Por qué das MAL las palmas | El contratiempo de la música Swing

How do you clap along to swing and most commercial music? The answer lies in the offbeat. We explain the correct way to clap and why we should do so when accompanying swing, rock, pop, and other styles with African roots. 0:00 - Introduction 0:40 - Clapping is a musical instrument 1:46 - European music VS African music 3:05 - The contratiempo and syncopation 4:53 - Why many people clap badly 5:52 - The correct way to clap 8:05 - Clapping exercise 8:41 - Conclusion *References **Links: https://www.ncbi.nlm.nih.gov/pmc/arti...    • Clap in time, you plonkers!      • Dawn Hampton in Herrang 1990s   http://www.ethanhein.com/wp/2013/the-... http://www.ethanhein.com/wp/2013/frie... https://en.wikipedia.org/wiki/Prehist... https://www.musical-u.com/learn/rhyth... https://www.scientificamerican.com/ar... **Books: Story of Jazz The African Imagination in Music, Kofi Agawu Concise guide to jazz Black dance from 1619 from today World story of the dance, curt sachs **More: Baraka, A. (1963). Blues people: Negro music in white America. New York: Quill. Baur, S. (2012). Backbeat. The Grove dictionary of American music, 2nd edition. Bispham, J. (2006). Rhythm in music: What is it? Who has it? And why? Music Perception, 24(2), 125–134. Butterfield, M. (2011). Why do jazz musicians swing their eighth notes? Music Theory Spectrum, (33), No. 1, 3-26. Butterfield, M. (2010). The power of anacrusis: Engendered feeling in groove-based musics. Music Theory Online 12(4). Fitch, W. T., & Rosenfeld, A. J. (2007). Perception and production of syncopated rhythms. Music Perception, 25(1), 43–58. Grahn, J. A., & Brett, M. (2007). Rhythm and beat perception in motor areas of the brain. Journal of Cognitive Neuroscience, 19(5), 893–906. Greenwald, J. (2002) Hip-hop drumming: The rhyme may define, but the groove makes you move. Black Music Research Journal, 22(2) 259-271. Huron, D. and Ommen, A. (2006). An empirical study of syncopation in American popular music, 1890–1939. Music Theory Spectrum, (28)2, 211-231. Ladinig, O., Honing, H., Háaden, G. and Winkler, I. (2009). Probing attentive and preattentive emergent meter in adult listeners without extensive music training. Music Perception 26. 4 (Apr): 377-386. Martens, P. (2011). The ambiguous tactus: Tempo, subdivision benefit, and three listener strategies. Music Perception 28. 5 (Jun 2011): 433-448. McClary, S. (1989). Terminal prestige: The case of avant-garde music composition. Cultural Critique, No. 12, pp. 57-81. McKinney, M. F., & Moelants, D. (2006). Ambiguity in tempo perception: What draws listeners to different metrical kevels? Music Perception, 24(2), 155–166. Phillips-Silver, J., Aktipis, C. A., & A Bryant, G. (2010). The ecology of entrainment: Foundations of coordinated rhythmic movement. Music Perception, 28(1), 3–14. Stewart, A. (2000). ‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music. Popular Music, 19(3), 293-318. Tamlyn, G. (1998). The big beat: Origins and development of snare backbeat and other accompanimental rhythms in rock ’n’ roll. PhD thesis, University of Liverpool. Temperley, D. (2010). Modeling common-practice rhythm. Music Perception: An Interdisciplinary Journal, Vol. 27, No. 5, pp. 355-376. Temperley, D. (1999). Syncopation in rock: a perceptual perspective. Popular Music, Volume 18/1. Toiviainen, P.; Luck, G., & Thompson, M. (2010). Embodied meter: Hierarchical eigenmodes in music-induced movement. Music Perception 28(1): 59-70. ---------------------------------------------------------------------- 👉 Support us! ► Become a member:    / @estiloswing   👉Follow us: ► Web: https://estiloswing.es ► Facebook:   / estiloswing   ► Instagram:   / estiloswing.es   ► TikTok:   / estiloswing   ► Twitter:   / _estiloswing