Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.
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机译：在过去十年中，从物理学和生物学领域夹带的概念 - 已成为调查音乐家之间的节奏调整的工具，以及不同群体的音乐家之间的工具。当与音频数据分析的方法结合时，这种方法对音乐行为的评估有益，以前限于基于通过现场研究收集的民族图谱数据的主要描述性民族学研究。然而，音乐行为不仅是生物物理学的确定，而且是一种高度社交活动。因此，本文重点介绍了1986年社会科学家Joseph E.McGrath和Joice R. Kelly创造的“社会夹带”。最近被录取的音乐研究。将这一概念与某些关于人际关系协调的特定方法相关，提交人制定了自己的社会行为类别，这比社会夹带更广泛，但相应的人可以应用于音乐实践中可能发生的社会夹带。这些类别范围从不涉及社会认知的基本行为，而是对互动个人和群体有意义，以获得需要集体意向性的高阶社会行为，并且可以导致涉及音乐特定现象的复杂互动，例如“凹槽”。因此，提出了一种超越既定物理和生物夹带和麦格拉特和凯尔利的社会夹带原创概念的适应性的螺母的概念：“音乐社会夹带。”作者使用该术语来提及个人内部，间间，内部和组间纳入的外源音乐节奏 - 包括其他音乐行为个人的节奏，包括在社会背景下嵌入社会背景并促进社会性。最后，审查了与音乐社会征收有关的选定研究，作者讨论了有关与音乐相关的夹带研究的问题和开放问题，以及一般夹带研究未来的潜在贡献。
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