WEBVTT 00:00:00.000 --> 00:00:02.320 align:middle line:90% 00:00:02.320 --> 00:00:02.820 align:middle line:90% Hello. 00:00:02.820 --> 00:00:04.446 align:middle line:90% Hello. 00:00:04.446 --> 00:00:08.250 align:middle line:84% How would you define groovy music? 00:00:08.250 --> 00:00:12.310 align:middle line:84% A groove is both, kind of, the basic rhythmic pattern 00:00:12.310 --> 00:00:15.330 align:middle line:84% of a song and it's also the way of playing it. 00:00:15.330 --> 00:00:21.040 align:middle line:84% So when you say this tune is going to have a swing groove, 00:00:21.040 --> 00:00:23.890 align:middle line:84% it's both the basic swing pattern, 00:00:23.890 --> 00:00:28.200 align:middle line:84% but it's also a particular manner of playing that pattern. 00:00:28.200 --> 00:00:31.430 align:middle line:84% But, of course, groove is also an experienced quality. 00:00:31.430 --> 00:00:34.990 align:middle line:84% So it's when you listen to a groove, 00:00:34.990 --> 00:00:39.000 align:middle line:84% you-- if the groove is poorly played, 00:00:39.000 --> 00:00:42.170 align:middle line:84% you don't experience it as groovy. 00:00:42.170 --> 00:00:46.470 align:middle line:84% A successful groove is when we experience groove as groovy. 00:00:46.470 --> 00:00:48.980 align:middle line:84% And that's more of an aesthetic quality. 00:00:48.980 --> 00:00:52.180 align:middle line:84% It's when you actually succeed in doing, 00:00:52.180 --> 00:00:57.590 align:middle line:84% in playing, in conveying the groove in the right way. 00:00:57.590 --> 00:01:01.440 align:middle line:84% And in music psychology, for example, this aesthetic quality 00:01:01.440 --> 00:01:07.680 align:middle line:84% has been defined as something-- or the aspect of the groove 00:01:07.680 --> 00:01:09.910 align:middle line:90% that makes you want to move. 00:01:09.910 --> 00:01:14.260 align:middle line:84% So it's when the groove induces dance or bodily 00:01:14.260 --> 00:01:17.940 align:middle line:84% movement, that's when the groove is groovy. 00:01:17.940 --> 00:01:21.440 align:middle line:84% So you'd say that it's connected to movement? 00:01:21.440 --> 00:01:25.700 align:middle line:84% Yeah, groove is deeply connected to motion and movement, 00:01:25.700 --> 00:01:27.450 align:middle line:90% absolutely. 00:01:27.450 --> 00:01:29.560 align:middle line:84% But of course, you don't need to move to a groove. 00:01:29.560 --> 00:01:30.184 align:middle line:90% You can listen. 00:01:30.184 --> 00:01:35.710 align:middle line:84% You can sit still and experience this quality. 00:01:35.710 --> 00:01:37.260 align:middle line:90% That's no problem. 00:01:37.260 --> 00:01:40.006 align:middle line:84% But it's still connected to movement. 00:01:40.006 --> 00:01:46.420 align:middle line:84% I think when a groove is groovy, it makes you want to move. 00:01:46.420 --> 00:01:52.180 align:middle line:84% So the experience of groove, from the perspective 00:01:52.180 --> 00:01:57.740 align:middle line:84% of the listener or the dancer, is when a groove really 00:01:57.740 --> 00:02:01.070 align:middle line:84% makes you want to move, to get out on the dance floor 00:02:01.070 --> 00:02:04.070 align:middle line:90% and use your body. 00:02:04.070 --> 00:02:06.860 align:middle line:84% Your book about the funk grooves of James Brown and Parliament 00:02:06.860 --> 00:02:08.320 align:middle line:90% is called Presence and Pleasure. 00:02:08.320 --> 00:02:10.520 align:middle line:90% Can you explain why? 00:02:10.520 --> 00:02:17.840 align:middle line:84% It's because I thought it was a cool title, of course. 00:02:17.840 --> 00:02:19.400 align:middle line:90% That's one aspect. 