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Pulse and Microrhythm. Metrical Timing Patterns in Five Musical Traditions from West Africa (Mali and Ghana)

脉搏和微节奏。

基本信息

批准号：
186108581
负责人：
Dr. Rainer Polak
金额：
--
依托单位：
Hochschule für Musik und Tanz Köln
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2010
资助国家：
德国
起止时间：
2009-12-31 至 2015-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/186108581?language=en
关键词：
Pulse Microrhythm.Metrical Timing Patterns

项目摘要

The project studies non-isochronous beat subdivisions, or, swing timing patterns. The primary objective is to understand the reach of that rhythmic strategy in West Africa. The project aims to communicate its findings beyond Africanist ethnomusicology into the psychologically and transculturally informed, general theory of rhythm.Chronometric analyses of field recordings showed that swung subdivisions prevail in the sahel and savannah zones of West Africa (Mali, northern Ghana), but not in the coastal zone (southern Ghana). In Mali, they are performed with great flexibility and precision, and listeners can perceive and do aesthetically prefer them. They are stably associated with standard repertoires and performed with great consistence; they thus appear normative and constitutive of the metric system. On these grounds, the project elaborated a theoretical model of swing subdivisions as metric timing patterns (Polak & London 2014).In ethnomusicology, music theory and music psychology, swing timing is typically conceived of as expressive variation (Clarke 1985) or participatory discrepancy (Keil 1995) from metric pulse and rhythmic structure. Swing-timing is thus viewed as deviation from iso-periodicity, which prominent theories of meter assume to represent a basic requirement for metric regularity (metronome sense and density referent, metric projection and metric pulse, beat induction, internal clock models and categorical rhythm perception, and dynamic attending as well as neural oscillation theory; see Waterman 1952, Kubik 1988, Arom 1984, Hasty 1997, Lerdahl & Jackendoff 1983, Desain & Honing 1999, Povel 1984, Povel & Essens 1985, Clarke 1987, Large & Jones, and Snyder & Large 2005). The empirical findings of the project suggest that these well-established theories do not hold for the cognition of musical meter in Mali.The objective of the final phase of the project is to operationalize and to transculturally test, by means of a psychological experiment, the contradicting assumptions of swing timing patterns as metric structure versus isochrony as fundamental requirement for metric regularity. A classic example of the various laboratory studies of European and American subjects which deny the possibility of metrical swing timing patterns (Povel 1981) shall be replicated in Mali and with a reference group in Germany. This would intensely scrutinize the project's findings and put them into the context of the psychologically informed general theory of rhythm. An eventual transcultural differentiation of the general theory of rhythm would thus be perfectly arguable and communicable.

该项目研究非等时拍细分，或摆动定时模式。主要目标是了解这种节奏战略在西非的影响范围。该项目旨在将其发现超越非洲民族音乐学，传播到心理学和跨文化的节奏一般理论中。野外记录的时间计量分析表明，摇摆细分在西非的萨赫勒和大草原地区（马里，加纳北部）普遍存在，但在沿海地区（加纳南部）则不存在。在马里，它们的演奏非常灵活和精确，听众可以感知并在美学上更喜欢它们。它们与标准曲目稳定地联系在一起，并且具有很强的一致性；因此，它们似乎是公制系统的规范和组成部分。基于这些理由，该项目阐述了摆动细分作为度量时序模式的理论模型（Polak & London 2014）。在民族音乐学、音乐理论和音乐心理学中，摇摆节拍通常被认为是韵律脉搏和节奏结构的表达性变异（Clarke 1985）或参与性差异（Keil 1995）。因此，摇摆计时被视为对等周期性的偏离，重要的节拍理论认为等周期性代表了韵律规律性的基本要求（节拍器感和密度参考，韵律投影和韵律脉冲，节拍感应，内部时钟模型和绝对节奏感知，动态参与和神经振荡理论）；参见Waterman 1952， Kubik 1988, Arom 1984, Hasty 1997, Lerdahl & Jackendoff 1983, Desain & Honing 1999, Povel 1984, Povel & Essens 1985, Clarke 1987， Large & Jones和Snyder & Large 2005)。该项目的实证研究结果表明，这些成熟的理论并不适用于马里人对音律的认知。项目最后阶段的目标是通过心理实验，对摇摆时间模式作为韵律结构与等时性作为韵律规则的基本要求的矛盾假设进行操作和跨文化测试。在欧洲和美国进行的各种实验室研究中，有一个经典的例子否认了韵律摇摆计时模式的可能性（Povel 1981），应在马里和德国的一个参照小组进行复制。这将严格审查该项目的发现，并将其纳入心理学上的一般节奏理论。因此，节奏一般理论的最终跨文化分化将是完全有争议和可传递的。