Expressive microtimings and groove in Scottish Gaelic fiddle music

This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listen...

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Bibliographic Details
Main Author: Glen, Katherine Marshall
Language:English
Published: University of British Columbia 2015
Online Access:http://hdl.handle.net/2429/54477
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spelling ndltd-UBC-oai-circle.library.ubc.ca-2429-544772018-01-05T17:28:24Z Expressive microtimings and groove in Scottish Gaelic fiddle music Glen, Katherine Marshall This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.  Arts, Faculty of Music, School of Graduate 2015-08-17T17:46:07Z 2015-08-17T17:46:07Z 2015 2015-09 Text Thesis/Dissertation http://hdl.handle.net/2429/54477 eng Attribution-NonCommercial-NoDerivs 2.5 Canada http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ University of British Columbia
collection NDLTD
language English
sources NDLTD
description This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.  === Arts, Faculty of === Music, School of === Graduate
author Glen, Katherine Marshall
spellingShingle Glen, Katherine Marshall
Expressive microtimings and groove in Scottish Gaelic fiddle music
author_facet Glen, Katherine Marshall
author_sort Glen, Katherine Marshall
title Expressive microtimings and groove in Scottish Gaelic fiddle music
title_short Expressive microtimings and groove in Scottish Gaelic fiddle music
title_full Expressive microtimings and groove in Scottish Gaelic fiddle music
title_fullStr Expressive microtimings and groove in Scottish Gaelic fiddle music
title_full_unstemmed Expressive microtimings and groove in Scottish Gaelic fiddle music
title_sort expressive microtimings and groove in scottish gaelic fiddle music
publisher University of British Columbia
publishDate 2015
url http://hdl.handle.net/2429/54477
work_keys_str_mv AT glenkatherinemarshall expressivemicrotimingsandgrooveinscottishgaelicfiddlemusic
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