What really stood out to me in this reading is the idea that feeling in music does not come from complexity, but from very small timing choices. Even in simple, repetitive patterns, musicians can express a lot just by playing slightly early or slightly late. Those tiny differences change how the music feels, even if the tempo stays the same.

The example of West African drumming and the backbeat helped make this clear. A drummer playing a snare just a little behind the beat can make the groove feel relaxed and grounded. It is not something you would notice on paper, but you feel it immediately when listening or moving to the music. That sense of “in the pocket” seems closely tied to the body and to playing with other people, not just keeping perfect time.

I also liked the idea that musical communication does not have to “say” anything specific. Meaning comes from interaction, from call and response, and from how musicians respond to each other in real time. Microtiming becomes a quiet way musicians communicate and stay connected, which helps explain why groove feels so human.