Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance. No single work on groove in Cuban dance music considers together the cognitive, cultural, socio-musical and emotional dimensions of the music-making practices and aesthetics that characterise groove production. This study integrates these perspectives into a single theoretical framework with the aim of gaining fresh insights into the nature of groove in two prominent styles of Cuban and Cuban-related dance music: son and salsa. Methodologically, this study blends ethnography and the analysis of timing data extracted from real-world performances to explore the shared cultural knowledge, socio-musical processes, aesthetics and emotional dimensions of groove. Ethnography facilitates the detailed investigation of how performers talk about the music-making practices that characterise aspects of musical culture while the use of timing data, recorded in situ, facilitates the investigation of the real-time nuanced micro-timing relationships that shape effective groove production. The findings of this study paint a picture of groove that is rich, complex and multi­ dimensional, one that is built upon the expressive performances, socio-musical interactions and collectivist attitudes of rhythm section musicians as well as powerful cultural models and intersubjectively shared knowledge. When rhythm section musicians engage in expressive and interactive dialogues and work effectively as a synchronous collective, the resultant groove embodies the dynamic rhythmic, communicative and emotional energies of the individuals that comprise the group. In performance situations, when the groove of the rhythm section spontaneously finds union with the kinaesthetic and emotional energies of dancers and audiences, the cumulative energy possesses the power to inspire, excite, energise, invite participation and unite people in joyous celebration. Contents List of Figures vii List of Tables ix Acknowledgements xi 1 Introduction 1 Son and Salsa: Context and Themes 5 Related Extant Studies: Approaches to Groove 11 Theoretical Perspectives and Methods 17 Research Questions and Aims 20 Overview of Chapters 21 2 Research Methodology 25 Methods of Investigation: An Overview 26 Pre-fieldwork Preparation 29 Conducting Fieldwork 35 Post-fieldwork Data Analysis 38 Introduction to Performance Excerpts 44 Summary 47 3 The Sabor Aesthetic 49 Terminology 49 Sabor as an Individual Aesthetic 51 Sabor as a Collective Aesthetic Ideal 55 iii Sabor and the Ensemble: Intersubjectively Shared Knowledge 62 Sabor and Cuban Concepts of Race, Ethnicity and Identity 66 Sabor, Participation and a Sense of Community 69 4 Clave and Cultural Models 75 Conceptual and Cultural Models 75 Conceptual and Cultural Models in Music Performance 78 The Clave as a Cultural Model 80 Clave as a Rhythm Pattern 86 Clave as a Binary Rhythmic Pattern 88 Clave, Tactus and Notation 91 Tension and Release in the Clave 96 5 Tumbaos: The Rhythmic-Harmonic Framework of Groove 105 Terminology and Meanings: Groove, Sabor and Tumbaos 105 Groove, Sabor, Tumbaos and the Rhythm Section 107 Tension and Release in Rhythm Section Tumbaos 111 Tension and Release in the Clave and Piano Harmony 116 6 Rhythm Section Timing and Entrainment 123 The Concept of Entrainment 123 Some Applications of Entrainment Theory 125 Entrainment, Timing and Groove 130 Roles within the Rhythm Section 135 iv Musical Material and Methods 137 Instantaneous Tempo Profiles: Bell, Bass and Piano/Guitar 140 Summary and Conclusions 148 7 Rhythm Section Phase Relationships 151 Relative Phase: Playing Ahead, On or Behind the Beat 151 Musical Material and Methods 153 Phase Relationships: Bell, Bass and Piano/Guitar 156 Summary and Conclusions 172 Phase Relationships at the Bombo: Bell, Bass and Piano/Guitar 174 Synchronisation, Entrainment and Groove 182 Summary 187 8 Group Tempo 189 Tempo and Performance 189 Musical Material and Methods 192 Overall Tempo Variability 194 Within-Tune Tempo Variability 201 Performance Structure