Conceptualizations of the temporal organization of music : An interview study of double bassists from two different musical traditions

Sammanfattning: This study delves into the temporal organization of music and investigates how double bassists from different musical traditions perceive various components within it, specifically focusing on jazz music and Western classical music. The aim was to explore potential disparities and ascertain the factors influencing their emergence. Respondents in the study have discussed how various teachers, akin to researchers in the field, have different interpretations of aspects within the temporal organization of music and how this has influenced their perspectives on phenomena such as pulse, rhythm, meter, and timing. Four semi-structured interviews were conducted, comprising two respondents enrolled in or having completed a bachelor's program in jazz and two in classical music. The empirical data underwent analysis using the Community of Practice theory, emphasizing how individuals, based on interests, areas of expertise, or leisure activities are part of communities. Particular attention was paid to examining the vocabulary employed within these communities, a crucial aspect in this study. The findings revealed that double bassists from both traditions fundamentally conceptualized aspects within the temporal organization of music similarly at a theoretical level. They defined elements such as pulse, tempo, and rhythm comparably, yet their practical conceptualizations of these same elements diverged. Their musical environments and types of ensembles influenced how they perceived these fundamental concepts. Jazz bassists viewed themselves as establishing a foundational structure alongside drummers, allowing for other musicians in the ensemble to play more freely on the foundation they built. Classical bassists also perceived their role as establishing a foundation, yet they emphasized alternating roles, sometimes following a conductor or soloist. Moreover, their conceptualization of pulse was more fluid, acknowledging that tempo and pulse could exhibit greater variability within their musical tradition.