Our latest publications

• Câmara, Guilherme Schmidt & Danielsen, Anne (2018). Groove, In Rehding Alexander & Rings Steven (ed.),  The Oxford Handbook of Critical Concepts in Music Theory.  Oxford University Press.  ISBN 9780190454746.  Groove. Show summary

  This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).

• Gadir, Tami (2018). Understanding Agency from the Decks to the Dance Floor. Music Theory Online.  ISSN 1067-3040. Show summary

  Agency is a concept employed widely and in varied ways across interdisciplinary music studies, from the philosophical to the experimental scientific. This article explores some of the theories and methodologies that inform such perspectives, bringing them into conversation with one another. It begins with a conceptual summary juxtaposing the accounts of musical agency that different fields employ and traces their intellectual influences. The article concludes with examples from interviews and fieldwork in contemporary dance club settings that illustrate, but also further complicate, the notion of musical agency.

• Danielsen, Anne; Kjus, Yngvar & Kraugerud, Emil (2018). Gendered patterns in music mediation: a study of male and female performers at the Øya festival using multiple data sources. Poetics.  ISSN 0304-422X. . doi: https://doi.org/10.1016/j.poetic.2018.09.002
• Jensenius, Alexander Refsum (2018). The Musical Gestures Toolbox for Matlab, In Emilia Gómez; Xiao Hu; Eric Humphrey & Emmanouil Benetos (ed.),  Proceedings of the 19th International Society for Music Information Retrieval Conference.  Institut de Recherche et Coordination Acoustique/Musique.  ISBN 978-2-9540351-2-3.  Demo. Show summary

  The Musical Gestures Toolbox for Matlab (MGT) aims at assisting music researchers with importing, preprocessing, analyzing, and visualizing video, audio, and motion capture data in a coherent manner within Matlab.

• Størvold, Tore (2018). Sigur Rós: Reception, Borealism, and Musical Style. Popular Music.  ISSN 0261-1430.  37(3), s 371- 391 . doi: 10.1017/S0261143018000442
• Hawkins, Stan (2018). Introduction: David Bowie (1947-2016). Contemporary Music Review.  ISSN 0749-4467.  37(3), s 189- 192
• Bradley, Catherine A. (2018). Origins and Interactions: Clausula, Motet, Conductus, In Jared C. Hartt (ed.),  A Critical Companion to Medieval Motets.  Boydell & Brewer.  ISBN 9781783273072.  Chapter 2.  s 43 - 60
• Patel-Grosz, Pritty; Grosz, Patrick Georg; Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2018). Coreference and disjoint reference in the semantics of narrative dance, In Uli Sauerland & Stephanie Solt (ed.),  Proceedings of Sinn und Bedeutung 22, vol. 2, ZASPiL 61.  Leibniz-Zentrum Allgemeine Sprachwissenschaft (ZAS).  Chapter in Vol. 2.  s 199 - 216
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Correspondences Between Music and Involuntary Human Micromotion During Standstill. Frontiers in Psychology.  ISSN 1664-1078.  9 . doi: 10.3389/fpsyg.2018.01382 Show summary

  The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.

• Eerola, Tuomas; Vuoskoski, Jonna Katariina; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2018). Towards a more explicit account of the transformation: Reply to comments on "An integrative review of the enjoyment of sadness associated with music". Physics of Life Reviews.  ISSN 1571-0645. . doi: 10.1016/j.plrev.2018.06.013
• Størvold, Tore (2018). Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland. Popular music and society.  ISSN 0300-7766. . doi: 10.1080/03007766.2018.1469390
• Serafin, Stefania; Dahl, Sofia; Bresin, Roberto; Jensenius, Alexander Refsum; Unnthorsson, Runar & Välimäki, Vesa (2018). NordicSMC: A Nordic University Hub on Sound and Music Computing, In Anastasia Georgaki (ed.),  Proceedings of the Sound and Music Computing Conference.  Cyprus University of Technology.  KAPITTEL. Show summary

  Sound and music computing (SMC) is still an emerging field in many institutions, and the challenge is often to gain critical mass for developing study programs and undertake more ambitious research projects. We report on how a long-term collaboration between small and medium-sized SMC groups have led to an ambitious undertaking in the form of the Nordic Sound and Music Computing Network (NordicSMC), funded by the Nordic Research Council and institutions from all of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The constellation is unique in that it covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, the social and natural sciences, and engineering. This paper describes the goals, activities, and expected results of the network, with the aim of inspiring the creation of other joint efforts within the SMC community.

• Alarcón Diaz, Ximena (2018). Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra.. Resonancias: Revista de investigación musical.  ISSN 0717-3474.  22(42), s 151- 168 . doi: https://doi.org/10.7764/res.2018.42.9 Full text in Research Archive. Show summary

  Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra.

