A critical cross-cultural study of sensorimotor and groove responses to syncopation among Ghanaian and American university students and staff

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A critical cross-cultural study of sensorimotor and groove responses to syncopation among Ghanaian and American university students and staff. / Witek, Maria; Liu, Jingyi; Kuubertzie, John; Poku Yankyera, Appiah ; Adzei, Senyo; Vuust, Peter.

In: Music Perception, Vol. 37, No. 4, 04.2020, p. 278–297.

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Witek, Maria ; Liu, Jingyi ; Kuubertzie, John ; Poku Yankyera, Appiah ; Adzei, Senyo ; Vuust, Peter. / A critical cross-cultural study of sensorimotor and groove responses to syncopation among Ghanaian and American university students and staff. In: Music Perception. 2020 ; Vol. 37, No. 4. pp. 278–297.

Bibtex

@article{3071ead4b2fa48ffb04bb9c65facd137,
title = "A critical cross-cultural study of sensorimotor and groove responses to syncopation among Ghanaian and American university students and staff",
abstract = "The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviours has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, US. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.",
keywords = "groove, syncopation, synchronization, rhythm, exposure, cross-cultural research",
author = "Maria Witek and Jingyi Liu and John Kuubertzie and {Poku Yankyera}, Appiah and Senyo Adzei and Peter Vuust",
year = "2020",
month = apr,
doi = "10.1525/mp.2020.37.4.278",
language = "English",
volume = "37",
pages = "278–297",
journal = "Music Perception",
issn = "0730-7829",
publisher = "University of California Press",
number = "4",

}

RIS

TY - JOUR

T1 - A critical cross-cultural study of sensorimotor and groove responses to syncopation among Ghanaian and American university students and staff

AU - Witek, Maria

AU - Liu, Jingyi

AU - Kuubertzie, John

AU - Poku Yankyera, Appiah

AU - Adzei, Senyo

AU - Vuust, Peter

PY - 2020/4

Y1 - 2020/4

N2 - The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviours has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, US. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.

AB - The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviours has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, US. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.

KW - groove

KW - syncopation

KW - synchronization

KW - rhythm

KW - exposure

KW - cross-cultural research

U2 - 10.1525/mp.2020.37.4.278

DO - 10.1525/mp.2020.37.4.278

M3 - Article

VL - 37

SP - 278

EP - 297

JO - Music Perception

JF - Music Perception

SN - 0730-7829

IS - 4

ER -