00:02:19.400 --> 00:02:25.140 align:middle line:84% I think when you're in this condition of being 00:02:25.140 --> 00:02:28.590 align:middle line:84% in the groove, that's an extreme experience of being 00:02:28.590 --> 00:02:33.580 align:middle line:84% present in the now, in something that happens actually now. 00:02:33.580 --> 00:02:35.870 align:middle line:84% You're not worried about the past and the future. 00:02:35.870 --> 00:02:39.210 align:middle line:84% You're just in the situation, the things that happen. 00:02:39.210 --> 00:02:42.820 align:middle line:84% And that's why I call it presence. 00:02:42.820 --> 00:02:46.630 align:middle line:84% Is this similar for the loss of play. 00:02:46.630 --> 00:02:50.650 align:middle line:84% Yeah, actually, I think that's kind 00:02:50.650 --> 00:02:54.960 align:middle line:84% of a premise for being able to play, groove in the right way, 00:02:54.960 --> 00:03:00.790 align:middle line:84% is to be extremely focused on the moment. 00:03:00.790 --> 00:03:04.260 align:middle line:84% But I guess that goes for much music making. 00:03:04.260 --> 00:03:06.910 align:middle line:84% I mean music, musicing in general, 00:03:06.910 --> 00:03:12.030 align:middle line:84% you have to be extremely present in the musicing 00:03:12.030 --> 00:03:14.204 align:middle line:90% now, so to speak. 00:03:14.204 --> 00:03:15.190 align:middle line:90% And the pleasure? 00:03:15.190 --> 00:03:17.580 align:middle line:84% And the pleasure is linked to this presence 00:03:17.580 --> 00:03:21.320 align:middle line:84% because I think-- it's also, of course, the pleasure produced 00:03:21.320 --> 00:03:24.420 align:middle line:84% by the fact that you're actually dancing or using your body. 00:03:24.420 --> 00:03:26.990 align:middle line:90% 00:03:26.990 --> 00:03:31.100 align:middle line:84% But it's also, I think this experience of being present 00:03:31.100 --> 00:03:34.580 align:middle line:84% in both in the body and in the now and in the beauty, 00:03:34.580 --> 00:03:40.740 align:middle line:84% being completely absorbed in the situation, in the now, 00:03:40.740 --> 00:03:46.710 align:middle line:84% is an experience that many modern people long for, 00:03:46.710 --> 00:03:49.280 align:middle line:84% because it's a kind of experience 00:03:49.280 --> 00:03:56.070 align:middle line:84% that-- it's rare, in a way, in a modern society. 00:03:56.070 --> 00:03:58.760 align:middle line:84% Is it problematic to use pleasure 00:03:58.760 --> 00:04:03.260 align:middle line:84% as a description of how you feel when you're listening to music? 00:04:03.260 --> 00:04:05.170 align:middle line:90% No, I don't think so. 00:04:05.170 --> 00:04:05.780 align:middle line:90% Why? 00:04:05.780 --> 00:04:06.780 align:middle line:90% Why would you mean that? 00:04:06.780 --> 00:04:09.180 align:middle line:90% But in musicology? 00:04:09.180 --> 00:04:12.070 align:middle line:84% Of course, yeah, I see your point. 00:04:12.070 --> 00:04:17.329 align:middle line:84% Because pleasure is often linked to a bodily experience 00:04:17.329 --> 00:04:21.660 align:middle line:84% or it's linked to-- it's kind of anti-rational. . 00:04:21.660 --> 00:04:29.650 align:middle line:84% Or it could be seen as something that does not involve reason, 00:04:29.650 --> 00:04:30.650 align:middle line:90% in a way. 00:04:30.650 --> 00:04:32.110 align:middle line:90% Hedonistic? 00:04:32.110 --> 00:04:36.320 align:middle line:84% Yeah, it's been linked to hedonistic music cultures. 00:04:36.320 --> 00:04:42.070 align:middle line:84% And of course, many dance cultures have these aspects, 00:04:42.070 --> 00:04:45.020 align:middle line:84% but it's not necessarily a contradiction 00:04:45.020 --> 00:04:49.490 align:middle line:84% between feeling pleasure and being sensible. 00:04:49.490 --> 00:04:51.340 align:middle line:90% I thank you. 00:04:51.340 --> 00:04:52.075 align:middle line:90%