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dc.contributor.authorMoriarty, Philip
dc.contributor.otherGordon, Oliver
dc.contributor.otherMcCoy, Dominic
dc.contributor.otherMatthews, Jack
dc.contributor.otherKandola-McNicholas, Easel
dc.contributor.otherLlewellyn, Owain
dc.contributor.otherBohkari, Adeel
dc.description.abstractThis is the data archive for "Rushing or Dragging? An Analysis of the "Universality" of Correlated Fluctuations in Drumming" (authors: O. Gordon, D. Coy, J. Matthews, E. Kandola-McNicholas, O. Llewellyn, A. Bokhari, and P. Moriarty, School of Physics and Astronomy).en_UK
dc.publisherThe University of Nottinghamen_UK
dc.subject.lcshDrum musicen_UK
dc.subject.lcshDrum set -- Methodsen_UK
dc.titleRushing or dragging? An analysis of the "universality" of correlated fluctuations in drummingen_UK
dc.subject.freedrumming, fluctuations, detrended fluctuation analysis, wav, rhythms, Tom Sawyeren_UK
dc.subject.jacsPhysical sciences::Physics::Acousticsen_UK
dc.subject.lcM Music and Literature on musicen_UK
dc.subject.lcQC220 Acoustics. Sounden_UK and February - April 2017en_UK
uon.divisionUniversity of Nottingham, UK Campus::Faculty of Science::School of Physics and Astronomyen_UK
uon.datatypeWAV sample files of drummersen_UK
uon.funder.freeThis work did not have external funding. It results from undergraduate projects and crowd-sourced data.en_UK
uon.collectionmethodIn the Tom Sawyer drum pattern of interest here, each bar consists of four beats. These four beats represent four crotchets, or 16 semiquavers (i.e. sixteenth notes). To record samples, twenty-two musicians were asked to play semiquavers for a minimum of two minutes on a closed hi-hat whilst simultaneously listening to the original recording of the song (from the album \textit{Moving Pictures}). Each performance of semiquavers was then repeated once with a double-handed method, once with a single-handed method, and once with a technique of the drummer's choice but in as metronomic and unaccented a fashion as possible. This was all performed with the drummer's own sticks and, other than the metronomic recording, they were asked to play as if they were giving a live performance, instead of just trying to keep time. Our aim was to facilitate the drummers' playing in a style that they prefer in order to better reflect a real-world performance. Nonetheless, the drumming in our study was of course carried out in an artificial environment which is very different from that of a concert performance, a point to which we also return in the conclusions. These data were complemented by hi-hat-only tracks received via the Sixty Symbols crowd-sourcing route.en_UK

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