• Martin, Charles Patrick; Jensenius, Alexander Refsum & Tørresen, Jim (2018). Composing an ensemble standstill work for Myo and Bela, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  KAPITTEL.  s 196 - 197 Show summary

  This paper describes the process of developing a standstill performance work using the Myo gesture control armband and the Bela embedded computing platform. The combination of Myo and Bela allows a portable and extensible version of the standstill performance concept while introducing muscle tension as an additional control parameter. We describe the technical details of our setup and introduce Myo-to-Bela and Myo-to-OSC software bridges that assist with prototyping compositions using the Myo controller.

• Gonzalez Sanchez, Victor Evaristo; Martin, Charles Patrick; Zelechowska, Agata; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria & Jensenius, Alexander Refsum (2018). Bela-based augmented acoustic guitars for sonic microinteraction, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  Chapter.  s 324 - 327 Show summary

  This article describes the design and construction of a collection of digitally-controlled augmented acoustic guitars, and the use of these guitars in the installation \textit\{Sverm-Resonans\}. The installation was built around the idea of exploring `inverse’ sonic microinteraction, that is, controlling sounds by the micromotion observed when attempting to stand still. It consisted of six acoustic guitars, each equipped with a Bela embedded computer for sound processing (in Pure Data), an infrared distance sensor to detect the presence of users, and an actuator attached to the guitar body to produce sound. With an attached battery pack, the result was a set of completely autonomous instruments that were easy to hang in a gallery space. The installation encouraged explorations on the boundary between the tactile and the kinesthetic, the body and the mind, and between motion and sound. The use of guitars, albeit with an untraditional `performance’ technique, made the experience both familiar and unfamiliar at the same time. Many users reported heightened sensations of stillness, sound, and vibration, and that the `inverse’ control of the instrument was both challenging and pleasant.

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• Bradley, Catherine A. (2018). Polyphony in Medieval Paris: The Art of Composing with Plainchant. Cambridge University Press.  ISBN 9781108418584.  298 s.
• Bradley, Catherine A. & Desmond, Karen (ed.) (2018). The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies. Boydell & Brewer.  ISBN 978-1-78327-272-3.  351 s.

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• Jensenius, Alexander Refsum (2018, 14. oktober). Forskerbloggen: Hvorfor får man lyst til å danse til musikk?. [TV].  NRK.
• Aubinet, Stéphane (2018). Sámi joik and the singing body as a more-than-human ecology.
• Aubinet, Stéphane (2018). Musical notation and non-human voices in Sámi joik.
• Aubinet, Stéphane (2018). Franchir l'horizon par la voix dans le joik Sámi (Laponie).
• Werner, Ann; Gadir, Tami & de Boise, Sam (2018). Past the Point of Representation: New Agendas in Research on Music and Gender. Show summary

  Gender inequalities have long been documented within and across different music spaces. Yet whilst there has been an emphasis on equality as an issue of quantitative representation, or ‘more equal’ numbers of binary genders, inequalities still persist. Furthermore, intersectional feminist critiques have indicated that quantitative, binary measures tend to privilege white, cisgendered bodies, whilst post- and de-colonial approaches have argued that radically reforming patriarchal and colonial institutions, including greater appreciation of geopolitics, mean thinking beyond issues of quantitative representation within institutions. This panel aims to demonstrate how emerging work within cultural and gender studies can help to develop new questions around aesthetics and music practice, in tandem with analyses of intersectionally gendered inequalities. Through exploring the affective dimensions of gender, ontological questions of gendered subjectivity(/ies) and the gendered structuring of material music environments, it aims to offer affirmative strategies for studying, analysing and transforming gender inequalities in relation to music.

• Gadir, Tami (2018). Musical “Quality” over Gender Equality? When Culture Clashes with Law. Show summary

  My proposed presentation addresses the disparities between the legal and the cultural: on the one hand, equality legislation enacted through formalised workplace policies; on the other, the everyday cultural and political attitudes inscribed into musical practices. I use the case of Musikkfest, Oslo, and a recent history of gender equality in Norway, to show how the rhetorics of postfeminism, individualism, and meritocracy affect musicians who are not male and not white. This aligns with current, global, populist backlashes against so-called political correctness. I further critique the profoundly gendered ideas of “talent” or “skill” in the discourses of music practitioners. Providing further examples of DJs from around the world, I show how such paradigms currently dominate music cultures as much as they do world politics. Overarchingly, I critique the ways that such paradigms are woven into musical aesthetic judgements that, in effect, validate discriminatory practices.

• Gadir, Tami; Meanwell, Peter; Jensen, Juno & Bellebono, Jon (2018). Borealis Festival Presents: Creating Spaces, Taking Risks (Panel).
• Gadir, Tami (2018). Dance Music: Just Being Human.
• Gadir, Tami (2018). Dance Music: Just Being Human.
• Sioros, Georgios (2018). What we do when we move to music v.2.
• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter. Show summary

  Head movements of groups of participants moving to music allowing for both duple and triple subdivisions were analysed using Recurrence Quantification Analysis. As expected the maximum recurrence rate varied between participant, position in the music, and between groups. The lags of maximum recurrence were only partly corresponding to the metrical levels of the music and syncopated sections confused participants so that they moved to 4/4 rather than 6/8.

