Timing (music)

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Timing in music refers to the concept of adjusting the timing of notes or beats in certain subtle ways.

A performed rhythm can sound ‘mechanical’, ‘swinging’, ‘laid-back’, ‘rushing’, etc. This is caused by playing some notes somewhat shorter and others longer in duration. But how does a listener perceive the timing of these rhythms and recognize it as being ‘rushed’ or ‘swinging’? Why is a rhythm with a slightly shorter note not simply a different rhythm? How do rhythm and timing interact?

These are questions not typically addressed in music theory. But they are fundamental in the development of a cognitive theory of music as performed and listened to. Research in music perception and music cognition has shown that time, as a subjective structuring of events in music, is quite different from the concept of time in physics (Michon & Jackson, 1985). Listeners to music do not perceive rhythm on a continuous scale. Instead, rhythmic categories are recognized which function as a reference relative to which the deviations in timing can be appreciated (Clarke, 1999; Honing, 2002). In fact, temporal patterns in music combine two time scales which are essentially different: the discrete rhythmic durations as symbolized by, for example, the half and quarter notes in a musical score, and the continuous timing variations that characterize an expressive musical performance.

[edit] References

  • Clarke, E. F. (1999) Rhythm and Timing in Music, in: Diana Deutsch (ed.), Psychology of Music, second edition, University of California, San Diego, pp.473-500.
  • Honing, H. (2002) Structure and interpretation of rhythm and timing. Dutch Journal of Music Theory (Tijdschrift voor Muziektheorie). 7(3), 227-232.pdf
  • Michon, J.A. & Jackson, J.L. (1985). Time, Mind, and Behavior. Berlin: Springer.