Figure 4 - uploaded by Mehmet Vurkaç
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Top: The 3-2 bossa clave. The onset shown with a triangle indicates how the last note of son can be delayed to obtain this form. Bottom: An arbitrary pattern in 2-3, illustrating that counting onsets does not always indicate clave sense.
Source publication
This article presents an in–depth study of the musical concept called clave direction. The significance and regulative role of clave and similar cyclical timelines in Afro–Latin music have been established by many scholars, including Ned Sublette, Tomás Cruz, H.W. Soebbing, Rebecca Mauleón– Santana, and Ronald Herder. Clave is typically identified...
Contexts in source publication
Context 1
... derive the bossa clave from the son clave (Figure 4), the last onset of the son clave (Figure 1) is delayed by one subdivision. Note that the sense of finality found in the Cuban son clave vanishes in the "wrap-around" feel of the Brazilian pattern. ...
Context 2
... finding the direction of the bossa clave, it is not sufficient to count three onsets in the first half and two in the second half because many examples like Figure 4 (bottom) can be generated with three onsets on the "2-side" and two onsets on the "3-side. " Besides, dividing the phrase in two and counting note onsets cannot be sufficient to identify implied direction because clave, as attested to in many sources, governs the timing and phrasing of all parts and all instruments. ...
Context 3
... resolving the overall clave direction effected by any pattern requires intuiting the relation between rhythms of interacting instruments, not counting notes. The standard approach would give the same clave direction (3-2) for the patterns in Figure 4. But the bottom figure is considered "crossed" (in the wrong clave direction) if used as an ostinato in any 3-2 instance of Afro-Latin music. ...
Context 4
... final examples are included to further demonstrate relative offbeatness, and to emphasize the close connection between the Afro-Latin rhythm patterns of different cultures. The top pattern (Figure 14) shows only one onset at the very end of the cycle breaking the eighth-note accent pattern. ...
Citations
... 27 Mauleón, R., (1997 Traditionally, the contextual rhythmic analysis of the clave son is based on dividing the 16-pulse cycle into two 8-pulse half cycles corresponding to the three-attack and two-attack portions, and subjecting the two parts to further analysis based on syncopation. However, Vurkaç, M., (2012), finds it more useful to partition the 16-pulse cycle into an inner part flanked by two outer parts, and analyzing the parts by means of off-beatness rather than syncopation. We shall consider the notion of off-beatness in Chapter 16. 1 Arom, S., (2009), p. 7. 2 Chemillier, M., (2002), p. 176 and Chemillier, M. & Truchet, C., (2003. ...
... Locke, D., (1982), provides a discussion on how important the principle of offbeat timing is in much of the sub-Saharan music. Vurkaç, M., (2011Vurkaç, M., ( , 2012, uses the offbeatness measure to analyze the directionality of timelines in a variety of Afro-Latin musics. 4 Handel, S., (1992). ...
Resumo | Este artigo versa sobre a agência rítmica individual e coletiva em experimentos que unem cultura e tecnologia, a partir da dança-música do Coco de Roda brasileiro. Cruzando metodologia metaperspectiva, tecnologia e teorias advindas dos campos da arte e da ciência, visamos contribuir para futuras proposições pedagógicas decoloniais em artes cênicas. Com base nos processos analisados, averiguou-se que a estrutura rítmica, a multimodalidade, a multicoordenação e a interação coletiva são marcadores da complexidade do Coco, ventilando-o como rico disparador de aprendizado, desde que devidamente contextualizado, num processo de tradução circunstanciado para a prática cênica. Abstract | This paper carries out a discussion on individual and collective rhythmic agency, through experiments that blend culture and technology, inspired by the dance-music of the Brazilian Coco de Roda. Crossing metaperspective, technology and theories from the domains of art and science, one aims to contribute to further decolonial pedagogical propositions in the performing arts. Based on the analyzed processes, it was verified that the rhythmic structure, multimodality, multicoordination and collective interaction are indicators of Coco's complexity, making it a rich trigger for learning, if it is properly contextualized, in a process of circumstantial translation into performing arts practice. KEYWORDS: Rhythm. Coco de Roda. Technology. Entrando en ritmo: experimentos tecnoculturales y reflexiones sobre la agencia rítmica en el Coco de Roda Resumen | Este trabajo aborda la agencia rítmica individual y colectiva, a través de experimentos que unen cultura y tecnología, a partir de la danza-música brasileña del Coco de Roda. Cruzando metodología metaperspectiva, tecnología y teorías de los campos del arte y la ciencia, el artículo pretende contribuir a futuras propuestas pedagógicas decoloniales en las artes escénicas. A partir de los procesos analizados, se constató que la estructura rítmica, la multimodalidad, la multicoordinación y la interacción colectiva son marcadores de la complejidad de Coco, convirtiéndolo en un rico disparador de aprendizajes, siempre que se contextualice adecuadamente, en un proceso de traducción circunstancial a la práctica escénica. PALABRAS CLAVE: Ritmo. Coco de Roda. Tecnología. Enviado em:
Este artigo versa sobre a agência rítmica individual e coletiva em experimentos que unem cultura e tecnologia, a partir da dança-música do Coco de Roda brasileiro. Cruzando metodologia metaperspectiva, tecnologia e teorias advindas dos campos da arte e da ciência, visamos contribuir para futuras proposições pedagógicas decoloniais em artes cênicas. Com base nos processos analisados, averiguou-se que a estrutura rítmica, a multimodalidade, a multicoordenação e a interação coletiva são marcadores da complexidade do Coco, ventilando-o como rico disparador de aprendizado, desde que devidamente contextualizado, num processo de tradução circunstanciado para a prática cênica.
