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Now showing items 1-100 of 363
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2016)
Many practices of contemporary DJ-driven electronic dance music derive from 1970s club scenes in the United States, which were welcoming spaces for people who otherwise encountered prejudice for their gender identities and ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
The paper presents a conceptual overview of how optical infrared marker based motion capture systems (IrMoCap) can be used in musical interaction. First we present a review of related work of using IrMoCap for musical ...
(Doctoral thesis / Doktoravhandling, 2009)
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 1984)
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2016)
What is recognized as the Norwegian composer Fartein Valen’s international breakthrough took place at the 1947 festival of ISCM (International Society for contemporary Music) in Copenhagen. This article investigates what ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2016)
Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88 percent of digital music revenues in 2014, as opposed to 23 percent globally. In essence, ...
(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 ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
This paper presents a comparison of different configurations of a wireless sensor system for capturing human motion. The systems consist of sensor elements which wirelessly transfers motion data to a receiver element. The ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2006)
This paper describes the concept and realization of The Drum Pants, a pair of pants with sensors and control switches, allowing the performer to play and record a virtual drum set or percussion rack by hitting the thighs ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2008)
Mobile music technology opens many new opportunities in terms of location-aware systems, social interaction etc., but we should not forget that many challenges faced in immobile music technology research are also apparent ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2014)
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2013)
In a musical context, the word ‘sound’ implies a set of sonic characteristics. Within popular music, this notion of sound sometimes supplies the very identity of a tune, a band or a musician. Sound is often conceptualised ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2017)
In 2016, only four of forty-seven DJs booked for Musikkfest, a festival in Oslo, Norway, were women. Following this, a local DJ published an objection to this imbalance in a local arts and entertainment magazine. Her ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2014)
Live music remains popular in the digital age, as reflected in the growth in music festivals in the 2000s. The increased availability of music online highlights the issue of what sets live music apart but also raises the ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2017)
For many, the pursuit and enjoyment of musical performance goes hand-in-hand with collaborative creativity, whether in a choir, jazz combo, orchestra, or rock band. However, few musical interfaces use the affordances of ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2017)
© Ximena Alarcón 2017. All rights reserved
http://www.reflections-on-process-in-sound.net/
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2012)
We present a new wireless transceiver board for the CUI32 sensor interface, aimed at creating a solution that is flexible, reliable, and with little power consumption. Communication with the board is based on the ZigFlea ...
(Chapter / Bokkapittel / SubmittedVersion, 2017)
As living human beings we are constantly in motion. Even when we try to stand absolutely still, our breathing, pulse and postural adjustments lead to motion at the micro-level. Such micromotion is small, but it is still ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2011)
The authors present an experimental musical performance called Dance Jockey, wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions ...
(Doctoral thesis / Doktoravhandling, 2016)
Johan Svendsen is one of the most influential Scandinavian composers of the nineteenth century. He contributed in particular to the orchestral repertoire in Scandinavia and he was a celebrated conductor throughout Europe. ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2022)
Researchers have argued that temporal microdeviations from the metric grid, such as those produced by musicians in performance, are crucial to making a musical rhythm groovy and danceable. It is curious, then, that the ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2013)
Schoenberg’s concept of the work as the presentation (Darstellung) of the ‘musical idea’ (Gedanke) entails that the work is considered a vehicle by means of which the composer shares musical ideas with the performer and ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2005)
We present the Musical Gestures Toolbox, a collection of Max/MSP/Jitter modules to help in qualitative and quantitative analysis of musical gestures. Examples are shown of how the toolbox is used for studying musical ...
(Doctoral thesis / Doktoravhandling, 2016)
Bind 1-2 er en undersøkelse av Johan Halvorsens kunstneriske virke og en stilistisk gjennomgang av hans komposisjoner, mens bind 3 inneholder en tematisk verkoversikt, en kronologisk fortegnelse over Halvorsens konsertvirksomhet ...
(Doctoral thesis / Doktoravhandling, 2014)
This project deals with how notions of urban space in rap music might attach to certain meanings or identification through cultural practices. Through my case studies I present analyses and readings of the Norwegian rap ...
