Rushing or dragging? An analysis of the "universality" of correlated fluctuations in drumming

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Publication date
2018-03-12
Creators
Moriarty, Philip
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Description
This is the data archive for "Rushing or Dragging? An Analysis of the "Universality" of Correlated Fluctuations in Drumming" (authors: O. Gordon, D. Coy, J. Matthews, E. Kandola-McNicholas, O. Llewellyn, A. Bokhari, and P. Moriarty, School of Physics and Astronomy).
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Subjects
  • Drum music
  • Drum set -- Methods
  • drumming, fluctuations, detrended fluctuation analysis, wav, rhythms, Tom Sawyer
  • Physical sciences::Physics::Acoustics
  • M Music and Literature on music
  • QC220 Acoustics. Sound
Divisions
  • University of Nottingham, UK Campus::Faculty of Science::School of Physics and Astronomy
Deposit date
2018-03-12
Data type
WAV sample files of drummers
Contributors
  • Gordon, Oliver
  • McCoy, Dominic
  • Matthews, Jack
  • Kandola-McNicholas, Easel
  • Llewellyn, Owain
  • Bohkari, Adeel
Funders
  • Other
  • This work did not have external funding. It results from undergraduate projects and crowd-sourced data.
Collection dates
  • 2016 and February - April 2017
Data collection method
In the Tom Sawyer drum pattern of interest here, each bar consists of four beats. These four beats represent four crotchets, or 16 semiquavers (i.e. sixteenth notes). To record samples, twenty-two musicians were asked to play semiquavers for a minimum of two minutes on a closed hi-hat whilst simultaneously listening to the original recording of the song (from the album \textit{Moving Pictures}). Each performance of semiquavers was then repeated once with a double-handed method, once with a single-handed method, and once with a technique of the drummer's choice but in as metronomic and unaccented a fashion as possible. This was all performed with the drummer's own sticks and, other than the metronomic recording, they were asked to play as if they were giving a live performance, instead of just trying to keep time. Our aim was to facilitate the drummers' playing in a style that they prefer in order to better reflect a real-world performance. Nonetheless, the drumming in our study was of course carried out in an artificial environment which is very different from that of a concert performance, a point to which we also return in the conclusions. These data were complemented by hi-hat-only tracks received via the Sixty Symbols crowd-sourcing route.
Resource languages
  • en
Publisher
The University of Nottingham