The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviors has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, MA, United States. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.

中文翻译：

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加纳和美国大学生和教职员工对触觉的感觉运动和凹槽反应的跨文化批判性研究

跳动的愉悦愿望被称为“节奏”，部分由节奏性的旋律解释。尽管许多当代开槽音乐流派起源于非洲侨民，但开槽音乐心理学几乎只研究了欧洲或北美的听众。尽管跨文化方法可以帮助我们了解不同人群对音乐的反应，但是比较非洲和西方音乐行为在历史上一直倾向于刻板印象。在这里，我们报告了两项研究，其中对来自加纳海角海岸和美国马萨诸塞州威廉姆斯敦的大学生和员工测量了对晕厥的感觉运动和沟纹反应。在我们的实验设计和解释中，我们显示出对在非洲背景下进行跨文化研究的伦理涵义的敏感性。加纳人的小组在单音分形模式下显示出比美国人更高的同步精度，但这并没有反映在同步精度上。快乐的移动愿望没有明显的群体差异。我们的结果对我们如何理解曝光和同步之间的关系以及如何在文化和音乐环境中定义同步产生了影响。我们希望我们跨文化比较的批判方法有助于将音乐心理学发展成为更具包容性和文化基础的领域。我们的结果对我们如何理解曝光和同步之间的关系以及如何在文化和音乐环境中定义同步产生了影响。我们希望我们跨文化比较的批判方法有助于将音乐心理学发展成为更具包容性和文化基础的领域。我们的结果对我们如何理解曝光和同步之间的关系以及如何在文化和音乐环境中定义同步产生了影响。我们希望我们跨文化比较的批判方法有助于将音乐心理学发展成为更具包容性和文化基础的领域。