As you may or may not know, I'm currently doing my Master's thesis work on New Orleans bounce. Bounce is a style of hip-hop that's very specific to New Orleans, and it's one of those styles of music that's entirely based off of a specific sample (in this case two). The two samples in question are a 3-note arpeggio-type figure, known as "Triggerman
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The wide-spread nature of clave-type rhythms across many cultures may have to do with borrowing material, or it may have to do with the mathematical properties of the clave rhythm: the 3 side of the clave produces an approximate golden section ratio between its three notes and the pulse or beat. This makes the clave rhythm satisfying according to the theory of aesthetics that claims that humans enjoy seeing symmetry-clave functions as a high-order rhythmic symmetry and, according to this analysis, that is the reason we find it pleasing. It is also one of the easiest syncopations to produce in 4/4 time, which may suggest that it was developed independently by several different cultures.
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this makes me really want to write some kind if computer program to analyze the rhythms found in new orleans / bounce music.
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actually the more i'm thinking about it .. a really good question is the differences between the 3:2 clave found in traditional new orleans music vs. the bounce counterparts..
as in ... when you sample a loop, it will always play exact (as in, if you put a click track on, it would follow the click track 100%)
new orleans music is well known to vary differently by either being early or late. most likely over time the rhythmic structure will deviate as a arc over time ... most likely because humans just get tired :)
here's some kid who did an analysis of click track vs. deviations:
http://musicmachinery.com/2009/03/02/in-search-of-the-click-track/
so i suppose you could almost assert that bounce MIGHT be a turning point where the rhyhtm tightened up .. making way for a different perceptual experience.
(sorry i just had a lot of coffee)
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Thanks for the input!
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