Abstract
Preliminaries to a Psychological Model of Musical Groove.
Highlights
Humans often feel motivated to move their bodies in response to music; this experience is generally referred to as “feeling the groove.” In this paper we discuss ideas about how the experience of groove can be modeled from a psychological point of view.As a musical term, groove was originally coined in the context of Western popular music (Pfleiderer, 2006, p. 297ff; Abel, 2014, p. 18) where it has several meanings
Groove was originally coined in the context of Western popular music (Pfleiderer, 2006, p. 297ff; Abel, 2014, p. 18) where it has several meanings
The psychological concept of groove is not restricted to Western popular music
Summary
Humans often feel motivated to move their bodies in response to music; this experience is generally referred to as “feeling the groove.” In this paper we discuss ideas about how the experience of groove can be modeled from a psychological point of view. Our model adopts Merker’s (2014) idea that a person who experiences groove needs to have an inner representation of the music’s temporal regularities, which allows for motor planning and synchronized body movement. The central dashed box addresses the mental processes that are considered to be relevant to groove These processes are triggered by the properties of the music (left), and they may lead to entrained body movement in the listener (right). We hypothesize that listeners’ representation of temporal regularity, their rhythm-related interest and the pleasure they experience while listening are causally linked to the urge to move. Multimodal perception supposedly enhances the inner representation of temporal regularities (Spence and Driver, 2004) This in turn strengthens the urge to move and feeds back through motor planning to entrained body movement. The mental processes described in the model are purely conceptual; future work will show how they relate to processes in the neural substrate
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