This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.

中文翻译：

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分箱、跨度和容差：微计时行为的三种理论

这项研究比较了音乐中表达微计时的三种最新理论。虽然每种理论最初都是为了参与特定的音乐流派而设计的——安妮·丹尼尔森（Anne Danielsen）针对放克、新灵魂乐和其他当代黑人音乐表现形式的节拍箱，克里斯·斯托弗（Chris Stover）针对来自非洲和非洲侨民的“时间线音乐”的节拍跨度，以及马茨·约翰逊（Mats Johansson）的节拍跨度。对斯堪的纳维亚小提琴音乐的节奏宽容——我们考虑它们如何在共享的音乐分析空间中有效地共存，各自以相辅相成的方式揭示音乐结构和过程的各个方面。为了探索这些可能性，我们将所有三种理论应用于塞隆尼斯·蒙克（Thelonious Monk）的“蒙克的梦，