MPATC-GE 2042: Psychology of Music. Citation and Reference Style Rhythm and Meter

Transcription

1 MPATC-GE 2042: Psychology of Music Citation and Reference Style Rhythm and Meter

2 APA citation style APA Publication Manual (6 th Edition) will be used for the class. More on APA format can be found in the Project Guidelines and at these links:

3 APA reference format The following are some examples of references in APA format (journal article by one author, journal article by multiple authors, a book, and an edited volume): Krumhansl, C. L. (2000). Tonality Induction: A Statistical Approach Applied Cross-Culturally. Music Perception, 17(4), Bigand, E., Madurell, F., Tillmann, B., & Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25, Sloboda, J. (2005). Exploring the Musical Mind. New York: Oxford University Press. Poeppel, D., Overath, T., Popper, A. N., & Fay, R. R. (Eds.). (2012). The Human Auditory Cortex (Vol. 43). New York, NY: Springer.

4 Some examples: Citing references in your text Cat owners have been found to own houses with smaller yards than dog owners (Smith, 1990). Smith (1990) showed that cat owners tend to have smaller yards than dog owners. Cat owners feed their pets less table food than dog owners do (Jones & Walker, 2007). A study by Jones and Walker (2007) indicated that cat owners feed their pets less table food than dog owners do. - If a reference has one or two authors, they are always listed.

5 More examples: Citing references in your text The lifestyle of pet owners is significantly influenced by the type of animal they own (Jones & Walker, 2007; Smith, 1990; Zils, 2001, 2005). First citation of three or more authors: The percentage of vegetarians who own dogs is lower than the percentage of vegetarians who own cats (Mercer, Baker, Taylor, & Raine, 1967). Pet owners with dogs also have pet birds more often than cat owners (Mercer et al., 1967). Mercer et al. (1967) found that dog owners tend to have keep pet birds more often than cat owners. - The first time you cite a paper with 3-5 authors, you list all of their names; subsequent citations include just the first author followed by et al. - For 6+ authors, you always only list the first author s name followed by et al.

6 APA citations in text: Things to note Parenthetical vs. non-parenthetical references Differences between single vs. multiple citations grouped together in the text Use of and versus & When to use et al. and when to list all authors Grouping multiple citations is done alphabetically by author name, not date Differences between citations in text and listing of authors in the bibliography

7 Annotated bibliography assignment: Due October 13 at 11:55pm Step 1 As a first step, each student, on his/her own, is required to come up with a minimum of 10 references with the following criteria: At least 8 of the references must be peer-reviewed journal articles. The other references can either be additional journal articles or other reference types such as book chapters or books. The books must be fairly specific to your topic area and not just general references (too general would be our Thompson textbook). No references may be magazine/press articles or non-academicjournal websites such as Wikipedia.

8 Annotated bibliography assignment: Step 2 Your group will then meet and agree on a final set of 20 references with the following requirements: At least 15 of the references must be peer-reviewed journal articles. The other references can either be additional journal articles or other reference types such as book chapters or books. The books must be fairly specific to your topic area and not just general references (too general would be our Thompson textbook). No references may be magazine/press articles or non-academic-journal websites such as Wikipedia. The 20 references described above are the minimum, but you may have as many additional references as you like. At least 10 references on your list must be relatively recent (2006 or later). Include your project idea at the top of your bibliography. All references must be in APA format.

9 Annotated bibliography assignment: Step 3 The final 20 references will then be distributed evenly among group members for annotation purposes: each student will write a paragraphlong summary/description. These annotations must include the following: A very concise summary of the topic the paper addresses. A very concise description of the main contributions/conclusions of the paper. Why/how the paper is relevant to your research topic (e.g., why specifically is it useful?) Final requirements: For this assignment, you must group the references by student. For the final report, references will be listed in alphabetical order by author last name. At the top of your bibliography, include a brief description of your topic area and working research question.

10 London (2012), Chapters 1 & 2 We synchronize our attentional energies to the rhythms of the world around us Entrainment is a syncing (phase-locking) response to a periodic stimuli London s main point: meter is related to, and may be a complex form of, entrainment behavior Entrainment leads us to focus our attention to the most salient temporal locations for events

11 London (2012), continued Subjective rhythmization - Our propensity to impose a sense of accent or grouping on a series of identical tones or clicks Meter is an entrainment hierarchy The tactus (pulse) is the primary metrical level Metric entrainment can occur only with respect to periodicities in a range from about 100 ms to about 5 or 6 seconds We may grasp a sense of beat or tempo in a subrange of ms ( BPM) to about 2 seconds (30 BPM), although we have a preference for periodicities around 600 ms (100 BPM) London s hypothesis: beats and subdivisions have a special relationship; in order to hear a beat there must also be at least a latent sense of subdivision

12 Article discussion: Friberg & Sundström, 2002 Discussion leaders: Chi So, Natalie Wu, and Daniel Zhao

13 Reading questions: Methodology To have such specific research and ratio findings, why weren't the "recordings" of the same song? Yes, entire albums were used and those 13 or so songs were all used (minus ballads), but to create a more accurate analysis, shouldn't all the songs be the same arrangement? Different jazz arrangements produce different jazz solos. Yes, as the ratios got smaller, the tempi got faster, but different genres of jazz also play a huge role in how the solos sound (Nola v. Paris v. Chicago v. Havana, etc) - different sounds, different grooves, different swing patterns. Well known performers or not, shouldn't they be of the same song, not just arbitrary solos that a producer saw fit to put on a record (live recordings aren't 100% live...)? It also talks about how they analyzed a Coltrane album that wasn't live but all the others were??? This throws a wrench into the analysis. What if Coltrane used a click? Or how many takes did the drummer lay down? (Blake)

