It’s out it’s there it’s in the street

PopScriptum | 11 – The Groove Issue has been released on November 11th 2010 at the musicology department of Humboldt University Berlin

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November 11 2010 – Groove Research Institute Berlin launches „PopScriptum – The Groove Issue“

We are thrilled to host Joel Dinerstein as a guest speaker at the musicology department of Humboldt University (Berlin) to commemorate the launch of „PopScriptum – The Groove Issue“.

Joel Dinerstein (Tulane University, New Orleans)

„Swinging Our Machines: The Recurring Modernity of

African-American and Afro-diasporic Musics“

Thursday, November 11 · 6:00pm

After the paper presentation we will celebrate at an informal reception with DJs Swingin’ Swanee und Stef the Cat.

Musikwissenschaft HU Berlin
Am Kupfergraben 5
Berlin, Germany
Room 501

Franziska Buhre interviewed Groove Research Institut Berlin for Jazzzeitung

GRIB's Christiane Gerischer & Stefanie Alisch (photo: Franziska Buhre)Berlin based lindy hop teacher, dancer researcher and jazz journalist Franziska Buhre interviewed us earlier this year. Her very kind and informative article is now up online at

GRIB’s Christiane Gerischer & Stefanie Alisch (Foto: Franziska Buhre)

Groove Research Institute Berlin at MDR Sputnik

Last week we were invited for an interview at MDR Sputnik. We chatted about our work and plans and did a little ranking of songs in terms of Groove.

http://sputnik.mdr.de/musik/features/grooviger-geht-s-immer

The people in the picture are not Christiane and me and PopScriptum is the journal of Forschungszentrum Populäre Musik * but hey, there is no such thing as bad press

*st

Interview on Groove Engine of Ableton Live 8

Yesterday interview with Ableton developer Matthias Mayrock discussing Live 8’s Groove Engine * he kindly drew some graphs for us

PopScriptum – The Groove Issue – Call for Papers

Groove is it – but what is Groove, when is Groove and what does Groove do?
 
Groove is ubiquitously applied in musical discourse. Groove is increasingly relevant in the public debate among musicians and in the media. We understand the  term in a broad semantic range: The British star violinist Daniel Hope talks about Groove in relation with baroque music, one of the most important German electronic music magazines is called Groove, in the realm of jazz Groove has long been a central expression, Berlin based music software developers Ableton endowed their program Live with a Groove Engine during the last version update.
 

Why does musicology find it hard to handle the concept? Partly because it is applied with various significations. Groove describes rhythmical patterns (Pfleiderer, Butler) in the most narrow sense, more broadly it means rhythmical performance inducing movement (Gerischer) and in the loose sense social interaction (Keil/Feld). 
 
But it is precisely this multi-facetted nature of the term that we are interested in. We understand Groove as an aesthetic dimension that opens up when rhythmical perception is explored in conjunction with social and bodily performative practices.
 
Nearly everyone knows the magic moments when rhythmic experience comes to the fore in our bodily actuality and thus through music triggers interaction between musicians, dancers and audience.
 
At the same time Groove experience is highly individual and depends greatly on the listening experience and cultural context in which it takes place.
 
Our quest is not to find a narrow definition of Groove, but to investigate the structures that enable a Groove process in specific cases.
 
The Groove Issue of PopScriptum is aiming to explore the term Groove in its multiplicity and to introduce it into the musicological discourse as an aesthetic dimension. 
 
We are as highly interested in playful metaphors and personal concepts of musicians, DJs and music producers as we are eager to learn about research on the psychology of musical perception, rhythm analysis and specific examples of bodily performative practices as well as their social meaning. 

Please submit your work to grooveresearchinstitute@berlin.de until April 1rst 2010. For questions, suggestions or any type of feedback please contact us at the same email-address.

Credo

What is it ?

The Groove Research Institute Berlin is operating in the grey zone between art project and academic research.

The Groove Research Institute Berlin explores the relations between rhythms, bodies and movements. This statement may be read in the musical, political or physiological sense.

The Groove Research Institute Berlin looks at neurophysiological studies on rhythmic perception as well as at studies of particular musical expressions.

The Groove Research Institute Berlin is looking for playful metaphors that explore the technological, mimetic or environmental conditions that enable social interaction through Groove.

The Groove Research Institute Berlin is building an archive documenting rhythms and bodily performative practices worldwide.

Who ?

Dr. Christiane Gerischer is a musicologist, percussion teacher and radio journalist. She is a specialist in Afro-Atlantic rhythms. Christiane Gerischer conducted her Magister research on blocos afro in the carneval of Salvador da Bahia and her doctoral research on mirco-rhythmic variations in the same region. Christiane Gerischer is teaching a Groove research course at the University of Göttingen.

Stefanie Alisch, M.A. is a musicologist and DJ. She conducted her Magister research on Broken Beat in London. Stefanie Alisch is teaching „Music & Bodily Performative Practices in the Black Atlantic“ at the Carl von Ossietzky University of Oldenburg. In 2008/2009 she taught a practical-theoretical Groove research course at Humboldt University Berlin.

Why ?

We see a lack of concepts that wholeheartedly engage the questions raised above. We are fans of Charles Keil’s and Steven Feld’s „Music Grooves“ and the concept of Participartory Discrepancies. We feel a pressing need to continue and develop this line of research.