By Tiger C. Roholt
Written through an skilled drummer and thinker, Groove is a brilliant and interesting examine of 1 of music's so much valuable and comparatively unexplored points. Tiger C. Roholt explains why grooves, that are solid in music's rhythmic nuances, stay hidden to a few listeners. He argues that grooves are usually not graspable throughout the mind nor via mere listening; quite, grooves are disclosed via our physically engagement with tune. We snatch a groove physically through relocating with music's pulsations. by way of invoking the French thinker Maurice Merleau-Ponty's thought of "motor intentionality," Roholt exhibits that the "feel" of a groove, and the certainty of it, are facets of a coin: to "get" a groove simply is to appreciate it physically and to consider that embodied comprehension.
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Translated by way of Dorion Cairns.
The "Cartesian Meditations" translation is predicated totally on the published textual content, edited via Professor S. Strasser and released within the first quantity of Husserliana: Cartesianische Meditationen und Pariser Vorträge, ISBN 90-247-0214-3. so much of Husserl's emendations, as given within the Appendix to that quantity, were taken care of as though they have been a part of the textual content. The others were translated in footnotes.
Secondary attention has been given to a typescript (cited as "Typescript C") on which Husserl wrote in 1933: "Cartes. Meditationen / Originaltext 1929 / E. Husserl / für Dorion Cairns". Its use of emphasis and citation marks conforms extra heavily to Husserl’s perform, as exemplified in works released in the course of his lifetime. during this admire the interpretation frequently follows Typescript C. in addition, a number of the version readings n this typescript are optimum and feature been used because the foundation for the interpretation. the place that's the case, the broadcast textual content is given or translated in a foornote.
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Vorbemerkung Wo in den folgenden Manuskriptbeschreibungen nichts anderes vermerkt ist, handelt es sich immer um in Tinte geschriebene Stenogramme (Gabels berger method) auf Blattern vom structure ZI,5 X I7 cm. In den Textkritischen Anmerkungen finden folgende Abkurzungen Ver wendung: Bl. = Blatt; Ein/. = Einfugung (Zusatz, fur den vom Ver/.
Written through an skilled drummer and thinker, Groove is a bright and intriguing learn of 1 of music's so much important and comparatively unexplored features. Tiger C. Roholt explains why grooves, that are solid in music's rhythmic nuances, stay hidden to a couple listeners. He argues that grooves usually are not graspable throughout the mind nor via mere listening; particularly, grooves are disclosed via our physically engagement with track.
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Additional resources for Groove: A Phenomenology of Rhythmic Nuance
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? Has our task of making sense of the phenomenon of groove already been completed? After all, we have specified, within the general music-theoretic framework, the timing nuances drummers perform in order to create a backward-leaning and forward-leaning swing groove—isn’t this an adequate account of at least those grooves?
Take color experience. There is a plenitude of detail here that goes far beyond our concepts. Humans can experience an enormous number of subtly different colors, something on the order of 10 million, according to some estimates. But we have names for only a few of these colors, and we also have no stored representations in memory for most colors either. 17 The import of Raffman’s book is that she applies such observations to the consideration of music perception. 3 Timing nuances With the general notion of a musical nuance in tow, we can add some clarity to the Beatles example.
J. ” Schemas are mental organizing structures that are formed through repeated exposure to Musical Nuance 21 one’s culture’s music; they are conceived as enduring, long-term representations. Schemas act as grids or templates that sort the incoming pitch sensations into type-identifiable categories. That is to say, schemas transform our initial sensations into pitch-time events. They transform uncategorized nuance pitches into tokens of chromatic pitches, such as C-natural, F-sharp, etc. e. ) of which we are conscious but have not yet schematized.