Rushing or dragging? An analysis of the "universality" of correlated fluctuations in drumming
dc.contributor.author | Moriarty, Philip | |
dc.contributor.other | Gordon, Oliver | |
dc.contributor.other | McCoy, Dominic | |
dc.contributor.other | Matthews, Jack | |
dc.contributor.other | Kandola-McNicholas, Easel | |
dc.contributor.other | Llewellyn, Owain | |
dc.contributor.other | Bohkari, Adeel | |
dc.date.accessioned | 2018-03-12T14:50:47Z | |
dc.date.available | 2018-03-12T14:50:47Z | |
dc.date.issued | 2018-03-12 | |
dc.identifier.uri | https://rdmc.nottingham.ac.uk/handle/internal/348 | |
dc.description.abstract | 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). | en_UK |
dc.language.iso | en | en_UK |
dc.publisher | The University of Nottingham | en_UK |
dc.subject.lcsh | Drum music | en_UK |
dc.subject.lcsh | Drum set -- Methods | en_UK |
dc.title | Rushing or dragging? An analysis of the "universality" of correlated fluctuations in drumming | en_UK |
dc.identifier.doi | http://doi.org/10.17639/nott.344 | |
dc.subject.free | drumming, fluctuations, detrended fluctuation analysis, wav, rhythms, Tom Sawyer | en_UK |
dc.subject.jacs | Physical sciences::Physics::Acoustics | en_UK |
dc.subject.lc | M Music and Literature on music | en_UK |
dc.subject.lc | QC220 Acoustics. Sound | en_UK |
dc.date.collection | 2016 and February - April 2017 | en_UK |
uon.division | University of Nottingham, UK Campus::Faculty of Science::School of Physics and Astronomy | en_UK |
uon.funder.controlled | Other | en_UK |
uon.datatype | WAV sample files of drummers | en_UK |
uon.funder.free | This work did not have external funding. It results from undergraduate projects and crowd-sourced data. | en_UK |
uon.collectionmethod | 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. | en_UK |
uon.preservation.rarelyaccessed | true |
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