Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music

By V. Iyer. 2002

397 citations recorded by the source corpus.

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THE EFFECT OF MICROTIMING DEVIATIONS ON THE PERCEPTION OF GROOVE IN SHORT RHYTHMS (2013, background): “In groove-based music such as Jazz and Funk, the presence of microtiming is considered key to creating the rhythmic tension necessary to evoke the sensation of groove (Iyer, 2002; Keil, 1995).”
Affordances and Independent Mobility in the Assessment of Environmental Child Friendliness (2003, background): “Abstract cognition does not, however, necessarily belong to the sphere of perception (Iyer, 2002).”
Music Performance Research at the Millennium (2003, background): “Performances by jazz giants such as Louis Armstrong (Collier and Collier, 2002), Chet Baker, Art Farmer, Miles Davis and John Coltrane (Ashley, 2002), Tony Williams and Jack DeJohnette (Friberg and Sundström, 2002), Thelonius Monk and Ahmad Jamal (Iyer, 2002), and various jazz pianists (Busse, 2002)”
Musical creativity and the embodied mind (2018, background): “Iyer, V. (2002). Embodied mind, situated cognition, and expres-”
Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music (2016, background): “The use of expressive timing deviations within the repeating structure emerged as an early and influential account of groove (Iyer, 2002; Keil, 1995; Keil & Feld, 1994; Prögler, 1995), though recent empirical studies aimed at testing this hypothesis have found that groove ratings decrease as…”