INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been ...

This chapter examines ambience as it was defined in Brian Eno's liner notes in Ambient 1: Music for Airports and from John Cage's experiences leaning up to the composition of 4'33'', in regards to the background and the ...

One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research ...

This paper articulates the design for the first stage of INTIMAL: a physical/virtual embodied interactive system for relational listening in the context of human migration, set within the artistic practice of improvisatory ...

This paper describes the process of developing a shared instrument for music–dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew ...

In this paper we introduce a hardware platform to proto- type interfaces of demanding sonic interactive systems. We target applications featuring a large array of analog sensors requiring data acquisition and transmission ...

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 ...

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 ...

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 ...

Since the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in ...

This is an Accepted Manuscript of a book chapter published by Bloomsbury Academic in Critical Approaches to the Production of Music and Sound on 11-01-2018 , available online: https://www.bloomsbury.com/9781501332050

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 ...

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 ...

Melodic contour, the ‘shape’ of a melody, is a common way to visualize and remember a musical piece. The purpose of this paper is to explore the building blocks of a future ‘gesture-based’ melody retrieval system. We present ...

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.

Entrepreneurship in Higher Music Education in Norway. Recently, in Norway, entrepreneurship in higher education has received increased attention. Research projects in Norwegian universities and university colleges initiated ...

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 ...

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 ...

Many common and popular sound spatialisation techniques and methods rely on listeners being positioned in a “sweet-spot” for an optimal listening position in a circle of speakers. This paper discusses a stochastic ...

This chapter addresses the relationship between repetition and variation in repetitive music. Building on philosopher Gilles Deleuze’s discussion of repetition (Difference and Repetition, 1994), and more particularly on ...

The SoundTracer project is a collaborative effort between the Norwegian National Library and the Department of Musicology at the University of Oslo. The goal of the project is to use the audio recordings collected by the ...

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 ...

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 ...

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 ...

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, ...

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 ...

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 ...

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 ...

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 ...

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 ...

© Ximena Alarcón 2017. All rights reserved http://www.reflections-on-process-in-sound.net/

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 ...

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 ...

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, ...

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 ...

The recent surge of interest towards the paradoxical pleasure produced by sad music has generated a handful of theories and an array of empirical explorations on the topic. However, none of these have attempted to weigh ...

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 ...

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 ...

The paper presents results from an experiment in which 91 subjects stood still on the floor for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with mu- sic. The head motion of the subjects was captured ...

This paper explores sonic microinteraction using muscle sensing through the Myo armband. The first part presents results from a small series of experiments aimed at finding the baseline micromotion and muscle activation ...

The attack phase of sound events plays an important role in how sounds and music are perceived. Several approaches have been suggested for locating salient time points and critical time spans within the attack portion of ...

The perception of musical meter is fundamental for rhythm production and perception in much music. Underlying structures such as pulse, meter, and metrical subdivisions are often described as successive points in time. ...

This paper describes an experiment in which the subjects performed a sound-tracing task to vocal melodies. They could move freely in the air with two hands, and their motion was captured using an infrared, marker-based ...

Artikkelen problematiserer den rollen svart rytmisk musikk har spilt innenfor populærmusikkfeltet i etterkrigstiden. Den begynner med en gjennomgang av den historiske bakgrunnen for forestillingen om svart rytme som ...

The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced ...

Abstract: Sound-producing body motion and associated body postures shape musical sound in interaction with musical instruments or the vocal apparatus, making images of such body motion and postures integral to our experiences ...

This paper investigates the importance of forming the virtual space in recorded music. With a production-analytical model called the sound-space I seek to draw attention to the ways in which spatiality in recorded sound ...

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 ...

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 ...

I afroamerikanske rytmiske musikktradisjoner er utformingen av rytmikken på mikronivå, for eksempel timing, frasering og valg av lyd, avgjørende for kvaliteten på musikken. Det er ikke nok å spille det riktige mønsteret, ...

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 ...

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 ...

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 ...

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, ...

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. ...

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 ...

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 ...

This thesis investigates the interaction between perceived rhythm and underlying reference structures in the experience of rhythm in music. The point of departure is that both music performers’ and perceivers’ body motions ...

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 ...

This paper addresses how to determine a sufficient frame (sampling) rate for an optical motion tracking system using passive reflective markers. When using passive markers for the optical motion tracking, avoiding identity ...

This workshop will explore the potential creation of a community database of digital musical instrument (DMI) designs. In other research communities, reproducible research practices are common, including open-source software, ...

Despite increasingly accessible and user-friendly multi-channel compositional tools, many composers still choose stereo formats for their work, where the compositional process is allied to diffusion performance over a ...

This paper provides an overview of the process of editing the forthcoming anthology “A NIME Reader—Fifteen years of New Interfaces for Musical Expression.” The selection process is presented, and we reflect on some of the ...

What type of motion capture system is best suited for studying dancing to electronic dance music? The paper discusses positive and negative sides of using camera-based and sensor-based motion tracking systems for group ...

The pulse level in music is often described as a series of isochronous beats that provides an underlying reference structure against which we perceive rhythmic patterns. This notion is challenged by music styles that seem ...

The chapter is taken from the book: The Oxford Handbook of Music and Virtuality edited by Sheila Whiteley and Shara Rambarran, 2016, reproduced by permission of Oxford University Press https://doi.org/10.1093/oxfordhb/97 ...

This special issue examines the politics of gender in relation to higher education, creative practices and historical processes in electronic music, computer music and sound art. The starting point is a summary of research ...

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 ...

Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

Music technology undergraduate degree programmes are a relatively new phenomenon in British higher education, situated at the intersection of music, digital technologies, and sound art. Such degrees have exploded in ...

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 ...

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 ...

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 ...

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 ...

This thesis aims to demonstrate that Tchaikovsky’s symphonic style is explicitly contrapuntal. Not only has this aspect of the composer been significantly undervalued in western musicology until today, it would be about ...

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 ...

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 ...

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 ...

Human body motion is integral to all parts of musical experience, from performance to perception. But how is it possible to study body motion in a systematic manner? This article presents a set of video-based visualisation ...

In this thesis, I investigate into the politics of gendered representation in Norwegian popular music, and how these function in a transcultural context. To this end, I take Norwegian pop artists Marit Larsen and Marion ...

We consider the issue of how a flexible musical space can be manipulated by users of an active music system. The musical space is navigated within by selecting transitions between different sections of the space. We take ...

Loudspeakers are everywhere in the built environment. Indeed, music, sound, and listening today are arguably defned by their apparently inevitable mediation by an electronically amplifed loudspeaker. But it wasn’t always ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...