Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music. The main purpose of the book is to investigate how technological mediation - in the age of digital music production tools - has influenced the design of rhythm at the micro level. Through close readings of technology-driven popular music genres, such as contemporary R&B, hip-hop, trip-hop, electro-pop, electronica, house and techno, as well as played folk music styles, the book sheds light on how investigations of the musical-temporal relationships of groove-based musics might be fruitfully pursued, in particular with regard to their micro-rhythmic features. This book is based on contributions to the project Rhythm in the Age of Digital Reproduction (RADR), a five-year research project running from 2004 to 2009 that was funded by the Norwegian Research Council.
Contents: Introduction: rhythm in the age of digital reproduction, Anne Danielsen; Part I Microrhythm and Rhythmic Structure: Here, there and everywhere: three accounts of pulse in D'Angelo's 'Left and Right', Anne Danielsen; Microtiming and rhythmic structure in clave-based music: a quantitative study, Ives Chor; Simultaneous rhythmic events with different schematic affiliations: microtiming and dynamic attending in two contemporary R&B grooves, Kristoffer Carlsen and Maria A.G. Witek; The concept of rhythmic tolerance: examining flexible grooves in Scandinavian folk fiddling, Mats Johansson; Timbral relationships and microrhythmic tension: shaping the groove experience through sound, Kristoffer Yddal Bjerke. Part II Groove and Embodiment: Rhythm/body/motion:Tricky's contradictory dance music, Eric F. Clarke; Moved by the groove: bass drum sounds and body movements in electronic dance music, Hans T. Zeiner-Henriksen; Slave to the supradiagetic rhythm: a microrhythmic analysis of creaky voice in Sia's 'Breathe Me', Serge Lacasse. Part III Mediation and Music Production: Opaque mediation. The cut-and-paste groove in DJ Food's 'Break', Ragnhild Brovig-Hanssen; Microsampling. From Akufen's Microhouse to Todd Edwards and the sound of UK garage, Paul Harkins; Real and unreal performances: the interaction of recording technology and rock drum kit performance, Simon Zagorski-Thomas; Composing a performance: the analogue experience in the age of digital (re)production, Tellef Kvifte; Bibliography; Index.
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