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 ...

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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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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. ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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 ...

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, ...

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 ...

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 ...