Olivier Senn

When speaking about music, the term groove can refer to objective qualities, such as rhythmic patterns, or to subjective experiences, such as the pleasurable urge to move to the music. However, the mere juxtaposition of objective musical causes and subjective psychological effects may be too simplistic to fully capture the multifaceted groove phenomenon. We therefore broaden the perspective of groove research by analyzing how people use the term groove in the everyday language of 970,220 comments on 155 YouTube music videos. The corresponding songs were previously rated on groove, operationalized as a pleasurable urge to move. Results show that groove terms were more likely to be used in comments on songs that received higher groove ratings. Resonating with the definition of groove as a pleasurable urge to move, groove terms were very likely to co-occur with movement terms, and comments mentioning groove expressed more positive sentiments. We also found that groove terms were predominantly used to describe objective musical qualities in comments on funk, soul, and R&B songs, suggesting that the use of groove is related to genre. In general, we demonstrate how text mining can be used to review existing definitions and gain new perspectives on current topics in music science.

This study presents an audio stimulus set of 40 drum patterns from Western popular music with empirical measurements of perceived complexity. The audio stimuli are meticulous reconstructions of drum patterns found in commercial recordings; they are based on careful transcriptions (carried out by professional musicians), drum stroke loudness information, and highly precise onset timing measurements. The 40 stimuli are a subset selected from a previously published larger corpus of reconstructed Western popular music drum patterns (Lucerne Groove Research Library). The patterns were selected according to two criteria: a) they only feature the bass drum, snare drum, and one or more cymbals, and b) they plausibly cover the complexity range of the corpus. Perceived stimulus complexity was measured in a listening experiment using a pairwise comparison design with 220 participants (4,400 trials). In each trial, participants were presented with two stimuli, and they stated which of the two sounded more complex to them. The comparison data then served to calculate complexity estimates using the Bradley–Terry probability model. The complexity estimates have an intuitive interpretation: they allow calculation of the probability that one pattern is considered more complex than another pattern in a pairwise comparison. To our knowledge, this is the first set of naturalistic music stimuli with meaningful perceived complexity estimates. The drum pattern stimuli and complexity measurements can be used for listening experiments in music psychology. The stimuli will further allow measures and models of drum pattern complexity to be assessed.

This study develops three composite psychometric scales for the use in listening experiments across music psychology. The new scales measure the following three psychological constructs: (1) Inner representation of temporal regularity: This scale allows listeners to assess to what extent they experience a subjective feeling of temporal regularity and predictability while listening to music. The scale consists of four items, and it measures the underlying construct with good reliability (Cronbach's α = .88). (2) Time-related interest: This scale measures how much listeners feel that the rhythm of the music captures their attention. The scale consists of three items and shows good reliability (α = .85). (3) Energetic arousal: This scale measures how much the listeners feel energized while they are listening to music. The scale uses four items and has excellent reliability (α = .95). The development of the scales was motivated by the psychological model of musical groove in which the three underlying psychological constructs play an important role; the new scales serve to test the model hypotheses. The three scales can also be administered separately and might prove to be useful in research contexts within music psychology that investigate subjective experiences of temporal regularity, interest, or energetic arousal in music listeners.