Now showing items 96-115 of 211

  • Danielsen, Anne; Kjus, Yngvar (Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2017)
    Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in ...
  • Danielsen, Anne; Helseth, Inger (Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2016)
    Today, a live concert no longer necessarily presents a temporal or physical correspondence between the sound and its production, though it continues to promise an experience characterized by immediacy. In this article, we ...
  • Alarcón Diaz, Ximena (Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2018)
    A partir de las memorias sonoras de los pasajeros del transporte público subterráneo en Londres, México y París, creé el sitio interactivo en internet Sounding Underground. Esta interfaz articula estructural y aleatoriamente ...
  • Jensenius, Alexander Refsum (Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2018)
    This chapter presents an overview of some methodological approaches and technologies that can be used in the study of music-related body motion. The aim is not to cover all possible approaches, but rather to highlight some ...
  • Maasø, Arnt; Hagen, Anja Nylund (Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2020)
    Music streaming enables the tracking of listening behavior in more detail than any previous music-distribution format. While it is well known that streaming services collect troves of data, little is known about how ...
  • Jensenius, Alexander Refsum (Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2015)
    This paper presents the scientific-artistic project Sverm, which has focused on the use of micromotion and microsound in artistic practice. Starting from standing still in silence, the artists involved have developed ...
  • Skansaar, Jo Fougner; Laeng, Bruno; Danielsen, Anne (Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2019)
    The present study tested two assumptions concerning the auditory processing of microtiming in musical grooves (i.e., repeating, movement-inducing rhythmic patterns): 1) Microtiming challenges the listener's internal framework ...
  • Lartillot, Olivier (Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2019)
    The MiningSuite is a free open-source and comprehensive Matlab framework for the analysis of signals, audio recordings, music recordings, music scores, other signals such as motion capture data, etc., under a common modular ...
  • Lartillot, Olivier (Research report / Forskningsrapport / PublishedVersion; Peer reviewed, 2018)
    This paper describes the two variants OL1 and OL2 of the model submitted to the MIREX 2018 tempo estimation tasks, and compare them with respect to my previous submission for MIREX 2013.
  • Jensenius, Alexander Refsum (Research report / Forskningsrapport, 2009)
  • Jensenius, Alexander Refsum (Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2012)
    The paper presents a method for sonification of human body motion based on motiongrams. Motiongrams show the spatiotemporal development of body motion by plotting average matrices of motion images over time. The resultant ...
  • Godøy, Rolf Inge (Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2018)
    In recent decades, we have seen a surge in published work on embodied music cognition, and it is now broadly accepted that musical experience is intimately linked with experiences of body motion. It is also clear that music ...
  • Godøy, Rolf Inge (Chapter / Bokkapittel / SubmittedVersion, 2017)
    There can be no doubt that we often experience correspondences between different sense modalities in music, such as between sound, vision, motion, and touch (just to mention the most prominent ones). This is evident in ...
  • Danielsen, Anne; Haugen, Mari Romarheim; Jensenius, Alexander Refsum (Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2015)
    Pulse is a fundamental reference for the production and perception of rhythm. In this paper, we study entrainment to changes in the micro-rhythmic design of the basic pulse of the groove in ‘Left & Right’ by D’Angelo. In ...
  • Jensenius, Alexander Refsum; Nymoen, Kristian; Godøy, Rolf Inge (Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2008)
    The paper presents some challenges faced in developing an experimental setup for studying coarticulation in music-related body movements. This has included solutions for storing and synchronising motion capture, biosensor ...
  • Nymoen, Kristian; Haugen, Mari Romarheim; Jensenius, Alexander Refsum (Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2015)
    The MYO armband from Thalmic Labs is a complete and wireless motion and muscle sensing platform. This paper evaluates the armband’s sensors and its potential for NIME applications. This is followed by a presentation of the ...
  • Størvold, Tore (Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2018)
    This article bridges ecocriticism and popular music analysis in a close reading of three examples that respond musically to environmental debates in Iceland during the period 2006–2009. Political-environmental tensions in ...
  • Jensenius, Alexander Refsum; Voldsund, Arve (Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2012)
    We report on the Music Ball Project, a longterm, exploratory project focused on creating novel instruments/controllers with a spherical shape as the common denominator. Besides a simple and attractive geometrical shape, ...
  • Brøvig-Hanssen, Ragnhild (Doctoral thesis / Doktoravhandling, 2013)
    Technological mediation has been imperative to popular music's production throughout its history. In addition to their impact upon the means of producing popular music, new developments in technology have always had an ...
  • Brøvig-Hanssen, Ragnhild; Danielsen, Anne (Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2017)
    Recorded sound is acousmatic, meaning that it does not display any visual sound sources. When people listen to recorded/acousmatic sound, they generally apply their previous experiences with the acoustical conditions of ...