• Haugen, Mari Romarheim (2018). Meter i Skandinavisk folkemusikk.
• Kraugerud, Emil (2018). Take Time.
• Jensenius, Alexander Refsum (2018). The Musical Gestures Toolbox for Matlab. Show summary

  The Musical Gestures Toolbox for Matlab (MGT) aims at assisting music researchers with importing, preprocessing, analyzing, and visualizing video, audio, and motion capture data in a coherent manner within Matlab.

• Hawkins, Stan (2018). Nordic Utopias and the Project of Daydreaming.
• Jensenius, Alexander Refsum (2018). Hvilken type IKT-kompetanse trenger humanister og samfunnsvitere?.
• Bøhn, Einar Duenger; Smajdor, Anna Colette & Jensenius, Alexander Refsum (2018). Humaniora og teknologi.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). Rytme i tid og rom.
• Martin, Charles Patrick; Lesteberg, Mari; Jawad, Karolina; Aandahl, Eigil; Xambó, Anna & Jensenius, Alexander Refsum (2018). Stillness under Tension.
• Martin, Charles Patrick; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata; Erdem, Cagri & Jensenius, Alexander Refsum (2018). Stillness under Tension.
• Jensenius, Alexander Refsum (2018). Introduction to Musical Gestures Toolbox for Matlab.
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Muscle activity response of the audience during an experimental music performance. Show summary

  This exploratory study investigates muscular activity characteristics of a group of audience members during an experimental music performance. The study was designed to be as ecologically valid as possible, collecting data in a concert venue and making use of low-invasive measurement techniques. Muscle activity (EMG) from the forearms of 8 participants revealed that sitting in a group could be an indication of a level of group engagement, while comparatively greater muscular activity from a participant sitting at close distance to the stage suggests performance-induced bodily responses. The self-reported measures rendered little evidence supporting the links between muscular activity and live music exposure, although a larger sample size and a wider range of music styles need to be included in future studies to provide conclusive results.

• Oddekalv, Kjell Andreas (2018). Konsert med Sinsenfist.
• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar & Aareskjold, Jon Marius (2018). EDM Producers' Reflections on Groove.
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2018). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump.
• London, Justin; Danielsen, Anne & Nymoen, Kristian (2018). Where is the beat in that note? Effects of attack, frequency, and duration on the p-centers of musical and quasi-musical sounds.
• Jensenius, Alexander Refsum (2018). Fremtiden er analog - perspektiver på humaniora og teknologi.
• Jensenius, Alexander Refsum (2018). Ny musikkforskning ved RITMO.
• Jensenius, Alexander Refsum (2018). Kunnskapsledelse av et Senter for fremragende forskning.
• Kraugerud, Emil (2018). Hyperintimacy in St. Vincent's "Hang On Me".
• Vuoskoski, Jonna Katariina; Zickfeld, Janis Heinrich; Alluri, Vinoo & Seibt, Beate (2018). Moved by music: Investigating continuous ratings and contributing musical features. Show summary

  In the past few years, the emotion commonly labelled ‘being moved’ has attracted increasing research interest in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). ‘Being moved’ is typically characterized as a mixed or predominantly positive emotion, with joy and sadness as its main ingredients. In the context of music listening, feelings of being moved have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). However, little is known about the time course of such experiences. The aim of the present study was to investigate continuously rated experiences of ‘being moved’ in response to music, and how these experiences relate to perceived sadness, happiness, and beauty. 415 participants took part in a pre-registered online experiment where they heard 7 moving music excerpts (3 sad, 3 happy, and 1 neutral; duration 121-186 s) and continuously rated their experience or perception (1 scale per participant per excerpt). Before analyses, the continuous rating data was averaged (within each song), de-trended, and downsampled. Perceived beauty cross-correlated highly with being moved across all excerpts (CCF0 = .59). Being moved correlated with perceived happiness in both joyfully (CCF0 = .66) and sadly (CCF0 = .52) moving excerpts, but with perceived sadness only in the sadly moving excerpts (CCF0 = .48). An exploratory analysis of computationally extracted musical features revealed partly excerpt-dependent patterns of correlations, but RMS energy and spectral entropy – reflecting changes in loudness and broadness of the frequency range – significantly correlated with being moved across most pieces.