This article explores the interactions of metric dissonance with phrase structure and form in rock music, offers categorization schemes for common formal functions of metric dissonance, and presents several corpus studies of metric dissonance in the works of single artists and bands as well as in a cross-section of rock songs. These data allow for comparative analyses of the metric profile of a given artist or band, suggest genre correlations with particular metric patterns, and demonstrate a trend of increasing metric dissonance throughout the history of rock.
La clave rítmica suele identificarse como un patrón de ataques presente en toda una serie de géneros musicales, que se inserta en el marco de una territorialidad a la que se conceptualiza como ‘atlántico negro’ (Farris Thompson 1984; Gilroy 1993). En la música latinoamericana se la reconoce y describe en géneros tales como el son cubano, el candombe uruguayo o el samba brasilero, entre otros. Más allá de los modos en que es conceptualizada y de las características propias de cada género, la organización temporal de una clave rítmica, entendida como un componente organizador de la temporalidad de diversos géneros musicales, presenta una serie de pulsaciones no isócronas.
En este trabajo, se pone en consideración el modo en el que la clave rítmica dialoga con los postulados de las teorías métricas de la música occidental, las que conciben a la estructura métrica como una organización jerárquica en la que coexisten diferentes niveles de pulsación isócronos que presentan una alternancia de tiempos fuertes y débiles. Cualquier evento que se aparte de esta condición es considerado como un desajuste, ambigüedad o disonancia métrica (Lerdhal y Jackendof 1983; London 2004; Krebs 1987, 1999). Esto da lugar a ciertas inconsistencias vinculadas con el abordaje de estilos de música en los que la ‘ambigüedad’ métrica es una condición inherente. Según estas teorías, todo evento que contraría el esquema de acentuación constituye un ‘desplazamiento métrico’. Desde esta perspectiva, la clave rítmica constituiría un evento de este tipo, lo que lleva a preguntarse ¿Cómo es posible que la temporalidad de una obra musical, como es el caso de las músicas latinoamericanas, se estructure en base a un desplazamiento o ambigüedad métrica? Si esta ambigüedad se convierte en un patrón organizador ¿por qué pensarla como desvío? Se propone re-jerarquizar el lugar que ocupa la clave rítmica en el marco de la estructura métrica atendiendo al hecho de que se manifiesta –en términos de Lino Neira (2002) - como una ‘guía metrorrítmica’ que organiza la comprensión de la temporalidad musical.
In this paper, a novel multilayer backpropagation (BP) neural network model is proposed based on conjugate gradient (CG) method with generalized Armijo search. The presented algorithm requires low memory and performs fast convergent speed in practical applications. One reason is that the constructed conjugate direction guarantees the sufficient descent behavior in minimizing the given objective function. The other stems from the fact that the generalized Armijo method can automatically determine a more suitable learning rate in each training epoch. As a theoretical contribution, two deterministic convergent results, weak and strong convergence, have been detailedly proved under more relaxed assumptions. The weak convergence means that the norm of gradient of the objective function tends to zero. For the strong convergence, it represents that the sequence of weight vectors approaches a fixed point. To support the theoretical results, some illustrated simulations have been done on various benchmark datasets.