(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 ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2017)
Pitch and spatial height are often associated when describing music. In this paper we present results from a sound tracing study in which we investigate such sound–motion relationships. The subjects were asked to move as ...
(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 ...
(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 ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2014)
The term ‘gesture’ has represented a buzzword in the NIME community since the beginning of its conference series. But how often is it actually used, what is it used to describe, and how does its usage here differ from its ...
(Doctoral thesis / Doktoravhandling, 2012)
Autonomous instruments are computer programmes that generate music algorithmically and without realtime interaction, from the waveform level up to the large scale form. This thesis addresses questions of aesthetics and the ...
(Chapter / Bokkapittel / SubmittedVersion, 2010)
This chapter starts with a review of some current definitions of "gesture". The second part presents a conceptual framework for differentiating various functional aspects of gestures in music performance. The third part ...
(Chapter / Bokkapittel / SubmittedVersion, 2017)
This chapter looks at the ways in which micromotion, the smallest controllable and perceivable human body motion, can be used in interactive sound systems. It presents a general taxonomy, followed by examples of how sonic ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2013)
This paper presents an overview of techniques for creating visual displays of human body movement based on video recordings. First a review of early movement and video visualization techniques is given. Then follows an ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2017)
À travers une description du joik, répertoire vocal pratiqué par les Sámi de l’Arctique européen, et des rapports qu’il entretient avec la constitution de territoires, cet article vise à contribuer au développement d’une ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2011)
We present the results of a pilot study on how micromovements may be used in an interactive dance/music performance. Micromovements are subtle body movements that cannot be easily seen by the human eye. Using an infrared ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2006)
This is an exploration of listeners association of gestures with musical sounds. The subjects listen to sounds that have been chosen for various salient features, and the tracing movements made by the subjects are recorded ...
(Conference object / Konferansebidrag, 2009)
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2013)
Apart from the sounds they make, synthesis models are distinguished by how the sound is controlled by synthesis parameters. Smoothness under parameter changes is often a desirable aspect of a synthesis model. The concept ...
(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, ...
(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 ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2010)
We report on the development of a video based analysis system that controls concatenative sound synthesis and sound spatialisation in realtime in concert performances. The system has been used in several pieces, most ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2017)
De nombreuses recherches sont actuellement menées par différentes équipes sous le nom générique « d’ethnomusicologie computationnelle ». Sous cette dénomination popularisée notamment par Tzanetakis (Tzanetakis et al. 2007, ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2008)
Fundamental to the development of musical or artistic creative work is the ability to transform raw materials. This ability implies the facility to master many facets of the material, and to shape it with plasticity. ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2012)
Motiongrams are visual representations of human motion, generated from regular video recordings. This paper evaluates how different video features may influence the generated motiongram: inversion, colour, filtering, ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2014)
Norwegian telespringar is often referred to as being in so-called asymmetrical triple meter—that is, the three beats in the measure are of uneven duration. Previous studies report that a systematic long–medium–short beat ...
(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 ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2009)
The paper presents Nymophone2, an acoustic instrument with a complex relationship between performance actions and emergent sound. A method for describing the multidimensional control actions needed to play the instrument ...
(Research report / Forskningsrapport, 2008)
The purpose of this Short-Term Scientific Mission has been to investigate the use of the Sound Description Interchange Format (SDIF) as a container format for Gesture Description Interchange Format (GDIF) recordings. Much ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2007)
This paper summarises a panel discussion at the 2007 International Computer Music Conference on movement and gesture data formats, presents some of the formats currently in development in the computer music community, and ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
The paper reports on the development of prototypes of glass instruments. The focus has been on developing acoustic instruments specifically designed for electronic treatment, and where timbral qualities have had priority ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
In this paper we present a method for studying relationships between features of sound and features of movement. The method has been tested by carrying out an experiment with people moving an object in space along with ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2006)
Both musicians and non-musicians can often be seen making sound-producing gestures in the air without touching any real instruments. Such air playing can be regarded as an expression of how people perceive and imagine ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2013)
The term coarticulation designates the fusion of small-scale events, such as single sounds and single sound-producing actions, into larger units of combined sound and body motion, resulting in qualitative new features at ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2006)
This paper presents our work on building low-cost music controllers intended for educational and creative use. The main idea was to build an electronic music controller, including sensors and a sensor interface, on a "10 ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2006)
This paper discusses the need for a framework for describing musical instruments and their design, and discusses some possible elements in such a framework. The framework is meant as an aid in the development of a coherent ...
