183:
22:
177:
148:
It has also been shown empirically that simple rhythms are often performed differently from how they are notated. This aspect of rhythm production is at odds with a feature of rhythm perception—namely, that rhythms made up of complex ratios are simplified by listeners to consist of simple ratios. For
137:(not called for explicitly in the musical score) at the end of a phrase to convey a structural event (in this case, a phrase ending). Expressive timing has been shown to operate in different musical styles. In
153:(IOIs) are 700 – 300 – 400 milliseconds (ratios of 7:3:4), a listener might code the rhythm according to the simpler ratios 2:1:1. This is known as
39:
105:
86:
58:
266:
142:
43:
182:
65:
207:
72:
32:
233:
54:
225:
172:, notice how their actual durations fluctuate above and below the sextuplet's metronomic value of 162 ms.
121:
refers to the musical phenomenon whereby a performer introduces subtle temporal nuances to an otherwise
165:
154:
79:
242:
168:" 2:42–2:45.) The Y-axis plots interonset intervals. Even though the notes are nominally sex
260:
211:
161:
21:
201:
150:
134:
176:
122:
246:
160:
The following figure graphs timing data for a short phrase performed by
169:
138:
125:("perfectly" timed) interpretation. This is also referred to as
15:
149:
example, when presented with a sequence of sounds whose
141:, expressive timing plays an important role in how "
133:. For instance, a pianist might introduce a slight
46:. Unsourced material may be challenged and removed.
8:
106:Learn how and when to remove this message
194:
7:
44:adding citations to reliable sources
14:
224:Benadon, Fernando (Winter 2009).
181:
175:
20:
31:needs additional citations for
1:
283:
234:Perspectives of New Music
214:: "Like Someone in Love"
267:Articulations (music)
247:10.1353/pnm.2009.0019
241:(1): 135–164 (147).
166:Like Someone in Love
151:interonset intervals
40:improve this article
145:" notes are timed.
55:"Expressive timing"
119:Expressive timing
116:
115:
108:
90:
274:
251:
250:
230:
226:"Gridless Beats"
221:
215:
204:
199:
185:
179:
111:
104:
100:
97:
91:
89:
48:
24:
16:
282:
281:
277:
276:
275:
273:
272:
271:
257:
256:
255:
254:
228:
223:
222:
218:
202:
200:
196:
191:
180:
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
280:
278:
270:
269:
259:
258:
253:
252:
216:
193:
192:
190:
187:
114:
113:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
279:
268:
265:
264:
262:
248:
244:
240:
236:
235:
227:
220:
217:
213:
212:John Coltrane
209:
205:
198:
195:
188:
186:
184:
178:
173:
171:
167:
163:
162:John Coltrane
158:
156:
152:
146:
144:
140:
136:
132:
128:
124:
120:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
238:
232:
219:
197:
174:
159:
147:
130:
126:
118:
117:
102:
96:January 2018
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
131:microrhythm
127:microtiming
189:References
155:quantizing
135:ritardando
123:metronomic
66:newspapers
261:Category
208:YouTube
170:tuplets
80:scholar
82:
75:
68:
61:
53:
229:(PDF)
203:Audio
143:swing
87:JSTOR
73:books
139:jazz
59:news
243:doi
206:on
129:or
42:by
263::
239:47
237:.
231:.
210:,
164:("
157:.
249:.
245::
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.