• Danielsen, Anne (2018, 16. august). Intervju om Aretha Franklin til NTB.
• Danielsen, Anne (2018, 16. august). Intervju om Aretha Franklin i Dagsnytt, NRK 2. [TV].
• Danielsen, Anne (2018). Microrhythms and Microsounds: The impact of digitization on African-American popular music.
• Bradley, Catherine A. & Desmond, Karen (2018). Introduction, In Catherine A. Bradley & Karen Desmond (ed.),  The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies.  Boydell & Brewer.  ISBN 978-1-78327-272-3.  Introduction.  s 1 - 10
• Hagen, Anja Nylund (2018). Changing practices in a globalised and digitalised music industry.
• Hagen, Anja Nylund (2018). Norwegian music industry as global and digital media industry.
• Jensenius, Alexander Refsum & Klausen, Aslaug Olette (2018, 30. august). Nytt musikkteknologstudie skal foregå i Oslo og Trondheim samtidig. [Internett].  Ballade. Show summary

  Masterprogrammet er det første delte studiet i sitt slag, mellom NTNU og Universitet i Oslo.

• Jensenius, Alexander Refsum & Lie, Tove (2018, 21. august). Ønsker lærernorm i høyere utdanning: Maksimalt 20 studenter per foreleser. [Internett].  Khrono. Show summary

  Det er på tide å diskutere en lærernorm for høyere utdanning, mener førsteamanuensis ved Universitetet i Oslo, Alexander Refsum Jensenius.

• Jensenius, Alexander Refsum & Tønnessen, Eva (2018, 22. mars). Står mot hverandre om hva som er best for å sikre topp forskning. [Internett].  Khrono. Show summary

  Forskningsmiljøer står mot hverandre i en debatt om hvordan best satse langsiktig på å utvikle forskningsmiljøer i verdenstoppen. Nå tar Arbeiderpartiets Nina Sandberg debatten inn i Stortinget.

• Jære, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum (2018, 30. august). På sporet av rytmen. [Internett].  Uniforum. Show summary

  Hvorfor får vi lyst til å bevege oss når vi hører musikk? Vinnerne av UiOs innovasjonspris, Anne Danielsen og Alexander Refsum Jensenius, finner forhåpentligvis svaret når de fordyper seg i mennesket og rytmens mysterier.

• Toft, Martin & Jensenius, Alexander Refsum (2018, 29. august). UiO og NTNU har starta revolusjonerande studium i musikkteknologi. [Internett].  Uniforum. Show summary

  I dag opna Universitetet i Oslo og NTNU eit felles masterprogram der studentane skal utvikla musikkteknologi i det felles elektroniske klasserommet Portalen. – Det er utruleg at det er blitt realisert to år etter at eg kom med ideen, seier musikkforskar Alexander Refsum Jensenius.

• Vinje, Petrine & Kelkar, Tejaswinee (2018). DEPOT. DEPOSITORY. RAYS EN UTSTILLING AV PETRINE VINJE.
• Aronsen, Jan Magnus & Jensenius, Alexander Refsum (2018). «Røvertidsskriftene» er bare toppen av isfjellet. Aftenposten. Show summary

  Staten betaler for ny kunnskap, gir den bort gratis, og kjøper den deretter tilbake av internasjonale forlag.

• Lartillot, Olivier; Thedens, Hans-Hinrich & Jensenius, Alexander Refsum (2018). Computational model of pitch detection, perceptive foundations, and application to Norwegian fiddle music. Show summary

  Background Automated detection of pitch in polyphonic music remains a difficult challenge (Benetos et al., 2013). Robust solutions can be found for simple cases such as monodies. Implementation of perceptive/cognitive models have been so far less successful than engineering methods, and in particular machine learning models. One reference model (Klapuri, 2006) preselects pitch candidates based on harmonic summation and searches for multiple pitches through cancellation. Aims The aim was to conceive a model for pitch detection in polyphonic music able to transcribe in details traditional Norwegian music played on Hardanger fiddle, where more than two strings are played at the same time. The new model should be applicable to other types of music as well. Perceptive and cognitive models should guide the improvement of the state of the art. Main Contribution The model is neither based on a machine-learning training on a given set of samples, nor explicitly relying on stylistic rules. Instead, the methodology consists in conceiving a set of rules as simple and general as possible while offering satisfying results for the chosen corpus of music. We follow some general principles of the model by (Klapuri 2006) while introducing new heuristics. We present a new method for harmonic summation that penalises harmonic series that are sparse, in particular when odd partials are absent, as it would indicate that the actual harmonic series is a multiple of the given pitch candidate. Besides, a multiple of a fundamental can be selected as pitch in addition to the fundamental itself if its attack phase is sufficiently distinctive. For that purpose, we introduce a concept of pitch percept that persists over the whole extent of the note, and that serves as a reference for the detection of higher pitches at harmonic intervals. Results The proposed method enables to obtain transcriptions of relatively good quality, with a low ratio of false positives and false negatives. The construction of the model is under refinement. We are applying this method to the analysis of recordings of Norwegian folk music, containing a large part of Hardinger fiddle pieces and a cappella singing. Implications Automated transcription is of high interest for musicology and music information retrieval. This enables for instance to build large corpora of scores for music analysis and opens news perspectives for computational musicology. By attempting to design computer models based on general rules as simple as possible rather than on machine learning, while resulting in a behaviour in terms of pitch detection that comes closer to human capabilities, we hypothesise that the underlying mechanisms thus modelled might suggest general computational capabilities that could be found in cognitive models as well. In the same time, an improvement of the model based on expertise in music perception and cognition is desired. References Benetos et al. (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, 41, 407-434 Klapuri, Multiple Fundamental Frequency Estimation by Summing Harmonic Amplitudes. ISMIR 2006 Keywords: pitch, computational model, harmonic summation, Norwegian folk music, Hardanger fiddle.