(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 ...
(Research report / Forskningsrapport, 2008)
Technical report from pilot studies in the Sensing Music-related Actions group. The report presents simple motion sensor technology and issues regarding pre-processing of music-related motion data.
In cognitive music ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2008)
An approach for creating structured Open Sound Control (OSC) messages by separating the addressing of node values and node properties is suggested. This includes a method for querying values and properties. As a result, ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2006)
This paper presents our current approach in using a Polhemus Liberty electromagnetic tracker for controlling spatialization in a performance setup for small ensemble. We are developing a Gesture Description Interchange ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2006)
This paper presents our need for a Gesture Description Interchange Format (GDIF) for storing, retrieving and sharing information about music-related gestures. Ideally, it should be possible to store all sorts of data from ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2009)
We can see many and strong links between music and human body movement in musical performance, in dance, and in the variety of movements that people make in listening situations. There is evidence that sensations of human ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
We report on a study of perceptual and acoustic features related to the placement of microphones around a custom made glass instrument. Different microphone setups were tested: above, inside and outside the instrument and ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2011)
We report on a performance study of a French-Canadian fiddler. The fiddling tradition forms an interesting contrast to classical violin performance in several ways. Distinguishing features include special elements in the ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2010)
The paper reports on the development and activities in the recently established fourMs lab (Music, Mind, Motion, Machines) at the University of Oslo, Norway. As a meeting place for researchers in music and informatics, the ...
(Research report / Forskningsrapport, 2007)
This report summarises the results of my COST Action 287 ConGAS Short Term Scientific Mission (STSM) to the the Input Devices and Music Interaction Laboratory (IDMIL) at McGill University in February 2007.
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2009)
As may be seen at concerts and in various everyday listening situa- tions, people often make spontaneous gestures when listening to music. We believe these gestures are interesting to study because they may reveal important ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2007)
One of the most important music critics of the early twentieth century, Paul Eugen Max Bekker was born in Berlin on September 11, 1882, to a tailor and a seamstress. After a career as a violinist and a short stint as a ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2013)
This SIG intends to investigate the ongoing dialogue between music technology and the field of human-computer interaction. Our specific aims are to consider major findings of musical interface research over recent years ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2018)
In this paper, we report on a free-hand motion capture study in which 32 participants ‘traced’ 16 melodic vocal phrases with their hands in the air in two experimental conditions. Melodic contours are often thought of as ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2017)
In this chapter, I explore the assignment of particular gender stereotypes to sound and performance in contemporary electronically produced dance music, focusing on the sonic quality of ‘fluffiness’ (cf. Gavanas and Reitsamer ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2019)
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2010)
The paper addresses possibilities of extracting information from music-related actions, in the particular case of what we call sound-tracings. These tracings are recordings from a graphics tablet of subjects' drawings ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2015)
Certain traditional Norwegian and Swedish dance tunes in triple meter are referred to as being in so-called asymmetrical meter—that is, the three beats in the measure are of uneven duration. Norwegian telespringar is ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2008)
This is a piece originally written by Paul Bekker (1882-1937). It has been translated by Martin Morgenstern and Nanette Nielsen with James Steichen. This piece was originally published in German in Letters to Contemporary ...
