※ 引述《silvery (....)》之銘言：
: 我想大家都可以同意倫老師唱歌有個缺點
: 就是拍子不穩grooving不佳
: 但Grooving這個字很抽象
: 我稍微google一下
: "GROOVING是一種拍子的算法而造成的自然律動,
: 當你知道的拍子是正確的時候,
: 唱歌的口氣換氣的位置, 聲音的表情一整個就對了"
: 所以grooving跟拍子,身體的律動和換氣呼吸都有關
: (子鴻老師在遺忘的時光那集也有提到呼吸)
: 不過我對grooving這個字還是沒辦法完全100%明白
: 有沒有那位高手可以下個嚴謹的定義啊??
: 還有應該要怎麼練才能改善grooving啊??
: 還是grooving是天生的很難練呢??
: → silvery:大家都知道grooving啊 我只是想知道"嚴謹"的定義跟"練法" 06/23 02:55
: 推 chimd:這可能跟肢體有點關係？？ 06/23 08:22
^^^^^^^^^^^^^^^^^^^^^^^^^
You got it!

: → silvery:我想先定義grooving再找解決方法 這是研究生職業病吧 :D 06/23 09:53
: 推 Klaver:那只是應用在唱歌上的一種抽象概念吧 怎麼會有定義? 06/23 10:03
^^^^^^^^^^^^^^^^
Seriously speaking, we should be serious about a definition.

理論並非無用，它能解釋實務的原理、抽象的概念。
既然 silvery 要認真討論，那就來一下吧。XD

一、我的自由心證

　　我覺得 grooving 就是 "beat" 或 "pulse" ，就像字幕打的「律動」。
或者，我覺得「韻律」也行啦。而且，須樂在其中、浸淫其中。


二、語言學

　　各詞條內容雖然已上色畫重點，但仍相當長，若無興趣可退出。:p

　　"grooving"是「動名詞」（gerund）用法
原形出自其動詞（verb）、名詞（noun）："groove"

通常一個字的詞類若本來就有名詞形會直接用名詞形，
但若為表示該「動作」的「持續狀態」，並強調其「動態」，會偏愛使用「動名詞」。

　　以下詞條轉載自三本英英字典，
Macmillan（紙本）、Longman（紙本）、Oxford（線上）。
其實意義遠比打出的更多，我就列舉幾個重要的就好。

noun.
--a line cut into a surface
--a piece of music with a good beat
phrase--in the (or a) groove = GROOVY <adj.>
Hence groove is used to mean:
a style of playing jazz or similar music,
especially one that is ‘swinging’ or good;
a time when jazz is played well;
more widely, one's predilection or favourite style, = BAG <n.>;
something excellent or very satisfying. slang (U.S.).

verb.
vt.--to make a long narrow track in something
vi.--To play jazz or similar music with ‘swing’;
to be ‘in the groove’ (see GROOVE <n.>);
to dance or listen to such music with great pleasure;
hence, to make good progress or co-operate;
to get on well with someone;
to make love.
vt.--to play (music) swingingly;
to give pleasure to (a person). slang (U.S.).

要注意的是形容詞的"grooved"、"groovy"，雖然與原字有關聯，但有其他意義，
都跟「律動」的意思有別，請區分之。


三、音樂學

　　"groove"其實出自「爵士樂」術語，當然有其學術定義，
不但本身意思很多，也被廣泛應用在其他類型的音樂。

　　以下詞條轉貼自 Grove Music Online［葛洛夫音樂百科全書線上資料庫］。
如果自家學校圖書館已購置此資料庫，不妨自行登入查詢玩玩看喔。

groove (i).
In the realm of jazz, a persistently repeated pattern. More broadly, Feld
(1988), studying groove from an ethnomusicological perspective, defines it
cautiously as “an unspecifiable but ordered sense of something that is
sustained in a distinctive, regular and attractive way, working to draw the
listener in.” Connections to dance are important, and the statement that a
performance has, or achieves, a groove, usually means that it somehow compels
the body to move. Still more generally, the term has a sexual origin and
connotation which is obvious, requiring no explanation.

The meaning of the term “groove,” and the question of whether or not it is
present in a performance, is every bit as arguable and qualitative as “swing,
” and if possible even more elusive, because it applies so far beyond the
world of jazz. Within jazz circles, Gold identifies the phrase “in the groove
” – which from around 1936 to 1945 (i.e., during the height of the swing
era) was in widespread use in referring to jazz performances which were “
excellent” or, by extension, “sophisticated” – and the term “groove” –
referring in the 1940s and 1950s to “routine, preference, style, source of
pleasure.” These usages underline the importance of aesthetic judgements in
identifying the presence of, or evaluating, a groove; by further extension, a
groove might perhaps be boring, or bad, or an inept appropriation.

The definitive early use on record is the swing instrumental In the Groove
(1937, Decca 1621), by Andy Kirk’s big band. Other well-known titles from
the swing and bop era include Chick Webb’s In the Groove at the Grove (1939,
Decca 2323), with Ella Fitzgerald singing the lyrics, and small-group pieces
by Dizzy Gillespie (Groovin’ High, 1945, Guild 1001) and Earl Bostic (That’
s the Groovy Thing!, 1946, Gotham 104). Although the present dictionary
recognizes these broad and continuing usages (noting, for example, the
appearance of Bernard Purdie in the year 2000 in a soul-jazz trio, the
Masters of Groove), the term “groove” or “groove-based” refers herein to
group performances or recordings in which the achievement of a groove seems
to be the single foremost musical quality. Characteristically (but with no
intent of excluding other possibilities), such usage tends to operate with
reference to styles from the latter third of the twentieth century which
utilize characteristic accompanimental ostinatos drawn from African-derived
dance music, whether African-American (e.g., soul, funk, disco, rap,
hip-hop), Afro-Cuban dance music (e.g., salsa), or Afro-Brazilian (samba), or
some other such fusion.

bibliography（參考文獻）
GoldJL
E. Townley: Tell your Story: a Dictionary of Jazz and Blues Recordings, 1917–
1950 (Chigwell, England, 1976)
: Tell your Story: a Dictionary of Mainstream Jazz and Blues Recordings,
ii: 1951–1975 (Chigwell, England, 1987)
S. Feld: “Aesthetics as Iconicity of Style, or ‘Lift-up-over Sounding’:
Getting into the Kaluli Groove,” Yearbook for Traditional Music, xx (1988),
74
J.-P. Levet: Talkin’ that Talk: le langage du blues et du jazz (Paris, 1992)
I. T. Monson: Saying Something: Jazz Improvisation and Interaction (Chicago
and elsewhere, 1996)

--
落落長～
囧rz
總之，提供了學術定義，討論起來就有了明確的依據。

--
※ 發信站: 批踢踢實業坊(ptt.cc)
◆ From: 61.229.205.230
※ 編輯: nanpyn 來自: 61.229.205.230 (06/23 12:40)