• Brandtsegg, Øyvind; Engum, Trond & Wærstad, Bernt Isak (2018). Working methods and instrument design for cross-adaptive sessions.
• Christophersen, Bjørn Morten (2018). Heimferd i et kompositorisk perspektiv.
• Christophersen, Bjørn Morten (2018). Workshop med live orkster (ung.kom 2018).
• Christophersen, Bjørn Morten (2018). 5 orkestreringer for ung.kom 2018.
• Christophersen, Bjørn Morten (2018). Vil du høre?.
• Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo (2018). Personality, trait empathy, and kinds of musical reward predict healthy and unhealthy music listening strategies.
• Haugen, Mari Romarheim (2018). The Effect of Tempo on Non-Isochronous Subdivisions in Performed Samba Groove. Show summary

  Several empirical studies have investigated the role of tempo on the characteristic non-isochronous long–short duration pattern on eight note level in jazz. Friberg and Sundström (1997) found an approximately linear decrease of swing ratio with increasing tempo and suggest a lower limit to the duration of the short second eight note around 100 ms. Honing and Haas (2008) found that the swing ratio is adapted to the overall tempo, but did not find that it scaled linearly with tempo. Non-isochronous subdivision patterns have also been found in samba groove (e.g., Gerischer, 2006; Haugen, 2016; Naveda, 2011)–that is, at the level of sixteenth notes. In samba groove the fourth sixteenth note seems to be longer in duration than the others. The aim of this study is to investigate the influence of tempo on the duration pattern on sixteenth note level in a performed samba groove. Two professional samba performers, a percussionist and a dancer, participated in the study. The analysis in present paper is based on the recorded sound. The percussionist played a samba groove at three different tempi: 133, 100, and 69 BPM. Since all the sixteenth notes are played in this recording, their temporal position could be detected using onset detection. Subsequently, the inter-onset-intervals (IOIs) between the sixteenth notes were calculated and converted into percent values according to their percentage of the beat. The analysis showed significant differences between all the sixteenth note durations in all three tempi–that is, a medium/long–short–medium/short–long duration pattern on sixteenth note level were found at all tempi. In addition, a significant interaction between sixteenth note type and tempo were found. The analysis showed that as the tempo increases the short second sixteenth note became shorter and the long fourth sixteenth note became longer. In the fastest tempo, the short second sixteenth note’s mean duration is only 68 ms, something that is much shorter than 100 ms that has previous been suggested to be the shortest interval that we can hear and perform. The results suggest that the non-isochronous duration pattern on sixteenth note level in samba becomes even more non-isochronous with increasing tempo. In addition, the results indicate that the lower limit for IOIs in samba groove is below 100 ms. REFERENCES: Friberg & Sundström. (1997). Preferred swing ratio in jazz as a function of tempo. Speech, Music, and Hearing: Quarterly Status and Progress Report (TMH-QSPR), 4, 19–27. Gerischer (2006). O suingue baiano: Rhythmic feeling and microrhythmic phenomena in Brazilian percussion. Ethnomusicology, 50(1), 99–119. Haugen (2016). Music–Dance. Investigating Rhythm Structures in Brazilian Samba and Norwegian Telespringar Performance. (Ph.D. Thesis), University of Oslo, Oslo. Honing & Haas (2008). Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming. Music Perception: An Interdisciplinary Journal, 25(5), 471–476. doi:10.1525/mp.2008.25.5.471 Naveda (2011). Gesture in Samba: A cross-modal analysis of dance and music from the Afro-Brazilian culture. (Ph.D. thesis), Faculty of Arts and Philosophy, Ghent University, Belgium, Ghent, Belgium.

