Topic
Polyrhythm
About: Polyrhythm is a research topic. Over the lifetime, 85 publications have been published within this topic receiving 1469 citations.
Papers published on a yearly basis
Papers
TL;DR: It is argued that musical rhythm exploits the brain’s general principles of prediction and proposed that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms.
Abstract: Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of predictive coding, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Third, we develop a predictive coding model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard (‘rhythm’) and the brain’s anticipatory structuring of music (‘meter’). Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the predictive coding theory. We argue that musical rhythm exploits the brain’s general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms.
268 citations
TL;DR: The Black Atlantic rhythm is founded on the idea of groove or feel, which forms a kinetic framework for reliable prediction of events and time pattern communication, its power cemented by repetition and engendered movement as discussed by the authors.
Abstract: The "Black Atlantic" rhythmic diaspora, be it realized in jazz, blues, gospel, reggae, rock, candomblee, cumbia, hip-hop or whatever, seems to have widespread capacity to facilitate dance, engagement,
social interaction, expression and catharsis. This article examines the reasons for this. Black Atlantic rhythm is founded on the idea of groove or feel, which forms a kinetic framework for reliable prediction
of events and time pattern communication, its power cemented by repetition and engendered movement. Overlaid on this are characteristic devices that include syncopation, overlay,displacement, off-beat phrasing,
polyrhythm/polymeter, hocketing, heterophony, swing, speech-based rhythms, and call-and-response. Using an evolutionary argument, I point out here that nearly all of these have at their heart the establishment
of perceptual multiplicity or rivalry, affecting expectation, which acts as either a message or a message enhancement technique (via increased engagement and focusing of attention), or both. The causal
path for the remaining devices is based on adopting structures shared with speech, notably prosody, conversational interaction, and narrative. Several examples illustrate how, particularly in jazz and jazz-related
forms, extensions and relatively complex creative adaptations of traditional African and African diasporic rhythmic techniques are a natural consequence of a culture of questioning and reflection that encompasses
maintenance of historical reference and accommodation to innovation.
195 citations
TL;DR: A model of polyrhythm production is proposed that involves a hierarchical timing system that assumes a single mechanism for the timing and serial ordering of responses and showed that Ss adopted a hierarchical form of integrated motor organization that was consistent across S groups, polyrhythms, and hand arrangements.
Abstract: Previous research has shown that there are strong constraints on the concurrent performance of nonharmonically related motor sequences such as polyrhythms. A model of polyrhythm production is proposed that involves a hierarchical timing system. The model assumes a single mechanism (a counter) for the timing and serial ordering of responses. Predictions derived from the model were tested in an experiment in which skilled (musically trained) and unskilled Ss attempted to reproduce polyrhythms of varying complexity. The results agreed with the model's predictions and showed that Ss adopted a hierarchical form of integrated motor organization in which movements of the slow hand were subordinate to movements of the fast hand. This strategy was consistent across S groups, polyrhythms, and hand arrangements.
131 citations
TL;DR: The results demonstrate the value of a hierarchic analysis of rhythm and show that the temporal interval between elements of a pulse train determined whether that pulse train would serve as the background beat.
Abstract: Subjects tapped the perceived meter or beat of polyrhythms that consisted of two conflicting pulse trains (e.g., three elements/repetition vs. five elements/repetition). The meter interpretation was based on the global rhythmic properties of a polyrhythm as well as on the temporal properties of each pulse train. The rhythmic properties of a polyrhythm restricted the range of meter interpretations. Some polyrhythms were overdetermined and allowed but one meter, while others were more ambiguous and allowed several meters. For all polyrhythms, however, the temporal interval between elements of a pulse train determined whether that pulse train would serve as the background beat. These results demonstrate the value of a hierarchic analysis of rhythm
83 citations
1 Jan 1991
81 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 5 |
| 2020 | 3 |
| 2019 | 5 |
| 2017 | 5 |
| 2016 | 1 |
| 2015 | 3 |