ABSTRACT

This chapter explores the organization of time in rhythmically flexible musical styles in which the melodic rhythm in particular constitutes the basic groove-forming element. On an analytical level, rhythmic tolerance concerns the stylistically determined flexibility of temporal values in the performance of pols/springar tunes and the patterns of possibilities that govern the production and perception of rhythm and timing in this style. According to Anne Danielsen's centre of gravity or beat-bin metaphor, the actual location of the beat is, at least under certain conditions, not a specific point in time. In a sense, the metaphorical definition of rhythmic tolerance the space between categorical boundaries applies to all levels at which rhythmic and stylistic behaviour may be analysed. At the most straightforward level of performance and interpretive action, which concerns the detectability of temporal details and differences, factors such as event duration diversity, onset ambiguity and the multi-parametrical nature of rhythmic experience dictate a flexible mapping of rhythmic events.