Timing-Sound Interactions Groove-Forming Elements in Traditional Scandinavian Fiddle Music
Timing-Sound Interactions Groove-Forming Elements in Traditional Scandinavian Fiddle Music
复制标题
传统斯堪的纳维亚小提琴音乐中的节奏形成元素
DOI：
--
复制
发表时间：
--
期刊：
影响因子：
--
通讯作者：
Mats Johansson
中科院分区：
文献类型：
--
作者：
Mats Johansson
这篇文章报告了一项研究，研究了传统斯堪的纳维亚小提琴音乐的熟练表演者中微节奏的概念和实践，特别是所谓的springar传统，其特点是在三拍子框架内的非等时和可变节拍和细分。在这种情况下，微节奏是指在微观层面上对音乐事件的整体塑造，包括时间（时间位置和持续时间）和声音（形状/包络、音色和强度）。一个特别的重点是探索这些音乐特征是如何相互作用的-而不是单独处理时间和声音-以及如何在凹槽形成元素方面理解时间-声音的相互作用。这项研究包括对四位专业音乐家的半结构化采访，这些采访已被转录并编码为关键主题和概念。随后，通过对相关音乐片段的分析来补充这些数据。访谈集中在定义一个好的凹槽的特征，以及声音的各个方面是如何影响节奏和时间方面的，反之亦然。研究发现，凹槽在很大程度上是在运动和体现方面概念化的；音乐特征（时间、重音、装饰、音调产生）相互作用和重叠，暗示了一个多参数的凹槽概念；而旋律节奏的变化是形成凹槽的重要因素。访谈还揭示了对表演和美学的强烈实践导向的观点，其中音乐概念与相关的声音产生动作（鞠躬，指法，跺脚）紧密结合在一起。
This article reports on a study of concepts and practices of microrhythm among skilled performers of traditional Scandinavian fiddle music, particularly the so-called springar tradition which features non-isochronous and variable beats and subdivisions within a triple meter framework. In this context, microrhythm refers to the overall shaping of musical events at the micro level, encompassing both timing (temporal placement and duration) and sound (shape/envelope, timbre and intensity). A particular focus is to explore how these musical features interact – as opposed to treating timing and sound separately – and how timing-sound interactions in turn are understood in terms of groove-forming elements. The study consisted of semi-structured interviews with four expert musicians, which have been transcribed and coded for key themes and concepts. Subsequently, these data were complemented by analyses of relevant musical segments. The interviews focused on the defining features of a good groove, and how aspects of sound are envisaged to affect aspects of rhythm and timing, and vice versa. It was found that groove is largely conceptualised in terms of movement and embodiment; that musical features (timing, accentuation, ornamentation, tone production) are seen to interact and overlap, suggesting a multi-parametrical concept of groove; and that melodic-rhythmic variation is an important groove-forming element. The interviews also revealed a strongly practice-oriented perspective on performance and aesthetics in which musical concepts are tightly integrated with their associated sound-producing movements (bowing, fingering, foot tapping).