and Tempo: The Son to Montuno Transition 204 Tempo and Dance 213 Synchronisation and Entrainment 215 9 The Experience and Feel of Groove 229 The Concept of Collective Effervescence 229 v The Concept of Communitas 232 Collective Effervescence and Communitas: Connections and Critique 233 Collaborative Music Performance and Groove 235 Groove, Sabor and Collective Effervescence/Communitas 239 Timing, Entrainment and Intersubjectivity 242 Physical Movement and Embodiment 249 Movement, Dance and Audience Participation 255 10 Conclusion 267 Research Findings 267 Contributions and Relevance of the Study 272 Methodological Contribution 274 Contributions to Theory 276 Limitations and Future Directions 278 Bibliography 281 Appendices 303 Appendix A: Interviews 303 Appendix B: Interview Questions and Structure 305 Appendix C: Transcriptions of Musical Excerpts 311 C1: Riamba, 'EI Cuarto de Tula' 311 C2: Havana Club Descarga, 'Murieca' 315 C3: Asere, 'Habanera' 319 Appendix D: Spanish Interview Quotes 323 vi List of Figures Figure 2.1a-c - Auditory Profiles and Praat Onset Markers for Bell, Electric 40 Bass and Electric Piano Figure 4.1 - Son Clave 86 Figure 4.2 - Rumba Clave 86 Figure 4.3 - Danz6n Baqueteo 87 Figure 4.4 - 2-3 Son Clave 88 Figure 4.5 - 2-3 Rumba Clave 88 Figure 4.6 - 3-2 Son Clave and Tactus 92 Figure 4.7 - Son Clave in 2/4 93 Figure 4.8a-b - Son Clave in 4/4 Marked with a Quarter Note and Half Note 96 Pulse Figure 4.9 - Standard Bell Pattern 97 Figure 4.1 Oa - Standard Bell Pattern and Rumba and Son Claves in 12/8 98 Figure 4.1 Ob - Standard Bell Pattern and Rumba and Son Claves in 4/4 99 Figure 4.11 - Tension and Release in the Transposed Bell Pattern and Son 100 and Rumba Claves Figure 5.1 - Standard Tumbao Patterns used in Son and Salsa Montunos 111 Figure 5.2 - AntiCipations in Standard Rhythm Section Tumbaos 113 Figure 5.3 - Tension and Release in the Piano Tumbao and Clave 117 Figure 6.1 - Standard Bell, Bass and Piano Tumbaos used in the Montuno 138 Section of Son and Salsa vii Figure 6.2 - Sample Bell, Bass and Piano parts for Riamba Excerpt (bars 5 140 to 8) Figure 6.3 - Instantaneous Tempo (Riamba): Bell, Bass and Piano from the 142 Montuno Section of EI Cuarto de Tula (1m 6s, 60 bars) Figure 6.4 - Sample Bell, Bass and Piano Parts for Havana Club Descarga 143 Excerpt (bars 13 to 16) Figure 6.5 - Instantaneous Tempo (Havana Club Descarga): Bell, Bass and 144 Piano from the Montuno section of Murieca (1m 4s, 52 bars) Figure 6.6 - Sample Bell, Bass and Guitar Parts for Asere Excerpt (bars 13 146 to 16) Figure 6.7 - Instantaneous Tempo (Asere): Bell, Bass and Guitar from the 147 Montuno Section of Habanera (1m 6s, 56 bars) Figure 7.1 - Shared Onsets in Standard Tumbaos: Bell and Bass, Bell and 154 Piano Figure 7.2 - Sample Bell, Bass and Piano Parts for Riamba Excerpt (bars 5 155 to 8) Figure 7.3 - Phase Relationships (Riamba): Bell, Bass and Piano from the 157 Montuno Section of EI Cuarto de Tula (1 m 6s) Figure 7.4 - Phase Relationships (Havana Club Descarga): Bell, Bass and 165 Piano from the Montuno section of Murieca (1m 4s) Figure 7.5 - Phase Relationships (Asere): Bell, Bass and Guitar from the 169 Montuno Section of Habanera (1m 6s) Figure 7.6 - Bombo and Standard Tumbao Patterns 174 Figure 7.7 - Bombo Phase Relationships (Riamba): Bell, Bass and Piano 176 Figure 7.8 - Bombo Phase Relationships (Havana Club Descarga): Bell, 178 Bass and Piano Figure 7.9 - Bombo Phase Relationships (Asere): Bell, Bass and Guitar 181 viii Figure 8.1 - Tactus, Clave, Bell and Standard Cascara and Martillo 193 Patterns Figure 8.2a - Mean Tempo for Each Eight Bar Segment for Riamba Group 195 Figure 8.2b - Mean Tempo for Each Eight Bar Segment for Havana Club 196 Descarga Group Figure 8.2c - Mean Tempo for Each Eight Bar Segment for Asere Group 197 Figure 8.3a - Mean Tempo for Each Eight Bar Segment for Riamba Group: 206 Son to Montuno Transition Figure 8.3b - Mean Tempo for Each Eight Bar Segment for Havana Club 207 Descarga Group: Son to Montuno Transition Figure