Calls and Responses

We do not encounter “generic 4/4” […] but a pattern of timing and dynamics that is particular to the piece, performer, musical style. Therefore, give an ecologically valid account meter, we must move beyond theory tempo-metrical types metrical representation involves relationships […]. (London 2004, p. 159) Similarly, as Hasty illustrates in his analyses two nominally similar Courantes by Johann Sebastian Bach (Hasty 2020, pp. 201–14), way measured span music projects or ‘throws forth’ (p. 113) sense continuation which can call metric goes far instilling expectation that, for example, another sequence three beats will follow first sequence.1 Rather, it temporal profiles combinations actual sounds silences – articulate what come understand music's structure, therefore enabling us attend latter metre (Gjerdingen 1989) project forwards protensive field possibilities may then be affirmed denied. This crucial: any given stretch made up simple complex array co-occurring, nested concatenated gestures, those gestures are able constitutive because ways they conditions possibility next how relate preceded them (confirming denying projective implications former). Furthermore this where Hasty's becomes deeply phenomenological even if explicitly framed such experienced modes (or fail so), means perceiver central apparatus through constituted.2 Prior experience cultural conditioning matter, see below. The specific kinds projections concerned with durational potentials. reach end ‘mensurally determinate’ sound 107), now-past totality potential duration event. yet know event be, nor nature its relationship event, any. According Hasty, ‘the past completed quantity [is] being taken especially relevant becoming present event’ 113); other words, projectively consider now-past-event ‘a condition particularity presently becoming’ 102). But that's nowhere near whole story: it's so much interonset interval occurs either reproduced. Rhythm (and extent, under definition, metre), active, eventful force. crucial point models hear during unfolding. A commences; along contour (including subevents discernible phenomena help determinately measure it) until gives at time have ended. At moment, assess has transpired thus turn our attention already underway.3 That might new beginning continuation, redirection deferral energetic impetus set motion In periodic series realised potentials, encroach upon ongoing flow anacrusis elision, transforming directed energy larger arc expected surprising ways. all cases, constitutes important question leaves open some extent. There several I my own work, now describe turn. Importantly, these take out somewhat rarified world score-based Western ‘art’ into active participatory musicking processes collective vernacular expressions. follows trend Robin Attas (2011 2015), Matthew Butterfield (2006) myself (Stover 2009) continued by, among others, Garrett Michaelsen John Roeder, seen their contributions forum, enlist projection heard occur different global popular contexts.4 First role embodied-cognition-based play dialogic unfolding improvised drum-dance from West Africa African diaspora. Aspects interlocking parts interact musics characterised terms ‘call response’, signal discursive rhetorical technique found across wide range Afro-diasporic practices (Stone 2008, 10–11), also touches on contribution forum. Call-and-response interplay takes many forms: between sonero's continuously varied coro's relatively fixed response salsa,5 jazz rhythm section's soloist's (Monson 1996; conversely, melodic pianist's chord reharmonisation drummer's rhythmic interjection), ‘answer’ phrase crafted real singer's ‘question’ Brazilian embolada (Souza Santos Lamara dos Barbosa 2014).6 What happens frame improvisatory examples terms? call-and-response dialogue drives Cuban rumba guaguancó matancero, forces work.7 I'm here ‘support drums’ salidor segundo whose exchange functions tandem no fewer than six additional layers: clave, catá, chekere, quinto lead drum, solo voice coro, small chorus accompanimental singers. basic shown Fig. 1. derived structures same way, figure. 1 shows iterations cyclic structure. Clave, catá chekere tend repeat little variation except microtiming level (see below). Alongside steady substrate, vary tightly interwoven extemporaneous dialogue, example 2. Because relative positions cycle, often said ‘call’ ‘response’ segundo. For visual clarity, combined clave top stave omitted chékere (which simply articulates cycle beginnings), reproduced ‘basic’ second third staves noteheads. fourth fifth show four cycles (eight notated bars) hypothetical segundo, illustrating each embellishes hocketed melody.8 iteration, ‘calls’ embellished version melody: bars 1, 3, 5 7 ‘responds’ turn, 2, 4, 6 8. case, completes gesture fourth-beat tone melody. straightforward roles clear: calls, responds, wraps cleanly before moving exchange. practice, more complex, examine elsewhere 2009 2018): responses recast performance strata respond one lively multivalent heterophony. Putting terms, projected simplified illustration possibly unfold within half-cycle span, were span. salidor's part opens possible listener would expect happen response. important: determined partially performers internalise appropriate call, select heat improvisational moment. durations, course, seems gestural profile main accounting-for detail. implication point, turning away durations per se, towards broader parameters. salidor–segundo referred Each drum clear (the tuned approximately perfect apart) physical techniques used produce sounds. most frequently played ‘open’ tones, muted ‘muff’ sharp ‘slaps’, expansive ‘bass’ tones barely audible ‘time-keeping’ strokes mostly perceivable effect expressive groove. Sometimes combined, ‘open slaps’ ‘muted bass’ subtle variations produced striking head harder softer angle. comprises sonic resources draw create timbral melodies call-response dialogue. Hastian question, then, ‘throw profile? An interjective slap bass beget mimetic response, space altogether content follow, players strategic reasons tending response-orientations. listener, joy following rumba's precisely hearing intimations bound follows, continuous dynamic process. leads related expressions theory. Beyond gesture, temporally elastic substrate profound ramifications shape. say, essential component structure process musics. events place temporality staked gravitational fields, originating co-occurring 12-count 16-count traversals cycle. These continually working pull alignment, creating ‘beat span’, extended ‘now’ located. only half story, define moment doing pulling. Similar, conception mensural determination duration, inaugurating completing microdurations taking place, microduration agent contributes defining performance. largely makes unique coherent. To put performer imbues (for pushing ahead laying back relation imagined isochronous grid), aspect apparatus, player respond. forms, think action derives directional impulse immediately it. immediacy key; insists again, just-past intensely field: ‘After ten seconds, when ended, entire past, immediate vividly felt distant past’ 107). So, perceptual phenomenologically constitutive) ‘immediately successive events’ (or, better, coextensive events) chain, transpire. As look 25 years Meter initial splash, winning Society Music Theory's prestigious Wallace Berry award, stimulating rich discussion debate (most notably Justin London himself; 1999 1999) influencing generation theorists, legacy alive well full realised. Roger Mathew Grant writes jacket blurb revised twentieth anniversary edition, document subsequent theories respond’. It's sad fact history recent done so, inadequately, methodological or, dare ideological reasons. And I'll conclude forum echoing Grant's forceful words calling theorists analysts continue pursue nuanced theory, direct deploy whatever seem fruitful lean specifically processual orientation foregrounds motion, change production identity over time. Open access publishing facilitated Griffith University, Wiley - University agreement via Council Australian Librarians. Chris Stover composer, improviser Senior Lecturer Studies Research Queensland Conservatorium, Critical Forum editor Analysis.