Evan Malone
Lone Star College
Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences.
Keywords Genre  Music Cognition  Groove  Jazz  Rock  Popular Music  Musical Nuances
Categories (categorize this paper)
DOI 10.1093/jaac/kpac020
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

 PhilArchive page | Other versions
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

Autonomy and Aesthetic Engagement.C. Thi Nguyen - 2019 - Mind 129 (516):1127-1156.
Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
Aesthetic Practices and Normativity.Robbie Kubala - 2021 - Philosophy and Phenomenological Research 103 (2):408-425.
Toward a Communitarian Theory of Aesthetic Value.Nick Riggle - 2022 - Journal of Aesthetics and Art Criticism 80 (1):16-30.
Sensorimotor Coupling in Music and the Psychology of the Groove.Petr Janata, Stefan T. Tomic & Jason M. Haberman - 2012 - Journal of Experimental Psychology: General 141 (1):54-75.

View all 18 references / Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Groove: A Phenomenology of Rhythmic Nuance by Tiger C. Roholt.Andrew Kania - 2017 - Journal of Aesthetic Education 51 (1):115-119.
Music, Groove, and Play.Richard D. Ashley - 2021 - Behavioral and Brain Sciences 44.
Jazz and Musical Works: Hypnotized by the Wrong Model.John Andrew Fisher - 2018 - Journal of Aesthetics and Art Criticism 76 (2):151-162.
Dance Rhythm.Aili Bresnahan - 2019 - In Peter Cheyne, Andy Hamilton & Max Paddison (eds.), The Philosophy of Rhythm: Aesthetic, Music, Poetics. Oxford: pp. 91-98.
Musical Perceptions.Rita Aiello & John A. Sloboda (eds.) - 1994 - Oxford University Press.
The Metaphysics of a Groove.Kenneth Sacks - 1997 - Dissertation, Vanderbilt University


Added to PP index

Total views
126 ( #94,116 of 2,520,411 )

Recent downloads (6 months)
102 ( #6,955 of 2,520,411 )

How can I increase my downloads?


My notes