Advertisement

Cross-Cultural Comparisons of Unconstrained Body Responses to Argentinian and Afro-Brazilian Music

  • Luiz NavedaEmail author
  • Isabel C. Martínez
  • Javier Damesón
  • Alejandro Pereira Ghiena
  • Romina Herrera
  • Manuel Alejandro Ordás
Conference paper
Part of the Lecture Notes in Computer Science book series (LNCS, volume 9617)

Abstract

A number of evidences show that musical cultures differ in a number of aspects including cognitive priorities, musical function and relationships between music, movement and dance. From the methodological point of view, it is very difficult to describe the understanding of rhythm structures: tapping methods are limiting, surveys are very subjective and analyses of performances are ambiguous and multivariate. In this study we realize cross-cultural comparisons between unconstrained movement responses of Brazilian and Argentinian acculturated subjects, responding to samba and chacarera music. The analyses were realized by means of methods that track the density of kinematic events in the metrical structure. The results contrast to traditional models of metric structure by revealing an intrinsic diversity, variability and asymmetry of movement responses and metrical models. The results also show morphological characteristics connected to cultural differences.

Keywords

Cross-cultural Movement Rhythm Meter Embodiment 

Notes

Acknowledgements

The authors wish to acknowledge the support of SEMPRE in the realization of the research project. This research has also been supported by the ANPyCT (PICT-2013-0368), and realized at the Laboratory for the Study of Musical Experiencia (LEEM/FBA/UNLP, La Plata, Argentina. We also want to thank the Laboratory CEGEME/UFMG, Prof. Mauricio Loureiro and the student Raphael Borges, who helped the realization of the experiments in Belo Horizonte, Brazil. The authors are thankful to the subjects that participated in this study and to the anonymous reviewers.

The author Luiz Naveda gratefully acknowledges FAPEMIG (Research Support Foundation of Minas Gerais) for the financial support (projects CHE - APQ-02689-15 and CHE - BIP-00223-16).

