In addition, certain stylistic rhythmic elements in the worksareanalysed. Reddy’s musicis highly syncopated. Rhythm, as Neuhaus(1973)describes in his book The art of piano playing, is comparedto the pulse of a living organism, and he is adamant that even in a toccata the pulse will vary as the pulse of a healthy person is regular, but increases or decreases under the pressure of psychological or physical experience:Music is a tonal process and being a process and not an instant, or an arrested state, it takes place in time. The rhythm of a musical composition is frequently –and not without reason –compared to the pulse of a living organism (Neuhaus 1973:30).

His skills are apparent by looking at the rapid metronome marking (130 per crotchet) of one of his late piano works, African Funk for Felix (Reddy 2005b:1). This metronome markingadds to the difficulty of the workthat comprisesa repeated semiquaver ostinato, complex syncopations and rhythms, changes in time signatures, and technically challenging passages for both hands.

Glossary of some important musical terms

ESTIMATING TEMPO, SWING AND BEAT LOCATIONS IN AUDIO RECORDINGS

TEMPO MODULATION AND POLYTEMPO

The analysis

Indlamu, the type of traditional dance music the track is based on (andincidentally one of the styles that influenced mbaqanga), is usually played at a faster tempo.Makhathini recounts that he was trying to capture how it would be to dance with the veryancient forefathers and mothers, thus accounting for the slower tempo (Makhathini, 2020).The track titles ‘Ehlobo’ and ‘Okhalweni’ are Zulu expressions meaning ‘in the summer’ and‘from the waist’ respectively

TOWARD A PERCEPTUAL-COGNITIVE ACCOUNTOF DOUBLE-TIME FEEL IN JAZZ

“Double time”is defined by the New Grove Dictionary of Jazzas “the apparent doubling of the tempo [...] achieved by halving the prevailing note-value” (Kernfeld, 2002). In an explanation of the same term written for a popular audience, the book What to Listen for in Jazzclarifies that double time “involves a doubling of tempo in the rhythm section, a doubling of the general speed of the melody line, or both” (Kernfeld, 1997).The Grove’s use of the word “apparent” implies that the tempo has not in fact doubled. To emphasize this point, some authors prefer the more precise term “double-time feel,” reserving the term “double time” for a true doublingof tempo(Levine, 1995).

TempoPerception andBeat Inference

CONTEMPORARY JAZZ ARRANGING TECHNIQUES: A STUDY IN TIME, ORCHESTRATION, AND STYLE

Use of Tempo in Jazz

Indlamu, the type of traditional dance music the track is based on (and incidentally one of the styles that influenced mbaqanga), is usually played at a faster tempo. Makhathini recounts that he was trying to capture how it would be to dance with the very ancient forefathers and mothers, thus accounting for the slower tempo (Makhathini, 2020). The track titles ‘Ehlobo’ and ‘Okhalweni’ are Zulu expressions meaning ‘in the summer’ and ‘from the waist’ respectively.

Metabolic stress: Increasing time under tension (TUT) increases metabolic stressand gives you incredible pump, or muscle-cell swelling. This swelling cancause both an increase in muscle-protein synthesis and a decrease in proteinbreakdown, which are essential components of the process by which the bodyrepairs and grows muscle tissue after exercise (4,5,6)

The urgency of time may make it too onerous forthe extra effort of articulating actions as they are beingperformed, yet most emergency response requires somecommunication.

On the surface, the lack of sta-ble membership suggests that a shared mental modelmay not be viable or even desired in emergent responsegroups. Time may be too precious to seek consensus onevents and actions, and agreements may make the groupless flexible to accommodate to changing inputs.

The urgency of the situation meansthat the objective of coordination is to achieve minimallyacceptable and timely action, even when more effec-tive responses may be feasible—but would take longerand use more resources.

Many tasks worth completing require cooperation –yet crowdsourcing has largely focused on independent work. Distributed teams have always facedchallenges in cultural differences and coordination[60], but crowd collaboration now must createrapport over much shorter timescales(e.g., one hour) and possibly wider culturalor socioeconomic gaps

Events have a time span; actions have a time frame that highlights the urgency of (continuously) deepening our knowledge of time as a key component of organizations (Bleijenbergh, Gremmen, & Peters, 2016). In

Major societal transformations are linked to information and communication technologies, giving rise to processes of growing global interdependence. They in turn generate the approxi-mation of coevalness, the illusion of simultaneity by being able to link instantly people and places around the globe. Many other processes are also accelerated. Speed and mobility are thus gaining in momentum, leading in turn to further speeding up processes that interlink the move-ment of people, information, ideas and goods.

phase-angle differ­ences simply refer to whether the phases, the parts of one rhythmic pattern,

the idea of entrainment presented in Chapter 6—the adjust­ment of the pace or cycle of an activity to match or synchronize with that of another activity (Ancona and Chong 1996, p. 253)—does suggest a reason why faster could be better, but it also suggests that faster could be worse.

Virilio suggests that we can read the history of modernity as a series of innovations iu ever-increasing time compression. He argues that, through the ages, the wealth and power associated with ownership of land was equally tied to the capacity to traverse it and to the speed at which this could be achieved.

the potential capacity of exterrirorial beings to be everywhere at once and nowhere in particular is inescapably tied to operators that are bounded by their embodied temporal limits of terrestrial existence and sequential information processing. The actual capacity for parallel absorption of knowledge, therefore, is hugely disap­pointing. Equally, the electronic capacity to be now-here and no-where has brought the body to a standstill.

The over­load of information, for example, is becoming so extensive that taking advantage of only the tiniest fraction of it not only blows apart the principle of instantaneity and 'real-time' communication, but also slows down operators to a pomt where they lose themselves in the eternity of electronically networked information.

The intensive {elec­tronic) present, Virilio suggests, is no longer part of chrono­logical time; we have to conceptualize it instead _as chronoscopic time. Real space, he argues, is making room for decontextualized 'real-time' processes and intensity takes over from extensity.11 This in turn has consequences and, similar to the time compression in transport, the compression in transmission has led to a range of paradoxical effects.

With respect to twentieth-century transmission Virilio has in mind the wireless telegraph, telephone, radio and subse­quent developments in computer and satellite communica­tion, which have once more changed the relationship between time and movement across space. Together, these innovations in transmission replaced succession and duration with seeming simultaneity and instantaneity. Duration has been compressed to zero and the present extended spatially to encircle the globe: it became a global present.