们没有听到彼此的声音，但是他们确实演奏了相同的旋律，这种现象可能与他们在旋律中听到的东西有关，这使得他们进入一个特定的利基，然后切换到另一个。至少从这些摘录来看，这两个敲击者似乎对什么是摇摆有着相反的概念。直到第9小节左右，两个节拍突然收敛。这又是与和弦中的某些东西有关，还是他们自己的“布林金”或“滚起来”的个人感觉，因为和弦进行的最后一个乐句导致回到顶部？在这些和其他表演中，句法在与凹槽的关系中到底扮演了什么角色？这些地方是句法发挥作用的地方吗？这些都是民族志学家可以尝试回答的问题，也许甚至是在与音乐家分享的背景下，在分析了这些表演的种类和参与差异的地方之后。“追赶”现象，正如前面提到的凯尔的ridetaps，采取了不同的阴影的含义在辛克莱和卡迪尔的表演。这两个人在第一小节的第4拍左右改变了方向，就像凯尔所做的那样，但图8中的完整图表显示，这可能不是“追赶”，而是一种循环的演奏方法。辛克莱和卡迪尔似乎循环他们的乘坐水龙头在和相位与马林线，不像凯尔，谁，一旦“赶上”，留在那个利基。这是否意味着卡迪尔和辛克莱比凯尔更松散？更“好玩”？可能是凯尔对自己想做的事情有更多的先入为主的想法，而辛克莱和卡迪尔则是随大流。无论这些引人注目的问题的答案是什么，这些结果都使我们开始在次句法层面上对文体因素进行评论。一个音乐家的感知是什么--有意识的和无意识的，与“他者”的关系是什么？在上述案例中，“其他”是预先录制的台词，但也可能是另一个表演者。在有更多参与者的现场情况下，互动可能会增强，或者实际上可能会减弱。随着表演者数量的增加，某些类型的参与差异可能会减少。一个表演者必须独自产生摆动，但有两个一种推/拉互动开始。也许在一个完整的合奏中，每个人的参与差异会倾向于从前面转移到后面，再从后面转移到前面，因为表演者不断地重新定位自己，彼此滑进和滑出。总之，参与性差异似乎取决于背景和个人接触，但我们需要更多的实验和采访来解决这些问题。19转向另一组表演者，这一次来自贝斯手Steve Rodby和鼓手的商业“音乐减一”录音此内容于2016年6月20日星期一05：36：00 UTC从 http://about.jstor.org/terms所有使用均受157.55.39.104约束44民族音乐学，冬季1995 Mike IIyman（Ten Jazz Standards with Jimmy Raney. Jamey Aebersold，JA 1230，1979），可以进行一些比较观察。在大约180 bpm的克里思下，Mike Hyman的ridetap拾取大约是节拍宽度的33%，而Keil的ridetap拾取大约是节拍宽度的25%（见图3和图4）。此外，凯尔的ridetap是相对一致的，而海曼的波动。海曼也不总是在第2拍和第4拍之后放短拍。还记得Keil的ridetap一直领先于低音。在所示的许多节拍中，海曼的跨拍也福尔斯在低音之前，除了第1小节和第19小节的第四拍（见图9和图10）。正如我们上面看到的，Keil需要大约4个节拍才能进入一个骑踏线前的凹槽。海曼“赶上”低音（如果我们可以
beat" based upon vertical axis: milliseconds before (-) or after Adeyola's bassline (+), by increments of 5 A macro view of the same kind of comparison shown in Figure 7, except here we see only one set of relationships. For the purposes of illustrating Sinclair's and Qadir's ridetaps in relation to the beat, Adeyola's bassline has been treated as an abstract "beat," and therefore appears as a straight line. This content downloaded from 157.55.39.104 on Mon, 20 Jun 2016 05:36:00 UTC All use subject to http://about.jstor.org/terms Searching for Swing 43 bars 5, 6, 7 and 8). Recalling that they did not hear one another during this experiment, but that they did play to identical basslines, this phenomenon might be related to something they each heard in the bassline which made them move into a particular niche and then switch to another. It is almost as if the two tappers have an opposite conception of what swings, judging from these excerpts, at least. This appears so until about bar 9, when the two ridetaps suddenly appear to converge. Is this again related to something in the bassline, or is it their own individual senses of "bringin' it on home" or "rollin' up" as the final phrase of the chord progression leads back to the top? What exactly is the role of syntax in relation to groove in these and other performances? Are these the places where syntax engages groove? These are the kinds of questions that the ethnographer can attempt to answer, perhaps even in the context of a shared relistening with the musicians, after performances like these have been analyzed for kinds and places of participatory discrepancies. The "catching up" phenomenon, as noted earlier in Keil's ridetaps, takes on a different shade of meaning in Sinclair and Qadir's performances. The two change their orientations at around beat 4 of measure 1, as Keil did, but the complete graph in Figure 8 shows that this may not be "catching up" but instead could illustrate a cyclical approach to playing. Sinclair and Qadir appear to cycle their ridetaps in and out of phase with the bassline, unlike Keil, who, once "caught up," stayed in that niche. Does this mean that Qadir and Sinclair are looser than Keil? More "playful"? It could be that Keil had more of a preconceived notion of what he wanted to do, whereas Sinclair and Qadir were going with the groove. Whatever the answers to these compelling questions, these results have allowed us to begin to comment upon stylistic elements at a subsyntactical level. What are a musician's perceptions-both conscious and unconsciousin relation to "the other?" The "other" in the cases shown above has been a pre-recorded bassline, but could have been another performer. Interaction may be heightened in a live situation with more participants, or it may actually be subdued. Certain kinds of participatory discrepancies may decrease as the number of performers increases. One performer has to generate swing alone, but with two a kind of push/pull interaction begins. And perhaps with a full ensemble each person's participatory discrepancies will tend toward shifting from ahead to behind, and back to ahead, as the performers constantly re-orient themselves to each other, sliding in and out of phase with each other. In sum, participatory discrepancies appear to be contingent upon context and personal touches, but we need more experimenting and interviewing to get at these issues.19 Turning to another set of performers, this time from a commercial "music-minus-one" recording featuring bassist Steve Rodby and drummer This content downloaded from 157.55.39.104 on Mon, 20 Jun 2016 05:36:00 UTC All use subject to http://about.jstor.org/terms 44 Ethnomusicology, Winter 1995 Mike IIyman (Ten Jazz Standards with Jimmy Raney. Jamey Aebersold, JA1230, 1979), it is possible to make some comparative observations. Played at a tempo of roughly 180 bpm, Mike Hyman's ridetap pickup was about 33% of the beat width, unlike Keil's ridetap pickup which, at a similar tempo, was about 25% of the beat width (see Figures 3 and 4). Furthermore, Keil's ridetap was relatively consistent, whereas Hyman's fluctuates. Nor does Hyman always place short taps after beats 2 and 4. Recall also that Keil's ridetap fell consistently ahead of the bass. Hyman's ride tap also falls ahead of the bass on many of the beats shown, except the fourth beat of bars 1 and 19 (see Figures 9 and 10). As we saw above, Keil takes approximately 4 beats to settle into a ridetap-ahead-of-bassline groove. Hyman "catches up" to the bass (if we can