• Vuoskoski, Jonna Katariina; Clarke, Eric F. & Elvers, Paul (2018). Comparing the effects of music and images on implicit cultural attitudes.
• Vuoskoski, Jonna Katariina (2018). Moved by music: The role of empathy and social cognition in music-induced emotions (keynote lecture).
• Wallace, Benedikte & Jensenius, Alexander Refsum (ed.) (2018). SoundTracer: A brief project summary.
• Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2018). Analysing the synchronisation of COM motion with music in human standing. Show summary

  Introduction Postural stability have been the focus of a number of studies on fall prevention and sports, with an emphasis on walking dynamics1 . Fewer studies have aimed at understanding the influence of sound stimuli in standing posture sway 2. Although the vestibular system plays a fundamental role in the control of postural stability, it has also been shown to be key in embodied cognition processes 3. It is in part through the vestibular system that music activates motor areas in the brain to induce movement, while body movement enhances the cognitive processing of sound and music 3. This study explored the influence of music on postural control by measuring synchronization between body center of mass (COM) sway with music. Methods 7 women (32 ± 4.39 years, 1.73 ± 0.04 m, mean ± SD), and 5 men (29.67 ± 4.63 years, 1.81 ± 0.04 m) participated in the study. Participants were asked to stand still for 6 minutes as they were presented with alternating segments of silence and music. COM movements were measured from the position of a passive marker placed in the midline of the sacrum, recorded using an infrared motion capture system. Radial and vertical COM movements were cross-correlated with the pulse clarity, RMS, and spectral centroid of the stimuli. Results Paired samples t-test revealed differences in COM radial and vertical sway between silent and music conditions to be significant at the 0.05 level. A repeated measures ANOVA showed a significant effect of the stimuli on COM sway (p < 0.05). The effect of the stimuli on the lag of maximum cross-correlation (delay) between COM radial sway and RMS was shown to be significant (p < 0.05). Differences in delay between pulse clarity and COM vertical sway were significant between stimuli (p < 0.05 ). Discussion Results suggest that the effect of RMS in music-induced postural sway might be predominant in the radial plane, with anticipatory behavior observed for stimuli with low RMS. Vertical sway correspondence patterns suggest anticipatory vertical motion to music spectral centroid. A more robust understanding of a range of music features and their links with induced movement could lead to insight into the role of the vestibular and sensory systems in balance control. References 1 Cimolin, V., Galli, M. (2014). Summary measures for clinical gait analysis: A literature review. Gait & Posture 39, 1005-1010. 2 Ross, J. M., Warlaumont, A. S., Abney, D. H., Rigoli, L. M., and Balasubramaniam, R. (2016). Influence of musical groove on postural sway. Journal of Experimental Psychology: Human Perception and Performance Advance online publication. 3 Todd, N. P. (1999). Motion in music: A neurobiological perspective. Music Perception: An Interdisciplinary Journal 17, 115–126.

• MacCallum:, John; Naccarato, Teoma; Caramiaux, Baptiste; Gonzalez Sanchez, Victor Evaristo; Fdili Alaoui, Sarah; LaViers, Amy; Matos, Jean-Marc; Rajko, Jessica; Russell, Adam & Xin Wei, Sha (2018). Panel: What Escapes Computation in Interactive Performance?. Show summary

  Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music? Exploring the frequency-domain and time-domain links between sound and motion signals in a systematic manner might encourage international and interdisciplinary collaboration, boosting developments in the field and knowledge transferability.

• Serafin, Stefania; Dahl, Sofia; Bresin, Roberto; Jensenius, Alexander Refsum; Unnthorsson, Runar & Välimäki, Vesa (2018). NordicSMC: A Nordic University Hub on Sound and Music Computing. Show summary

  Sound and music computing (SMC) is still an emerging field in many institutions, and the challenge is often to gain critical mass for developing study programs and undertake more ambitious research projects. We report on how a long-term collaboration between small and medium-sized SMC groups have led to an ambitious undertaking in the form of the Nordic Sound and Music Computing Network (NordicSMC), funded by the Nordic Research Council and institutions from all of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The constellation is unique in that it covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, the social and natural sciences, and engineering. This paper describes the goals, activities, and expected results of the network, with the aim of inspiring the creation of other joint efforts within the SMC community.

• Devine, Kyle (2018). Musicology Without Music?.
• Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim (2018). Presentasjon av TIME-prosjektet.
• Danielsen, Anne (2018, 07. juni). Hva er en sommerhit?. [Radio].  NRK P2, Studio 2.
• Danielsen, Anne (2018). Analysing Popular Music in the Digital Age. Show summary

  Creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. In this keynote, I will analyse some examples of new sonic expressions within the field of popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon new patterns of personalised use and the so-called “prosumption” practices that have arised in the digital era in the form of remix, sample and mashup.

• Jensenius, Alexander Refsum; Martin, Charles Patrick; Bjerkestrand, Kari Anne Vadstensvik & Johnson, Victoria (2018). Stillness under Tension.
• Martin, Charles Patrick; Jensenius, Alexander Refsum & Tørresen, Jim (2018). Composing an ensemble standstill work for Myo and Bela. Show summary

  This paper describes the process of developing a standstill performance work using the Myo gesture control armband and the Bela embedded computing platform. The combination of Myo and Bela allows a portable and extensible version of the standstill performance concept while introducing muscle tension as an additional control parameter. We describe the technical details of our setup and introduce Myo-to-Bela and Myo-to-OSC software bridges that assist with prototyping compositions using the Myo controller.

