Bibliographic record
Abstract
Enrique Menezes and Carlos Pires have translated an interesting series of research notes by Mário de Andrade that consider the origins of syncopation in Brazilian music.Syncopated rhythms are fundamental to samba, maxixe, choro, and other popular-music genres that have become emblematic of Brazilian musical identity.Andrade's comments contextualize syncopation as both a musical technique and a cultural expression of this identity.As a North American music theorist specializing in the theory and analysis of popular music, I am not equipped to comment on the relevance of these ideas to Brazilian music theory or musics, but I can connect them to similar ideas in Anglophone theories about art music from Western Europe and popular musics from the Anglosphere.[2] Andrade considered the most immediate origins of syncopation in Brazilian music to be European, imported from Portuguese music, which may have been influenced by-or even influenced-African musics, and which was further developed by ).This perspective suggests a more complex and multidirectional process of transmission than the prevailing narrative, which ascribes rhythmic complexity in musics from the Americas to an African origin, disseminated through the transatlantic slave trade.Numerous commentators have described Afro-diasporic musics in the Americas as combinations of African rhythm with European harmony and form; see, for example, Díaz (2021), Fryer (2000), Kubik (1999) and ( 2013), Pressing (2002), Rahn (1996), and Schuller (1968).While this is very likely true to some extent, the degree to which it is true has been the subject of long debate, and the issue is clouded by the tendency of music analysts to focus on the rhythmic complexities of many African musics, and the harmonic and formal complexities of many Western European art musics, to the neglect of other important and potentially related musical parameters in both kinds of music.Several scholars have convincingly argued against the essentialisms inherent in this reductive narrative: Africa as a monolithic musical culture; rhythm in African musics as a parameter separable from dance, melody, and timbre; and conceptualizing nonisochronous rhythmic and metric patterns in these musics as dissonances; see Agawu (2003) and ( 2023), London (2012), Nzewi (1991), Perchard (2015), and Stover (2009).
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.010 | 0.091 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.002 | 0.002 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.009 | 0.006 |
| Scholarly communication | 0.012 | 0.006 |
| Open science | 0.005 | 0.007 |
| Research integrity | 0.071 | 0.049 |
| Insufficient payload (model declined to judge) | 0.089 | 0.036 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".