![mai drum kit 3 torrent mai drum kit 3 torrent](https://www.kickstartyourdrumming.com/wp-content/uploads/2017/01/Alesis-Nitro-Mesh-300x243.jpg)
![mai drum kit 3 torrent mai drum kit 3 torrent](https://images.ctfassets.net/3s5io6mnxfqz/6ujAGBLawOPhyg8345hCNe/f42f13b99b699a68c20ff1002fda9a12/AdobeStock_5689858.jpeg)
Whenever jazz has “swing”, American-Polish polka is played with “push”, Brazilian Choro has “balanço” or Swiss folk music is played “lüpfig”, and listeners have the impulsion to tap their feet or bob their heads in synchrony with music, the groove phenomenon as defined by music psychology is at work. In this very precise sense, the groove phenomenon is not limited to Western popular music, since synchronised body movement behaviour as response to music is widespread across many cultures. Music psychology narrowed the scope of the groove concept by defining it exclusively as the pleasurable urge to body movement triggered by music. Finally, if musicians or listeners say that music has groove, they mean that the music is aesthetically pleasing to them, it does invite body movement, and creates a state of flow and effortlessness.
![mai drum kit 3 torrent mai drum kit 3 torrent](https://bedroomproducersblog.com/wp-content/uploads/2018/11/ssd-5-free-702x336.jpg)
Such patterns have been analysed in musicology and ethnomusicology. A groove may mean certain aspects of the composition, a “multi-layered pattern” that constitutes the basis of a tune or song (sometimes also called a riff or a vamp). In this context, groove is an everyday term that can adopt a wide variety of meanings: musicians might refer to the act of playing music together as to groove. The groove concept originally emerged within the communities of Western popular music styles like funk, soul, R&B, rock and jazz. The field of groove research investigates the factors that influence this kind of musical experience. In music psychology, groove is defined as humans’ pleasurable urge to move their bodies rhythmically in response to music. This motivates groove research not to focus on the music alone, but to take the listeners into account as well. We conclude that listeners’ taste, musical biographies and expertise have a strong effect on their groove experience. Combined, the effects of style bias and familiarity ( R 2 = 0.152) exceeded the other effects as predictors for groove by a wide margin. The largest isolated effect was measured for participants’ style bias ( R 2 = 0.123): groove ratings tended to be high if participants had the impression that the drum pattern belonged to a style they liked. Participants’ familiarity with a drum pattern had a positive influence on the groove ratings ( η 2 = 0.051). Beat salience, residual microtiming and rhythmic variability showed no effect on the groove ratings. A categorisation of the stimuli according to structural aspects was also associated with groove ( R 2 = 0.018). These effects were stronger in participants who were music professionals, compared to amateur musicians or mere listeners. Results show that, among 15 tested variables, syncopation ( R 2 = 0.010) and event density ( R 2 = 0.011) were positively associated with the groove ratings. During an online listening experiment, 665 participants rated the reconstructions a total of 8,329 times using a groove questionnaire. Drum patterns of eight bars duration, chosen from 248 popular music tracks, have been transcribed and audio reconstructions have been created on the basis of sound samples. It aims at identifying factors that might be relevant for groove and worth investigating in a controlled setting in the future. This exploratory study investigates the groove effect of 248 reconstructed drum patterns from different popular music styles (pop, rock, funk, heavy metal, rock’n’roll, hip hop, soul, R&B). Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. Music psychology defines groove as humans’ pleasureable urge to move their body in synchrony with music.