• Martin, Charles Patrick; Xambó, Anna; Visi, Federico; Morreale, Fabio & Jensenius, Alexander Refsum (2018). Stillness under Tension. Show summary

  Stillness Under Tension​ is an ensemble standstill work for Myo gesture control armband and Bela embedded music platform. Humans are incapable of standing completely still due to breathing and other involuntary micromotions. This work explores the expressive space of standing still through an inverse action-sound mapping: less movement leads to more sound. Four performers stand as still as possible on stage, each wearing a Myo armband connected to a Bela embedded sound processing platform. The Myo is used to measure the performers movement, and the muscle activity in their forearm which they can use--both voluntarily and involuntarily--to control a synthesised sound world. Each performer uses one Myo and Bela in a musical space defined by their physical position and posture while standing still.

• Gonzalez Sanchez, Victor Evaristo; Martin, Charles Patrick; Zelechowska, Agata; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria & Jensenius, Alexander Refsum (2018). Bela-based augmented acoustic guitars for sonic microinteraction. Show summary

  This article describes the design and construction of a collection of digitally-controlled augmented acoustic guitars, and the use of these guitars in the installation \textit\{Sverm-Resonans\}. The installation was built around the idea of exploring `inverse’ sonic microinteraction, that is, controlling sounds by the micromotion observed when attempting to stand still. It consisted of six acoustic guitars, each equipped with a Bela embedded computer for sound processing (in Pure Data), an infrared distance sensor to detect the presence of users, and an actuator attached to the guitar body to produce sound. With an attached battery pack, the result was a set of completely autonomous instruments that were easy to hang in a gallery space. The installation encouraged explorations on the boundary between the tactile and the kinesthetic, the body and the mind, and between motion and sound. The use of guitars, albeit with an untraditional `performance’ technique, made the experience both familiar and unfamiliar at the same time. Many users reported heightened sensations of stillness, sound, and vibration, and that the `inverse’ control of the instrument was both challenging and pleasant.

• Danielsen, Anne & Jensenius, Alexander Refsum (2018, 21. juni). UiOs innovasjonspris til RITMO ved Anne Danielsen og Alexander Refsum Jensenius. [Fagblad].  Ballade. Show summary

  Får prisen for tverrfaglig, banebrytende og innovativt arbeid.

• Kraugerud, Emil (2018). Constructions of Intimacy in St. Vincent's "Hang On Me".
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2018). How music moves us? Studying human body micromotion in music perception. Show summary

  Music has the power to influence not only our thoughts and emotions, but also various physiological processes in our bodies. Furthermore, it often encourages physical movement of the listener. While there are numerous studies describing spontaneous psychophysiological responses to music that are linked with emotions, spontaneous body movement to music has became a topic of exploration relatively recently. Mostly, it has been studied in the context of free dance (Burger et al., 2013) or synchronization to musical rhythm while performing repetitive movements such as walking (Styns et al., 2007). But what can we observe if the participants are just standing still? In our project “MICRO - Human Bodily Micromotion in Music Perception and Interaction” we focus on movements so small that they can be unnoticed both by observer and performer, and that can happen involuntarily. This is what we call “micromotion” of the human body. To see how these small movements are affected by music, we develop different experiments using mainly motion capture technology, but also physiological measures such as electromyography (EMG). In this presentation I would like to describe some of our research methods, findings and plans. In one of the experiment paradigms, disguised as the “Norwegian Championship of Standitill”, we invite groups of participants to the laboratory and ask them to stand as still as possible while we present them with segments of selected music or silence. The head motion of each participant is captured using an infrared optical system. In 2012, 91 subjects stood on the floor for 3 minutes in silence and 3 minutes listening to music of increasing level of rhythmicality and energy (Jensenius et al., 2017). In 2017, 71 participants listened to 6 minutes consisting of segments of silence alternating with electronic dance music (EDM), classical Indian music or Norwegian fiddle music. In both studies we observed higher mean quantity of motion of the participants (QoM) in music condition compared to silence condition, and the effect was driven mostly by EDM. We also observed correlations between QoM and participant’s age, height and standing strategy (locked knees), although these results are mixed between the two studies. The future goal is to look more closely into specific features in music that correspond with observed movement, to search for signs of rhythmic entrainment, and to see what demographic and psychological factors might contribute to interpersonal differences in music induced body micromotion. References: Burger, B., Thompson, M. R., Luck, G., Saarikallio, S., & Toiviainen, P. (2013). Influences of rhythm-and timbre-related musical features on characteristics of music-induced movement. Frontiers in psychology, 4, 183. Jensenius, A. R., Zelechowska, A., & Gonzalez Sanchez, V. E. (2017). The Musical Influence on People's Micromotion when Standing Still in Groups. In Proceedings of the SMC Conferences (pp. 195-200). Aalto University. Styns, F., van Noorden, L., Moelants, D., & Leman, M. (2007). Walking on music. Human movement science, 26(5), 769-785.

