@article{ART002912282},
author={Lee Mi-Kyung},
title={The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications},
journal={Journal of the Korean Society for Musicology},
year={2022},
volume={30},
number={2},
pages={7-39},
doi={10.34303/mscol.2022.30.2.001}
TY - JOUR
AU - Lee Mi-Kyung
TI - The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications
JO - Journal of the Korean Society for Musicology
PY - 2022
VL - 30
IS - 2
PB - The Korean Society for Musicology
SP - 7
EP - 39
AB - The traditional theory of short time interval processing is the centralized internal clock model. However, recent advances have proposed that the brain represents time in a distributed manner and advocated that time for short interval can be estimated by the process of change in other ways, rather than using a pacemaker-accumulator model. In line with it, the beat perception and production in musical activity can not be processed by one kind of centralized internal clock in the brain. The beat is not only perceived as the isochronous regularity but also experienced as the continuous flow. Research into musical timing has been explained this duality as an expressive fluctuation of metric timing. However, I argue that there may be two processes in beat perception and production, which are alternative and discordant, based on the two modeling frameworks to account for sensorimotor synchronization. Event-based timing involves a clock-like neural process and an explicit internal representation of the time interval. In contrast, emergent timing can be maintained without reference to any explicit representation of the time interval, and emerges from timing intrinsic dynamics of the effector’s body. In distinctions in two timing control ways, I consider an embodied timing mode of beat perception and production. I highlight the implications of this theory applying to the musical rhythm and timing study and discuss the difficulties facing the empirical study field.
KW - Beat Perception;Emergent Timing;Event-Based Timing;Expressive Timing;Embodied Cognition
DO - 10.34303/mscol.2022.30.2.001
ER -
Lee Mi-Kyung. (2022). The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications. Journal of the Korean Society for Musicology, 30(2), 7-39.
Lee Mi-Kyung. 2022, "The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications", Journal of the Korean Society for Musicology, vol.30, no.2 pp.7-39. Available from: doi:10.34303/mscol.2022.30.2.001
Lee Mi-Kyung "The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications" Journal of the Korean Society for Musicology 30.2 pp.7-39 (2022) : 7.
Lee Mi-Kyung. The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications. 2022; 30(2), 7-39. Available from: doi:10.34303/mscol.2022.30.2.001
Lee Mi-Kyung. "The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications" Journal of the Korean Society for Musicology 30, no.2 (2022) : 7-39.doi: 10.34303/mscol.2022.30.2.001
Lee Mi-Kyung. The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications. Journal of the Korean Society for Musicology, 30(2), 7-39. doi: 10.34303/mscol.2022.30.2.001
Lee Mi-Kyung. The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications. Journal of the Korean Society for Musicology. 2022; 30(2) 7-39. doi: 10.34303/mscol.2022.30.2.001
Lee Mi-Kyung. The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications. 2022; 30(2), 7-39. Available from: doi:10.34303/mscol.2022.30.2.001
Lee Mi-Kyung. "The Event-Based and Emergent Timing in Music Performance: Current Findings and Implications" Journal of the Korean Society for Musicology 30, no.2 (2022) : 7-39.doi: 10.34303/mscol.2022.30.2.001
