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Listen up! Polyrhythms in Brain and Music

Listen up! Polyrhythms in Brain and Music Pete r Vuus t & Andreas Roepstorff The relationship between music and language is fiercely debated in the modern literature of neuroscience and music. Here, we argue that a musicological study of online communication between jazz musicians in combination with brain imaging studies offers a unique setting for evalu- ating communicational aspects of music practices that rarely enter the present discourse on the subject. We employ Miles Davis' quintet of the 1960s and its use of polyrhythmic structures as a general example of a jazz group focusing on communication. First, we consider jazz in the light of Roman Jakobson's model of communication in a broad perspec- tive. Next, we analyze polyrhythmic occurrences in Herbie Hancock's solo on the jazz Standard "AU of You" as an example of how this com- munication develops as a narrarive structuring of tension and relief. We identify two typical types of polyrhythms, metric displacement and re- grouping of subdivisions. Finally, we show how these polyrhythmic structures employ brain areas hitherto associated with linguistic semantic processing, and discuss possible implications. CORRESPONDENCE: Peter Vuust (corresponding authot). Centre of Functionally Inte- grative Neuroscience (AUH), and Royal Academy of Music, Aatfius, Denmark. EMAIL pv@petauh.dk. Andreas Roepstorff. Centre of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Cognitive Semiotics de Gruyter

Listen up! Polyrhythms in Brain and Music

Vuust, Peter; Roepstorff, Andreas
Cognitive Semiotics , Volume 3 (s1): 25 – Sep 1, 2008
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Publisher
de Gruyter
Copyright
© 2013 by Walter de Gruyter GmbH & Co.
ISSN
2235-2066
eISSN
2235-2066
DOI
10.1515/cogsem.2008.3.fall2008.134
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Abstract

Pete r Vuus t & Andreas Roepstorff The relationship between music and language is fiercely debated in the modern literature of neuroscience and music. Here, we argue that a musicological study of online communication between jazz musicians in combination with brain imaging studies offers a unique setting for evalu- ating communicational aspects of music practices that rarely enter the present discourse on the subject. We employ Miles Davis' quintet of the 1960s and its use of polyrhythmic structures as a general example of a jazz group focusing on communication. First, we consider jazz in the light of Roman Jakobson's model of communication in a broad perspec- tive. Next, we analyze polyrhythmic occurrences in Herbie Hancock's solo on the jazz Standard "AU of You" as an example of how this com- munication develops as a narrarive structuring of tension and relief. We identify two typical types of polyrhythms, metric displacement and re- grouping of subdivisions. Finally, we show how these polyrhythmic structures employ brain areas hitherto associated with linguistic semantic processing, and discuss possible implications. CORRESPONDENCE: Peter Vuust (corresponding authot). Centre of Functionally Inte- grative Neuroscience (AUH), and Royal Academy of Music, Aatfius, Denmark. EMAIL pv@petauh.dk. Andreas Roepstorff. Centre of

Journal

Cognitive Semiotics – de Gruyter

Published: Sep 1, 2008

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