• Hawkins, Stan (2018). Institutionalizing Cosmopolitanism and White Masculinity: Dandyism in Popular Music.
• Kelkar, Tejaswinee; Roy, Udit & Jensenius, Alexander Refsum (2018). Evaluating a collection of Sound-Tracing Data of Melodic Phrases.
• Lartillot, Olivier & Belyaev, Dmitry (2018, 28. mai). Busca música dibujándo en el aire.  Publimetro, Latin America. Show summary

  SoundTracer es una app para iOS que te permite sentir que diriges una pieza de música mientras la buscas

• Bergsland, Andreas; Saue, Sigurd & Østern, Tone Pernille (2018). VIBRA - video interaksjon bevegelse rom audio - visning. Show summary

  VIBRA er et nettverk med kunstnere og teknologer som utforsker kunstneriske uttrykksmuligheter knyttet til video, interaksjon, bevegelse, rom og audio - i kortform, det man ofte betegner som interaktiv dans. I etterkant av vår andre workshop har vi visning i Verkstedhallen. Vi sikter mot et åpent, lekent uttrykk, der teknologi, lys, video, flerkanals lyd, dansende kropper og rom spiller opp mot hverandre. Det blir muligheter for publikumsdeltakelse. Deltakere: Elen Øyen, Andreas Bergsland, Pekka Stokke, Luis Della Mea, Sigurd Saue, Gina Sandberg, Tone Pernille Østern og Arnhild Staal Pettersen. Arrangementet er støttet av Kulturrådet, NTNU, Trondheim kommune, Fond for utøvende kunstnere, Trøndelag Fylke. Gratis inngang!

• Danielsen, Anne (2018). Veien til RITMO: Fra musikkestetikk til tverrfaglig rytmeforskning.
• Danielsen, Anne (2018). RITMO - a center for interdisciplinary research into rhythm, time and motion.
• Lartillot, Olivier; Jensenius, Alexander Refsum & Haugen, Toril (2018, 24. mai). Mobilen finner musikk når du beveger hånden. [Internett].  Forskning.no.
• Jensenius, Alexander Refsum; Adde, Lars & Flydal, Lars O. (2018, 23. mai). Forskningsmøte mellom musikk og medisin.  Vårt Land. Show summary

  Tverrfaglig nytte: Forskning på kroppens rytmer og bevegelser har skapt nye diagnoseverktøy som gjør at ­cerebral parese kan påpekes tidligere.

• Lartillot, Olivier (2018). Sound analysis for gestural interactions with large music datasets.
• Jensenius, Alexander Refsum & Seres, Silvija (2018, 26. april). #89: Alexander Jensenius: Slik danser du din egen musikk. [Internett].  Oslo Business Forum. Show summary

  Hvordan kan teknologi og musikk bli til noe veldig spennende? Og hva er unikt med måten vi beveger oss på? Dagens podkastgjest er førsteamanuensis i musikkteknologi, Alexander Jensenius. I episode #89 av podkastserien ‘De som bygger det nye Norge med Silvija Seres’ snakker Jensenius om hvordan tverrfaglighet mellom uvanlige fag og disipliner åpne nye måter å tenke på. Han snakker også om hvordan han bruker «motion capture» til å studere mennesker i bevegelse, hva rytme betyr for mennesker og hans beste råd til unge forskere.

• Lartillot, Olivier; Jensenius, Alexander Refsum; Haugen, Toril & Baarøy, Fillip-André (2018, 03. mai). Finner musikk ved å bevege hånden. [Internett].  HF aktuelt.
• Jensenius, Alexander Refsum (2018). Introduction to the SoundTracer Project.
• Toscher, Benjamin; Lie, Marianne Baudouin; Bye, Tor Anders & Widding, Lars Øystein (2018). 5 Years After: Empirical Accounts of Entrepreneurship Education Among Professional Musicians.
• Bergsland, Andreas; Østern, Tone Pernille & Saue, Sigurd (2018). VIBRA - Video Lyd Bevegelse Rom Audio. Show summary

  VIBRA (Video-Interaksjon-Bevegelse-Rom-Audio) er en tverrfaglig gruppe kunstnere som utforsker interaktiv dans ved hjelp av ny sensorteknologi, flerkanals lyd og visuals. Vi inviterer publikum til åpen visning som en del av vår workshop fredag 16.mars kl.14-15. Det blir også anledning for publikum å prøve! Det er gratis inngang. VIBRA er: Elen Øyen, Andreas Bergsland, Luis della Mea, Sigurd Saue, Tone Pernille Østern, Pekka Stokke, Gina Sandberg og Arnhild Staal Pettersen Workshopen er arrangert med støtte fra Kulturrådet, NTNU ved Institutt for musikk, Trondheim Kommune, DansIT og Fond for utøvende kunstnere. https://www.facebook.com/events/545972182451596/

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