(Doctoral thesis / Doktoravhandling, 2022)
So-called "live coding" is a new type of music performance in which the performer writes a computer program that makes music in real-time. In his PhD, Qichao Lan has explored different types of live coding and how this ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2013)
In this paper we present some custom designed filters for real-time motion capture applications. Our target application is motion controllers, i.e. systems that interpret hand motion for musical interaction. In earlier ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2013)
The paper presents sonomotiongram, a technique for the creation of auditory displays of human body motion based on motiongrams. A motiongram is a visual display of motion, based on frame differencing and reduction of a ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2010)
Tremolo is usually regarded as belonging to the domain of note
embellishments. Rapid tremolo, taken into the audio range, is an
interesting synthesis technique which is related to FMand granular
synthesis. We present a ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2013)
Links between music and body motion can be studied through experiments called sound-tracing. One of the main challenges in such research is to develop robust analysis techniques that are able to deal with the multidimensional ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2014)
We present the results of a series of observation studies of ourselves standing still on the floor for 10 minutes at a time. The aim has been to understand more about our own standstill, and to develop a heightened sensitivity ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2010)
Based on innumerable informal accounts and a number of scientific studies, there can be no doubt that people often have quite vivid images of musical sound in their minds, and that this is the case regardless of levels of ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2013)
The conceptual starting point for an `action-sound approach' to teaching music technology is the acknowledgment of the couplings that exist in acoustic instruments between sounding objects, sound-producing actions and the ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2015)
Recording music-related motions in ecological valid situa- tions can be challenging. We investigate the performance of three devices providing 3D acceleration data, namely Axivity AX3, iPhone 4s and a Wii controller tracking ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2016)
Recording music-related motions in ecologically valid situations can be challenging. We investigate the performance of three devices providing 3D acceleration data, namely Axivity AX3, iPhone 4s and a Wii controller tracking ...
(Doctoral thesis / Doktoravhandling, 2008)
This thesis explores the way we perceive correspondences between music and body movement. This is done by analysing similarities between music and movement in terms of specific features in music and movement. The analyses ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2017)
How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2015)
The Passacaglia finale from György Ligeti's Le Grand Macabre (1974–7, rev. 1996) has been described as a point of stylistic crisis, marking Ligeti's return to more traditional compositional means. Consonances and tonal ...
(Doctoral thesis / Doktoravhandling, 2010)
The “PoumTchak” pattern is a rhythmic pattern consisting of a continuous alternation between bass drum and hi-hat sounds. It forms the basic rhythmic structure in myriads of dance music tracks. This suggests a connection ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2015)
This paper reports on an experiment investigating the expressive means with which performers of groove-based musics signal the intended timing of a rhythmic event. Ten expert drummers were instructed to perform a rock ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2006)
Navigating hours of video material is often time-consuming, and traditional keyframe displays are not particularly useful when studying single-shot studio recordings of music-related movement. This paper presents the idea ...
(Chapter / Bokkapittel / PublishedVersion; Peer reviewed, 2011)
The paper presents the SoundSaber - a musical instrument based on motion capture technology. We present technical details of the instrument and discuss the design development process. The SoundSaber may be used as an example ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2007)
Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland
(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 ...
(Chapter / Bokkapittel, 2012)
In this paper we will present the first results of an ongoing explorative, qualitative study based on a comparison of transcriptions from a total of 58 GIM sessions, all guided by AMI Fellow Svein Fuglestad. The goal of ...
(Journal article / Tidsskriftartikkel / PublishedVersion; Peer reviewed, 2019)
Nikolay Myaskovsky (1881–1950) was highly esteemed as a Soviet composer, only surpassed by Prokofiev and Shostakovich among his contemporaries, and in the West famous conductors like Stokowski and Furtwängler performed his ...
(Journal article / Tidsskriftartikkel / AcceptedVersion; Peer reviewed, 2016)
The use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In ...
(Chapter / Bokkapittel / AcceptedVersion; Peer reviewed, 2015)
I have never been quite convinced by the way the story of ‘high modernism’ has generally been told. More often than not, it has been a saga of radical ruptures and new starts—a ‘progress narrative’ involving limitless ...
(Journal article / Tidsskriftartikkel / SubmittedVersion, 2017)
This article describes how percussive interaction informed the design, development and deployment of a series of touchscreen digital musical instruments for ensembles. Percussion has previously been defined by techniques ...
(Journal article / Tidsskriftartikkel / SubmittedVersion, 2015)
This article is about what recordings are made of, and about what happens to those recordings when they are disposed of. It inscribes a history of recorded music in three main materials: shellac, plastic and data. These ...