Date of Award
5-2026
Degree Type
Thesis
Degree Name
Master of Music
Department
School of Music
First Advisor
Dr. Benjamin Morris
Second Advisor
Dr. Samantha Inman
Third Advisor
Dr. Hannah Snavely
Fourth Advisor
Mr. Benjamin Anderson
Abstract
The term “R&B” has existed within the musical lexicon for nearly eighty years. It was first introduced in 1949 to replace the label “race music,” and was a combination of blues, jazz, gospel, and rock. Since then, the genre has transitioned from swing-based, live instrumentation toward straight-eighth backbeats and electronically produced sounds. Despite these shifts, contemporary R&B continues to borrow from its ancestral roots while maintaining a modern aesthetic. A primary feature that has persisted through this landscape is the “groove,” specifically defined here as the rhythmic layer created by the drums and bass. In R&B, the bass provides both harmonic depth and melodic embellishment, creating a foundation for all other musical voices. This thesis analyzes the interactivity of drum and bass lines in four songs spanning fifty-four years, comparing two tracks featuring live musicians with two tracks featuring DAW-produced instrumentation. The analysis examines how these elements influence one another and how the shift from a live ensemble to a single producer has affected compositional approaches. Furthermore, this research includes an original four-song EP titled Timeless. The composition serves as a practical application of the research, with each track designed to mirror the specific grooves and production techniques of the different eras discussed in the text. Ultimately, this study shows that even as R&B moved toward electronic production, its grooves kept their structural integrity and continued to provide the same rhythmic and harmonic support found in earlier live performances.
Repository Citation
Taylor, Hugh, "Bass and Drum Grooves in R&B: Analysis and Composition" (2026). Electronic Theses and Dissertations. 702.
https://scholarworks.sfasu.edu/etds/702
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