6533b82efe1ef96bd12927d1

RESEARCH PRODUCT

Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture

Emmanuel BigandFilippo Bonini-baraldiThierry Pozzo

subject

lcsh:M1-5000Range (music)coordination[ INFO.INFO-TS ] Computer Science [cs]/Signal and Image Processingjazz[INFO.INFO-TS] Computer Science [cs]/Signal and Image Processing[ SHS.MUSIQ ] Humanities and Social Sciences/Musicology and performing artsmedia_common.quotation_subjectSynchronizationperceptionMotion capture050105 experimental psychologyViolinGestureRhythm[INFO.INFO-TS]Computer Science [cs]/Signal and Image ProcessingPerceptionmotion capture0501 psychology and cognitive sciences0601 history and archaeologyEthnomusicologyAksakmedia_commonmelodyCommunication060101 anthropology[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing artslcsh:Musicbusiness.industry05 social sciences06 humanities and the artsArt[SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing artsDuration (music)performing musiciansonset asynchroniesgestureafrican-musicpiano performancebusinessMotion captureaksaksynchronizationmeterPeriod (music)Gestureparticipatory discrepancies

description

<p>Techniques based on motion capture can be useful in <span><span style="font-size: x-small;">analyzing a wide range of musical styles and practices</span></span>: in this case, Transylvanian village music. We focused on a repertoire known as “Gypsy songs of sorrow”, played by professional Gypsy musicians during parties and celebrations of their own community. Two parameters were the object of study: rhythmic duration, and synchronization between musicians (a violinist and a viola player). Results show that rhythm is a local variant of <em>aksak</em> and is based on two duration units (S=short, L=long) which respect the formula 2:3 < S:L < 3:4. Performances are characterized by large variations of the S:L ratio from period to period, which have an expressive function. Tracking the bow’s movements with motion capture techniques allowed to show that these variations are related to a swinging interpretation, which also involves a voluntary asynchrony between the two musicians.</p><p> </p><p>Supplemental examples for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here</a>.</p>

https://hal-univ-bourgogne.archives-ouvertes.fr/hal-01337247