{"@context":{"@vocab":"https://cir.nii.ac.jp/schema/1.0/","rdfs":"http://www.w3.org/2000/01/rdf-schema#","dc":"http://purl.org/dc/elements/1.1/","dcterms":"http://purl.org/dc/terms/","foaf":"http://xmlns.com/foaf/0.1/","prism":"http://prismstandard.org/namespaces/basic/2.0/","cinii":"http://ci.nii.ac.jp/ns/1.0/","datacite":"https://schema.datacite.org/meta/kernel-4/","ndl":"http://ndl.go.jp/dcndl/terms/","jpcoar":"https://github.com/JPCOAR/schema/blob/master/2.0/"},"@id":"https://cir.nii.ac.jp/crid/1362262943521999744.json","@type":"Article","productIdentifier":[{"identifier":{"@type":"DOI","@value":"10.1525/mp.2002.19.3.333"}},{"identifier":{"@type":"URI","@value":"https://online.ucpress.edu/mp/article-pdf/19/3/333/563691/mp_2002_19_3_333.pdf"}},{"identifier":{"@type":"NAID","@value":"30010440955"}}],"dc:title":[{"@value":"Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern"}],"description":[{"type":"abstract","notation":[{"@value":"<jats:p>The timing in jazz ensemble performances was investigated in order to approach the question of what makes the music \"swing.\" One well-known aspect of swing is that consecutive eighth notes are performed as long-short patterns. The exact duration ratio (the swing ratio) of the long-short pattern has been largely unknown. In this study, the swing ratio produced by drummers on the ride cymbal was measured. Three well-known jazz recordings and a play-along record were used. A substantial and gradual variation of the drummers' swing ratio with respect to tempo was observed. At slow tempi, the swing ratio was as high as 3.5:1, whereas at fast tempi it reached 1:1. The often-mentioned \"triple-feel,\" that is, a ratio of 2:1, was present only at a certain tempo. The absolute duration of the short note in the long-short pattern was constant at about 100 ms for medium to fast tempi, suggesting a practical limit on tone duration that may be due to perceptual factors. Another aspect of swing is the soloist's timing in relation to the accompaniment. For example, a soloist can be characterized as playing \"behind the beat.\" In the second part, the swing ratio of the soloist and its relation to the cymbal accompaniment was measured from the same recordings. In slow tempi, the soloists were mostly playing their downbeats after the cymbal but were synchronized with the cymbal at the off-beats. This implied that the swing ratio of the soloist was considerably smaller than the cymbal accompaniment in slow tempi. It may give an impression of \"playing behind\" but at the same time keep the synchrony with the accompaniment at the off-beat positions. Finally, the possibilities of using computer tools in jazz pedagogy are discussed.</jats:p>"}]}],"creator":[{"@id":"https://cir.nii.ac.jp/crid/1582543026193008640","@type":"Researcher","foaf:name":[{"@value":"Anders Friberg"}]},{"@id":"https://cir.nii.ac.jp/crid/1380016870280464128","@type":"Researcher","foaf:name":[{"@value":"Andreas Sundström"}]}],"publication":{"publicationIdentifier":[{"@type":"PISSN","@value":"07307829"}],"prism:publicationName":[{"@value":"Music Perception"}],"dc:publisher":[{"@value":"University of California Press"}],"prism:publicationDate":"2002","prism:volume":"19","prism:number":"3","prism:startingPage":"333","prism:endingPage":"349"},"reviewed":"false","url":[{"@id":"https://online.ucpress.edu/mp/article-pdf/19/3/333/563691/mp_2002_19_3_333.pdf"}],"createdAt":"2004-02-04","modifiedAt":"2022-04-29","relatedProduct":[{"@id":"https://cir.nii.ac.jp/crid/1360025430209053312","@type":"Article","resourceType":"学術雑誌論文(journal article)","relationType":["isReferencedBy"],"jpcoar:relatedTitle":[{"@value":"Spectral consistency in sound sequence affects perceptual accuracy in discriminating subdivided rhythmic patterns"}]},{"@id":"https://cir.nii.ac.jp/crid/1390282680056086272","@type":"Article","resourceType":"学術雑誌論文(journal article)","relationType":["isReferencedBy"],"jpcoar:relatedTitle":[{"@language":"en","@value":"Effects of swing on music appreciation: A study on perceived impressions of various swing ratios"},{"@language":"ja","@value":"音楽鑑賞におけるスウィングの効果――リズム聴取実験による検討――"},{"@language":"ja-Kana","@value":"オンガク カンショウ ニ オケル スウィング ノ コウカ : リズム チョウシュ ジッケン ニ ヨル ケントウ"}]},{"@id":"https://cir.nii.ac.jp/crid/1520009409521357824","@type":"Article","relationType":["isCitedBy"],"jpcoar:relatedTitle":[{"@value":"ポップス系ドラム演奏の打点時刻及び音量とグルーブ感の関連について(第2報)"},{"@language":"ja-Kana","@value":"ポップスケイ ドラム エンソウ ノ ダテン ジコク オヨビ オンリョウ ト グルーブカン ノ カンレン ニ ツイテ ダイ2ホウ"}]},{"@id":"https://cir.nii.ac.jp/crid/1520009409522125440","@type":"Article","relationType":["isCitedBy"],"jpcoar:relatedTitle":[{"@value":"ポップス系ドラム演奏の打点時刻及び音量とグルーブ感の関連について"},{"@language":"ja-Kana","@value":"ポップスケイ ドラム エンソウ ノ ダテン ジコク オヨビ オンリョウ ト グルーブカン ノ カンレン ニ ツイテ"}]},{"@id":"https://cir.nii.ac.jp/crid/1520572359472035328","@type":"Article","relationType":["isCitedBy"],"jpcoar:relatedTitle":[{"@value":"ドラム演奏のグルーヴ感の解析"},{"@language":"ja-Kana","@value":"ドラム エンソウ ノ グルーヴカン ノ カイセキ"}]}],"dataSourceIdentifier":[{"@type":"CROSSREF","@value":"10.1525/mp.2002.19.3.333"},{"@type":"CIA","@value":"30010440955"},{"@type":"CROSSREF","@value":"10.1371/journal.pone.0303347_references_DOI_FZCuWnnfJDGHxame0vunyqB7xrm"},{"@type":"CROSSREF","@value":"10.4992/jjpsy.84.119_references_DOI_FZCuWnnfJDGHxame0vunyqB7xrm"}]}