Feeling the groove: shared time and its meanings for three jazz trios

The notion of groove is fundamental to jazz culture and the term yields a rich set of understandings for jazz musicians. Within the literature, no single perspective on groove exists and many questions remain about the relationship between timing processes, phenomenal experience and musical structures in making sense of groove. In this account, the experience and meaning of groove is theorised as emerging from two forms of sharedness. Firstly, a primary intersubjectivity that arises through the timing behaviours of the players; this could be likened to the 'mutual tuning-in' described in social phenomenology. It is proposed that this tuning-in is accomplished through the mechanism of entrainment. The second form of sharedness is understood as the shared temporal models, the cultural knowledge, that musicians make use of in their playing together. Methodologically, this study makes use of detailed investigation of timing data from live performances by three jazz trios, framed by in-depth, semi-structured interview material and steers a new course between existing ethnographic work on jazz and more psychologically informed studies of timing. The findings of the study point towards significant social and structural effects on the groove between players. The impact of musical role on groove and timing is demonstrated and significant temporal models, whose syntactic relations suggest musical proximity or distance, are shown to have a corresponding effect on timing within the trios. The musician's experience of groove is discussed as it relates to the objective timing data and reveals a complex set of understandings involving temporality, consciousness and communication. In the light of these findings, groove is summarised as the feeling of entrainment, inflected through cultural models and expressed through the cultural norms of jazz

Creativity, collaboration and development in Jeremy Thurlow's Ouija for Peter Sheppard Skaerved

This paper documents and analyses a creative collaboration between the Composer Jeremy Thurlow and the violinist Peter Sheppard Skærved in the production of Ouija, a work for solo violin and laptop computer. The paper situates the account of this creative process within recent literature on distributed and collaborative creativity, and focuses on three aspects of the project: verbal interaction between the two musicians, analysed in terms of ‘creative-talk’ and ‘face-talk’, and the relationship between immediate and more contextual concerns (‘inside/outside the room’); a quantitative analysis of changes in the musical material, focusing on timing; and a qualitative analysis of the role of the violinist’s embodied and instrumental engagement with the music. The paper discusses the findings in relation to forward-oriented (process) and backward-oriented (product) conceptions of creativity, the operation of different social components in creative collaboration, and the relationship between craft, history and embodiment

Chronic obstructive pulmonary disease in patients with HIV: an emerging problem

People with well-controlled HIV now have normal life expectancies and physicians managing these patients are increasingly encountering co-existing chronic obstructive pulmonary disease. This article reviews similarities with this disease in the general population and highlights key differences including significant drug–drug interactions

Key Components of Musical Discourse Analysis

Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse

Impact of solitary pulmonary nodule size on qualitative and quantitative assessment using 18F-fluorodeoxyglucose PET/CT: the SPUTNIK trial

Purpose: To compare qualitative and semi-quantitative PET/CT criteria, and the impact of nodule size on the diagnosis of solitary pulmonary nodules in a prospective multicentre trial. / Methods: Patients with an SPN on CT ≥ 8 and ≤ 30 mm were recruited to the SPUTNIK trial at 16 sites accredited by the UK PET Core Lab. Qualitative assessment used a five-point ordinal PET-grade compared to the mediastinal blood pool, and a combined PET/CT grade using the CT features. Semi-quantitative measures included SUVmax of the nodule, and as an uptake ratio to the mediastinal blood pool (SURBLOOD) or liver (SURLIVER). The endpoints were diagnosis of lung cancer via biopsy/histology or completion of 2-year follow-up. Impact of nodule size was analysed by comparison between nodule size tertiles. / Results: Three hundred fifty-five participants completed PET/CT and 2-year follow-up, with 59% (209/355) malignant nodules. The AUCs of the three techniques were SUVmax 0.87 (95% CI 0.83;0.91); SURBLOOD 0.87 (95% CI 0.83; 0.91, p = 0.30 versus SUVmax); and SURLIVER 0.87 (95% CI 0.83; 0.91, p = 0.09 vs. SUVmax). The AUCs for all techniques remained stable across size tertiles (p > 0.1 for difference), although the optimal diagnostic threshold varied by size. For nodules  16 mm, an SUVmax ≥ 3.6 or visual PET uptake greater than the mediastinum was the most accurate. / Conclusion: In this multicentre trial, SUVmax was the most accurate technique for the diagnosis of solitary pulmonary nodules. Diagnostic thresholds should be altered according to nodule size. / Trial registration: ISRCTN - ISRCTN30784948. ClinicalTrials.gov - NCT0201306

Making it groove! Entrainment, participation and discrepancy in the 'conversation' of a jazz trio

Focusing on a live performance by a jazz trio, this case study examines the wordless dialogical 'groove' between musicians. Building on ethnomusicological theories of interaction in conjunction with the notion of entrainment, the study makes use of in-depth temporal analysis of musical interaction alongside the reported phenomenal experiences of the participating musicians. This approach provides an intriguing triangulation between subjective experience and 'hard' temporal data and thus moves to a consideration of musical meaning away from the formal properties of a work and towards the dynamic interactions of the players. While the study of pragmatics has undoubtedly been important in the refinement of scholarly research into music performance, this article suggests that a turn to 'groove' may be of use in broadening our conceptions of linguistic interchange