Albrecht, Thorsten

[["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Scientific Reports"],["dc.bibliographiccitation.volume","9"],["dc.contributor.author","Datseris, George"],["dc.contributor.author","Ziereis, Annika"],["dc.contributor.author","Albrecht, Thorsten"],["dc.contributor.author","Hagmayer, York"],["dc.contributor.author","Priesemann, Viola"],["dc.contributor.author","Geisel, Theo"],["dc.date.accessioned","2020-12-10T18:11:11Z"],["dc.date.available","2020-12-10T18:11:11Z"],["dc.date.issued","2019"],["dc.identifier.doi","10.1038/s41598-019-55981-3"],["dc.identifier.eissn","2045-2322"],["dc.identifier.pmid","31882842"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/17180"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/73916"],["dc.language.iso","en"],["dc.notes.intern","DOI Import GROB-354"],["dc.notes.intern","Merged from goescholar"],["dc.notes.intern","Merged from goescholar"],["dc.relation.orgunit","Fakultät für Physik"],["dc.rights","CC BY 4.0"],["dc.rights.uri","https://creativecommons.org/licenses/by/4.0/"],["dc.title","Microtiming Deviations and Swing Feel in Jazz"],["dc.type","journal_article"],["dc.type.internalPublication","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Communications Physics"],["dc.bibliographiccitation.volume","5"],["dc.contributor.author","Nelias, Corentin"],["dc.contributor.author","Sturm, Eva Marit"],["dc.contributor.author","Albrecht, Thorsten"],["dc.contributor.author","Hagmayer, York"],["dc.contributor.author","Geisel, Theo"],["dc.date.accessioned","2022-11-01T10:16:47Z"],["dc.date.available","2022-11-01T10:16:47Z"],["dc.date.issued","2022"],["dc.description.abstract","Abstract\n To which extent and how do jazz musicians synchronize their timing to create swing? Swing is a salient feature of jazz music, yet its main psychoacoustical and musical components have remained elusive—save the obvious long-short subdivision of quarter notes. In particular, the possible role of microtiming deviations for swing has been a subject of long-standing controversy. Adopting an operational definition of swing we present a study which ultimately demonstrates a positive effect of certain microtiming deviations on swing. We manipulate the timing of original piano recordings to carry out an experiment with professional and semi-professional jazz musicians measuring the swing of different timing conditions. Thereby we prove that slightly delayed downbeats and synchronized offbeats of a soloist with respect to a rhythm section enhance swing. Analyzing a set of 456 jazz improvisations we find that many jazz musicians do use minute downbeat delays. These results show that systematic microtiming deviations in the form of downbeat delays are a key component of swing in jazz."],["dc.identifier.doi","10.1038/s42005-022-00995-z"],["dc.identifier.pii","995"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/116651"],["dc.language.iso","en"],["dc.notes.intern","DOI-Import GROB-605"],["dc.relation.eissn","2399-3650"],["dc.rights.uri","https://creativecommons.org/licenses/by/4.0"],["dc.title","Downbeat delays are a key component of swing in jazz"],["dc.type","journal_article"],["dc.type.internalPublication","yes"],["dspace.entity.type","Publication"]]