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Swing
Málaga, Spain.Frane, A. V., & Shams, L. (2017). Effects of tempo, swing density, and listener's drumming experience, on swing detection thresholds for drum rhythms. The Journal of the Acoustical Society of America, 141(6), 4200-4208.
Ikegami, S., & Shigeno, S. (2016). Effects of swing position in one measure on the feeling of musical rhythm: Examination using the rhythm dividing every beat. The Journal of the Acoustical Society of America, 140(4), 3429-3429.
Dittmar, C., Pfleiderer, M., & Müller, M. (2015). Automated estimation of ride cymbal swing ratios in jazz recordings. In Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR),
Bauer, W. R. (2014). Expressiveness in Jazz Performance: Prosody and Rhythm. Expressiveness in music performance: Empirical approaches across styles and cultures, 133.
Wesolowski, B. C. (2014). Timing deviations in jazz performance: The relationships of selected musical variables on horizontal and vertical timing relations: A case study. Psychology of Music, 0305735614555790.
Hurley, A. W. (2014). Experiencing ‘flow’in jazz performance. IASPM@ Journal,4(1), 124-125.
Strickland, M. (2014). Swing Dancing: How Dance Effectiveness May Influence Music Preference.
Wesolowski, B. C. (2013)Toward a Quantitative Definition of “Swing:” Mechanical Structure and Perception of Jazz Rhythm-A Literature Review. Research Perspectives in Music Education, 15, 31-44.
Wesolowski, B. C. (2012). Testing a Model of Jazz Rhythm: Validating a Microstructural Swing Paradigm.
Butterfield, M. W. (2011). Why Do Jazz Musicians Swing Their Eighth Notes? Music Theory Spectrum, 33(1), 3-26.
Butterfield, M. (2010). Participatory discrepancies and the perception of beats in jazz. Music Perception: An Interdisciplinary Journal, 27(3), 157-176.
Butterfield, M. W. (2010). Race and rhythm: The social component of the swing groove. Jazz perspectives, 4(3), 301-335.
Ramirez, R., Maestre, E., & Serra, X. (2010). Automatic performer identification in commercial monophonic jazz performances. Pattern Recognition Letters,31(12), 1514-1523.
Berliner, P. F. (2009). Thinking in jazz: The infinite art of improvisation. University of Chicago Press.
Honing, H., & de Haas, W. B. (2008). Swing once more: Relating timing and tempo in expert jazz drumming. Music Perception: An Interdisciplinary Journal, 25(5), 471-476.
Waadeland, C. H. (2003). Analysis of jazz drummers' movements in performance of swing groove-a preliminary report. In Proc. of the Stockholm Music Acoustics Conf.(SMAC03) (pp. 573-576).
Friberg, A., & Battel, G. U. (2002). Structural communication. The science and psychology of music performance: Creative strategies for teaching and learning.
第13章 楽曲構造のコミュニケーション 『演奏を支える心と科学』（監訳：安達真由美・小川容子） 誠信書房
Friberg, A., & Sundström, A. (2002). Swing ratios and ensemble timing in jazz performance: Evidence for a common rhythmic pattern. Music Perception,19(3), 333-349.
Laroche, J. (2001). Estimating tempo, swing and beat locations in audio recordings. In Applications of Signal Processing to Audio and Acoustics, 2001 IEEE Workshop on the (pp. 135-138). IEEE.
Waadeland, C. H. (2001). “It Don't Mean a Thing If It Ain't Got That Swing”-Simulating Expressive Timing by Modulated Movements. Journal of New Music Research, 30(1), 23-37.
Prögler, J. A. (1995). Searching for swing: Participatory discrepancies in the jazz rhythm section. Ethnomusicology, 21-54.