Download The Groove Experience

Hi there, I've been lately wanting to jump onto Pgroove on CVS2 (Been playing a lot of Third strike and find it kinda fun). I know it's not the same as SFF or as the EO version with Super Cancels and hardly see someone using it (I watched a few tourneys on p-groove but they really don't use the parrying system). So, does this worth it? Have someone here used Pgroove on casual or competitive? Would be great to know if I better invest my time in A-Groove as an alternative one.

Misdiagnosis is a common phenomenon in these cases, since the differential diagnosis includes several other conditions like infection, irritant dermatitis, lichen sclerosis, ulcerated hemangioma, perianal pyramidal protrusion, and mainly trauma [2]. Biopsy indicates areas of non-keratinized squamous epithelium mixed with transitional anorectal epithelium and other histological findings like hyperkeratosis, fibrosis, and vascular dilatation [1,2]. Full imaging of the abdomen, pelvis, and spine is important in order to exclude anomalies that have been associated with perineal groove, like urinary tract anomalies [2].

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This study tested the influence of expert performance microtiming on listeners' experience of groove. Two professional rhythm section performances (bass/drums) in swing and funk style were recorded, and the performances' original microtemporal deviations from a regular metronomic grid were scaled to several levels of magnitude. Music expert (n = 79) and non-expert (n = 81) listeners rated the groove qualities of stimuli using a newly developed questionnaire that measures three dimensions of the groove experience (Entrainment, Enjoyment, and the absence of Irritation). Findings show that music expert listeners were more sensitive to microtiming manipulations than non-experts. Across both expertise groups and for both styles, groove ratings were high for microtiming magnitudes equal or smaller than those originally performed and decreased for exaggerated microtiming magnitudes. In particular, both the fully quantized music and the music with the originally performed microtiming pattern were rated equally high on groove. This means that neither the claims of PD theory (that microtiming deviations are necessary for groove) nor the opposing exactitude hypothesis (that microtiming deviations are detrimental to groove) were supported by the data.

When listening to music, we naturally move our bodies rhythmically to the beat, which can be pleasurable and difficult to resist. This pleasurable sensation of wanting to move the body to music has been called "groove." Following pioneering humanities research, psychological and neuroscientific studies have provided insights on associated musical features, behavioral responses, phenomenological aspects, and brain structural and functional correlates of the groove experience. Groove research has advanced the field of music science and more generally informed our understanding of bidirectional links between perception and action, and the role of the motor system in prediction. Activity in motor and reward-related brain networks during music listening is associated with the groove experience, and this neural activity is linked to temporal prediction and learning. This article reviews research on groove as a psychological phenomenon with neurophysiological correlates that link musical rhythm perception, sensorimotor prediction, and reward processing. Promising future research directions range from elucidating specific neural mechanisms to exploring clinical applications and socio-cultural implications of groove.

The current study aimed at translating and adapting the EGQ into German and validating the questionnaire with a large German sample. The central question was whether the two-dimensional factor structure of the English original version could be confirmed in the German translation. Furthermore, the present study offers first insights into convergent validity and discusses the implications for the construct of groove stemming from the validity measurements.

To examine the factor structure of the six EGQ items, a confirmatory factor analysis was conducted. Three different models were examined regarding their fit to the empirical data. The first model was the target model as reported for the English version of the EGQ by Senn et al. (2020). It consisted of two correlating factors, Urge to Move and Pleasure with three items each. The second model was developed to account for the possibility of two non-correlating and therefore independent factors (same distribution of items as in Model 1). A third model was constructed to test if the groove experience could be operationalized by just one underlying factor. Analyses were conducted in RStudio using the package lavaan (Rosseel, 2012).

Our study conducted an initial validation of the EGQ (for the original questionnaire, only construct validity was reported). However, the questionnaire should be subject to additional psychometric evaluation in different settings (for example, using stimuli from just one genre or a greater variety of genres, as well as ratings by selected demographic groups as respondents). As the personal background in music is important in shaping the mental processes involved in the experience of groove (Senn et al., 2019), it is assumed that the individual rating patterns can diverge between different cultures. A participant from a cultural background differing from the sample used in this study could, for example, have been raised in a society in which the function of music and dance (a summary of these functions from an evolutionary standpoint can be found in Richter & Ostovar, 2016) is different from the Western concept of music and dance. As a consequence, the response patterns of different cultural subgroups could diverge systematically on the factor Urge to Move. Therefore, we share the view of Witek et al. (2020) that there is a need for more cross-cultural research on this topic to further our understanding of cultural communalities and differences in the experience of groove. Due to the high internal consistency of the two scales, one could conclude that some items might be redundant for the measurement of Urge to Move and Pleasure. However, in reference to the extreme responses to some stimuli, the need for a more diverse stimulus set becomes evident: Future stimuli should vary with regard to the musical properties that are expected to influence our groove experience: genre, tempo, beat salience, event density, microtiming, rhythmic variablilty, and syncopation, for example. Furthermore, we recommend the use of the full questionnaire until these redundancies have been confirmed by further studies.

To facilitate future research with the EGQ, the R-package groovescale has been developed (Sander & Labonde, 2020). It allows for an integration of both EGQ versions (English and German) in the R environment and was conceived using the psychTestR framework (Harrison, 2020). Based on this package, one can build a test session with participant IDs, save the results with automatically calculated scores for both factors, and include the EGQ in online experiments. For further information regarding the download, installation and functionality of the package, see its online repository ( ).

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This book is a welcome addition to the ever-growing field of the philosophy of music. It tackles with a lot of clarity an overlooked subject -- the phenomenon of groove -- which is crucial in the appreciation of a great number of popular music genres (e.g., jazz, reggae, funk, rhythm and blues, hip-hop). Groove is this "quality of music that makes people tap their feet, rock their head and get up and dance" (Madison 2006, p. 201). While a central phenomenon for listeners, dancers and, of course, musicians themselves -- which Tiger Roholt shows with an illuminating example from the Beatles' Love Me Do recording session -- it remains very mysterious, as testified by the difficulty we seem to have in defining the very concept of groove. Yet we all have a clear sense of how groove music make us feel when listening to tunes such as Herbie Hancock's Hang Up Your Hang Ups or James Brown's Cold Sweat. In this book, Roholt's endeavor is to clarify the feel that arises in the musical experience of a groove, by answering two major questions:

In chapter 1, Roholt introduces the question of musical nuances -- all those tiny (and sometimes not so tiny) deviations in pitch or duration made by musicians when performing. According to Roholt, groove is largely a matter of micro-timing nuances. Micro-timing nuances explain why two parts identical in their rhythmic notation can actually sound very differently.In the present case, it can explain why one part grooves while the other does not, or why one part achieves the right kind of groove while the other does not. A general problem is that such musical nuances are said to be ineffable (Raffman 1993), our capacity for pitch or duration discrimination being far more precise than our music-theoretical concepts (C-sharp, eighth-note, and so on). Roholt addresses this problem by claiming that musical nuances may not be effable, but their objectives -- the fact that a musician performs a musical nuance for a reason (such as: "I want to brighten my sound here" or "I want to play this phrase with an elastic feel") -- clearly are. Indeed, we can discuss these nuance objectives not only by indirect descriptions -- trying to render these nuance objectives by carefully describing the perceptual experience that they elicit -- but also by referring to recording or performance examples that are shared in a given culture or community. This should not be seen as an escape strategy from the ineffability problems, as the musicians are themselves much more concerned with what the micro-timing variations accomplish -- eliciting the right sort of groove -- than they are concerned with the micro-timing nuances themselves. 2351a5e196