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How do musicians and producers combine temporal and sonic parameters (intensity, duration and so on) when conveying microrhythmic feels (laid-back, on-the-beat, pushed)? This was one of the core questions of the TIME project on musical microrhythm.

PhD fellow Gui Schmidt C?mara recorded audio and motion from 60 professional drummers, bassist and el-guitarists and instructed them to lay back or push their playing. He found that the drummers mainly varied their onset timing to produce the different microrhythmic feels. In contrast, the bassists and el-guitarists systematically combined onset timing with brightness, duration, and other acoustic features. 

Postdoctoral fellow Mari Romarheim Haugen inspects the MoCap suits used when recording samba pandeiro playing and dancing. She found that the characteristic samba swing was present across low, medium and fast tempi.

The project had an interdisciplinary and cross-cultural research design. Project leader and RITMO Director Anne Danielsen was responsible for overseeing all parts of the project, which included a broad scope of methodological approaches, from ethnographic and observational studies to more purely experimental investigations.

In a series of perception and synchronization experiments, we asked people to align clicks and taps to sounds with differing shapes. We found a very robust pattern: slow attacks and long duration produce later and wider (more flexible) beat bins.