References

  1. 1.
    Honing, H.: On the growing role of observation, formalization and experimental method in musicology. Empir. Musicol. Rev. 1, 2–6 (2006)CrossRefGoogle Scholar
  2. 2.
    Stevens, C.: Cross-cultural studies of musical pitch and time. Acoust. Sci. Technol. 25, 433–438 (2004)CrossRefGoogle Scholar
  3. 3.
    Parncutt, R.: Systematic musicology and the history and future of western musical scholarship. J. Interdisc. Music Stud. 1, 1–32 (2007)Google Scholar
  4. 4.
    Toner, P.G.: The gestation of cross-cultural music research and the birth of ethnomusicology. Humanit. Res. 14, 85–110 (2007)Google Scholar
  5. 5.
    Beard, D., Gloag, K.: Musicology: The Key Concepts. Theatre Arts Books, New York (2005)Google Scholar
  6. 6.
    Santos, B.: Toward an epistemology of blindness why the new forms of ‘Ceremonial Adequacy’ neither regulate nor emancipate. Eur. J. Soc. Theor. 4, 251–279 (2001)CrossRefGoogle Scholar
  7. 7.
    Clayton, M.: The social and personal functions of music in cross-cultural perspective. In: Hallam, S., Cross, I., Thaut, M. (eds.) The Oxford Handbook of Music Psychology, pp. 35–44. Oxford University Press, Oxford (2008)Google Scholar
  8. 8.
    Clayton, M., Sager, R., Will, U.: In time with the music: the concept of entrainment and its significance for ethnomusicology. ESEM CounterPoint 1, 1–82 (2004)Google Scholar
  9. 9.
    Styns, F., van Noorden, L., Moelants, D., Leman, M.: Walking on music. Hum. Mov. Sci. 26, 769–785 (2007)CrossRefGoogle Scholar
  10. 10.
    Desmond, J.: Embodying difference: issues in dance and cultural studies. Cult. Crit. 26, 33–63 (1994)Google Scholar
  11. 11.
    Hanna, J.L.: To Dance is Human: A Theory of Nonverbal Communication. University of Chicago Press, Chicago (1987)Google Scholar
  12. 12.
    Sodré, M., Samba, O.: Dono do Corpo. Codecri, Rio de Janeiro (1979)Google Scholar
  13. 13.
    Browning, B.: Samba: Resistance in Motion. Indiana University Press, Bloomington (1995)Google Scholar
  14. 14.
    London, J.: Hearing Rhythmic Gestures: Moving Bodies and Embodied Minds. (2003)Google Scholar
  15. 15.
    Keil, C.: Participatory discrepancies and the power of music. Cult. Anthropol. 2, 275–283 (1987)CrossRefGoogle Scholar
  16. 16.
    Gerischer, C.: Osuingue baiano: rhythmic feeling and microrhythmic phenomena in Brazilian percussion. Ethnomusicology 50, 99–119 (2006)Google Scholar
  17. 17.
    Leman, M.: Embodied Music Cognition and Mediation Technology. MIT Press, Cambridge (2007)Google Scholar
  18. 18.
    Varela, F.J., Thompson, E., Rosch, E.: The Embodied Mind: Cognitive Science and Human Experience. MIT Press, Cambridge (1991)Google Scholar
  19. 19.
    Bohlman, P.V.: Ontologies of music. In: Rethinking Music, pp. 17–34 (1999)Google Scholar
  20. 20.
    Johnson, M.: The body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. University of Chicago Press, Chicago (2013)Google Scholar
  21. 21.
    Larson, S.: Musical Forces: Motion, Metaphor, and Meaning in Music. Indiana University Press, Bloomington (2012)Google Scholar
  22. 22.
    Cross, I.: The evolutionary nature of musical meaning. Musicae Sci. 13, 179–200 (2009)CrossRefGoogle Scholar
  23. 23.
    Cross, I.: Music and meaning, ambiguity and evolution. In: Miell, D., Macdonald, R., Hargreaves, D. (eds.) Musical Communication, pp. 27–43 (2005)Google Scholar
  24. 24.
    Gallese, V., Lakoff, G.: The brain’s concepts: the role of the sensory-motor system in conceptual knowledge. Cogn. Neuropsychol. 22, 455–479 (2005)CrossRefGoogle Scholar
  25. 25.
    Trevarthen, C.: Musicality and the intrinsic motive pulse: evidence from human psychobiology and infant communication. Musicae Sci. 3, 155–215 (2000)CrossRefGoogle Scholar
  26. 26.
    Cross, I., Morley, I.: The evolution of music: theories, definitions and the nature of the evidence. In: Communicative Musicality, pp. 61–81 (2009)Google Scholar
  27. 27.
    Malloch, S., Trevarthen, C.: Communicative Musicality: Exploring the Basis of Human Companionship. Oxford University Press, Oxford (2009)Google Scholar
  28. 28.
    Christensen, T.: The Cambridge History of Western Music Theory. Cambridge University Press, Cambridge (2002)CrossRefGoogle Scholar
  29. 29.
    Deutsch, D.: Psychology of Music. Elsevier, San Diego (2013)Google Scholar
  30. 30.
    Sloboda, J.A.: The Musical Mind: The Cognitive Psychology of Music. Oxford University Press, Oxford (1985)Google Scholar
  31. 31.
    Krumhansl, C.L.: Cognitive Foundations of Musical Pitch. Oxford University Press, New York (1990)Google Scholar
  32. 32.
    Fitch, W.T.: The biology and evolution of rhythm: unraveling a paradox. In: Rebuschat, P., Rohrmeier, M., Hawkins, J.A., Cross, I. (eds.) Language and Music as Cognitive Systems, pp. 73–95 (2012)Google Scholar
  33. 33.
    Naveda, L., Martínez, I., Damesón, J., Pereira Ghiena, A., Herrera, R.: Methods for the analysis of rhythmic and metrical responses to music in free movement trajectories. In: Aramaki, M., Kronland-Martinet, R., Ystad, S. (eds.) Proceedings of the 11th International Symposium on Computer Music Multidisciplinary Research (CMMR), pp. 248–262. The Laboratory of Mechanics and Acoustics, Marseille (2015)Google Scholar
  34. 34.
    Toiviainen, P., Burger, B.: MoCap Toolbox Manual. University of Jyväskylä, Jyväskylä (2011)Google Scholar
  35. 35.
    Santos, B.: A non-occidentalist west? Learned ignorance and ecology of knowledge. Theor. Cult. Soc. 26, 103–125 (2009)CrossRefGoogle Scholar
  36. 36.
    Cumming, G.: The new statistics why and how. Psychol. Sci. 25, 7–29 (2014)CrossRefGoogle Scholar
  37. 37.
    Stergiou, N., Harbourne, R.T., Cavanaugh, J.T.: Optimal movement variability: a new theoretical perspective for neurologic physical therapy. J. Neurol. Phys. Ther. 30, 120–129 (2006)CrossRefGoogle Scholar
  38. 38.
    Stergiou, N.: Innovative Analyses of Human Movement. Human Kinetics Publishers, Champaign (2004)Google Scholar

Copyright information

© Springer International Publishing Switzerland 2016

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 2.5 International License (http://creativecommons.org/licenses/by-nc/2.5/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

The images or other third party material in this chapter are included in the chapter's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the chapter's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder.

Authors and Affiliations

  • Luiz Naveda
    • 1
    Email author
  • Isabel C. Martínez
    • 2
  • Javier Damesón
    • 2
  • Alejandro Pereira Ghiena
    • 2
  • Romina Herrera
    • 2
  • Manuel Alejandro Ordás
    • 2
  1. 1.School of Music - State University of Minas GeraisBelo HorizonteBrazil
  2. 2.Laboratorio para el Estudio de la Experiencia Musical - Facultad de Bellas ArtesUniversidad Nacional de La PlataLa Plata, Buenos AiresArgentina

Personalised recommendations