By Tiger C. Roholt
Written by way of an skilled drummer and thinker, Groove is a vibrant and intriguing research of 1 of music's so much critical and comparatively unexplored elements. Tiger C. Roholt explains why grooves, that are solid in music's rhythmic nuances, stay hidden to a couple listeners. He argues that grooves should not graspable in the course of the mind nor via mere listening; quite, grooves are disclosed via our physically engagement with song. We clutch a groove physically by means of relocating with music's pulsations. by means of invoking the French thinker Maurice Merleau-Ponty's thought of "motor intentionality," Roholt indicates that the "feel" of a groove, and the knowledge of it, are aspects of a coin: to "get" a groove simply is to realize it physically and to suppose that embodied comprehension.
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Additional resources for Groove: A Phenomenology of Rhythmic Nuance
In addition, it is by focusing upon the feel (rather than the nuances themselves) that musicians determine whether or not they are accomplishing their goals. These effects are not only Musical Nuance 41 the objectives of performing nuances in the first place, they ground musicians’ evaluations of their own performances. So, what can be said to the person who is inclined to believe that a scientific specification of nuances just is a clarification of groove? Once we realize that the dominant aspect of groove is the nuance’s effect (the feel), we must examine the relationship between nuances and their effects.
In other words, hold my hand. ”23 The nuance level helps us to understand why listeners can be so enthralled with music that seems very basic from a music-theoretic perspective, and why musicians invest so much time perfecting seemingly simple parts. Regarding groove specifically, Vijay Iyer writes, 26 Groove “music that grooves can sustain interest or attention for long stretches of time to an acculturated listener, even if ‘nothing is happening’ on the musical surface. ”24 Is a specification of the nuances a clarification of the groove?
Thus, this analytical approach to clarifying nuances, the elements of groove, comes with its own ineffability problem. 4). It is important that we are obtaining this clarity in the right domain, so to speak. We are not attempting to clarify timing nuances by measuring them but by describing perceptual experiences. This is to begin to leave the analytical approach behind. The topic of indirect description leads us to a consideration of the effects of nuances, nuance objectives. 5). Musicians perform nuances for a reason: namely, to achieve certain effects.