14 Reading questions: Methodology In jazz playing, it is common to mix a variety of rhythms within a tune, especially in a solo. For example, solos may include passages of straight sixteenth notes, triples, straight or swung eighth notes, and plenty of phrases with very different note lengths. Was the data in this study affected by not accounting for this, and moreover, should it be considered separate from the swing style or a part of it? (Jason S.) How did swing evolve over time; i.e., would analysis of earlier jazz recordings (Louis Armstrong s groups from the 20s, Jelly Roll Morton, Ellington, even Charlie Parker modern but still earlier than any of the recordings analyzed in the article) yield similar results? (Michael)

15 Reading questions: Delaying beats Jazz music normally has a strong sense of "rhythm" or "groove", which may be the reason that drummers are always an important part in Jazz performances. In classical music, the melody part is often played before the accompaniment; on the other hand, the soloist often play after the drum beat in a Jazz performance. Could "making the drums sound like it happens before the melody" make the music more Jazz-sounding? (since Jazz music has a strong sense of groove). (Taihua) Regarding the soloists tendency to delay the strong beat note, and keeping in mind the cited example of melody onsets preceding accompaniment in classical music, could backwards masking be a plausible explanation as to why the melody is still being somewhat emphasized? (Jorge)

16 Reading questions: Instrument onsets In this study, it can be understood that drums were ahead of the other instruments because they controlled the rhythm of the music. However, why was the bass behind the piano? I would think the bass should be the second instrument in leading the music. (Vincent)

17 Reading questions: Style If this study was done on a larger sample size, would the findings show trends for different schools of ratio. In other words, would a few different styles and tendencies emerge? (Victoria) Although the author performed an analysis on different tempi, the drummers are perhaps considerably influenced by the style of the piece being play. Could a study on a piece with the same jazz style reveal analogous results but sub-genre dependent? (Ernesto)

18 Reading questions: Pedagogy and learning While understanding the need to refine a pedagogy for swing patterns by which jazz students can comprehend the form, might the deconstruction of master recordings, and subsequent presentation of criteria or rules for the form, actually serve to impede students creative freedom and ingenuity (from which jazz ensues) in approaching their playing? (John) What is the learning curve for internalizing these standard swing ratios? The results show that each performer maintained a strikingly similar swing ratio within a given tempo, promoting the idea that the swing ratio variance is a rhythmic-grammatical feature, rather than a question of style. Given the researchers' interest in pedagogy, how much of this is actually possible to learn and practice, as suggested with a drum machine? As discussed in previous weeks, is there a critical period for internalizing these patterns did these jazz greats studied here start learning at a very young age? (Kyle)

19 Reading questions: Learning and pedagogy The results from the study led Friberg and Sundstrom to assert that the musicians that participated in each of the excerpts seem to follow a general pattern, before suggesting, "It might be advantageous to try to learn that pattern and make conscious deviations from it in order to change the feel." (345) Would learning that pattern help or hinder the improvisational aspect prevalent in jazz? (Sarah) The article suggests that based on the drummers' swing-ratio being dependent on tempo, that this "tempo curve" should be included in the pedagogy for jazz drummers. From the data, what pedagogy recommendations might we recommend for jazz soloists? For example, does the typically high standard deviation in swing ratio relative to tempo indicate that swing ratio should be fluid within a jazz solo? (Jason S.)

20 Reading questions: Tempo perception Both the Jazz study and the London reading reference this idea of tempo playing a key role in our perceptions of subdivisions, beats, and performance of swing ratio. Sometimes, based on my level of energy, music I am listening to may seem faster or slower, is this a phenomenon that may have played a role in the Jazz study, or is the relationship between tempo and perception deeper and unaffected? (Ned)

21 Reading questions: Subject background The Jazz study notes that its drummers are all well known/established players with distinguishable playing styles - it would be nice of them to elaborate on how they were distinguishable if the study later goes on to conclude common patterns of timing. Might less experienced Jazz drummers have exhibited slightly different results? It stands to reason the established drummer participants would already be familiar with the popular jazz songs - what about jazz players who had never heard them before? (Ned)

22 Reading questions: Results and thoughts Why has the idea of swing feel equating with triplet feel been so prevalent? The reluctance of many jazz musicians to attempt a definition of swing (as with Louis Armstrong s famous quote If you have to ask ) seems to make more sense after reading this article but it s also hard to see how these findings (larger ratios at slow tempi, evening out at faster speeds) went unnoticed, or were wholly internalized /not realized consciously, by jazz musicians and pedagogues until the 2000s. Along similar lines, I would ask how true the notion of the rhythm section, particularly the bass and drums, as the rhythmic rock of an ensemble really is F+S s findings about the bass player consistently playing behind the beat and the tendency for songs to speed up as they go on are surprising to me, I had always thought of the bass and drums as consistent (on at least downbeats/quarter notes), allowing the other ensemble members freedom, playing off this unwavering consistency of the rhythm section. (Michael)