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Oddekalv, Kjell Andreas
(2024).
Vi skriv p? tog, og vi skriv p? tog - pitch.
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Oddekalv, Kjell Andreas
(2024).
The Sound of the crew in rap:
Rapping chimeras, illusory posses and other fantastical creatures summoned in the studio and cipher.
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Danielsen, Anne
(2024).
There’s more to timing than time: P-centers, beat bins and groove in musical microrhythm.
Show summary
How does the dynamic shape of a sound affect its perceived microtiming? In the TIME project, we studied basic aspects of musical microrhythm, exploring both stimulus features and the participants’ enculturated expertise via perception experiments, observational studies of how musicians produce particular microrhythms, and ethnographic studies of musicians’ descriptions of microrhythm. Collectively, we show that altering the microstructure of a sound (“what” the sound is) changes its perceived temporal location (“when” it occurs). Specifically, there are systematic effects of core acoustic factors (duration, attack) on perceived timing. Microrhythmic features in longer and more complex sounds can also give rise to different perceptions of the same sound. Our results shed light on conflicting results regarding the effect of microtiming on the “grooviness” of a rhythm.
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Oddekalv, Kjell Andreas
(2024).
“I’m sorry y’all, I often drift – I’m talking gift” Microrhythmic analysis of rap – categorization, malleability and structural bothness.
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Oddekalv, Kjell Andreas
(2023).
Sounding Same/Sounding Other:
Creative, practical and aesthetic aspects of ad libs and ‘backtracks’ in rap
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Oddekalv, Kjell Andreas
(2023).
Flow, layering and rupture in composite auditory streams.
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Oddekalv, Kjell Andreas
(2023).
A Norwegian emcee/scholar – Theorizing rap flow from the outside and inside
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Oddekalv, Kjell Andreas
(2023).
On Analysing Hip-Hop/Rap : Doing Hip-Hop Scholarship in a hip-hop way
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Oddekalv, Kjell Andreas
(2023).
Weak Alternatives …and their presence making shit dope.
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C?mara, Guilherme Schmidt; Danielsen, Anne & Oddekalv, Kjell Andreas
(2023).
Funky rhythms – broken beats!?Kulturelle og estetiske perspektiver p? groove-basert musikk.
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Oddekalv, Kjell Andreas
(2023).
Project: Chimera
Postdoctoral project – overview, examples, loose thoughts. HHRIG meeting presentation
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Oddekalv, Kjell Andreas
(2023).
'Them bars really ain't hittin' like a play fight' : Analysing weak alternative lineations and ambiguous lineation in relation to metrical structure in rap flows.
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C?mara, Guilherme Schmidt; Spiech, Connor & Danielsen, Anne
(2023).
To asynchrony and beyond: In search of more ecological perceptual heuristics for microrhythmic structures in groove-based music.
Show summary
There is currently a gap in rhythm and timing research regarding how we perceive complex acoustic stimuli in musical contexts. Many studies have investigated timing acuity in non-musical contexts involving simple rhythmic sequences comprised of clicks or sine waves. However, the extent to which these results transfer to our perception of microrhythmic nuances in multilayered musical contexts rife with complex instrumental sounds remains poorly understood. In this talk we will present an overview of a planned series of just-noticeable difference (JND) experiments that will generate ecologically valid perceptual heuristics regarding timing discrimination thresholds. The aim is to investigate the extent to which microrhythmic timing and sonic nuances are perceived in groove-based music and connect these heuristics to the pleasurable urge to move in groove-based contexts, as well as acoustic (e.g., intensity, duration, frequency) and musical features (e.g., tempo, genre), and listener factors (e.g. musical training, stylistic familiarity). Overall, we expect timing thresholds to be higher for polyphonic/musical than for monotonic/non-musical stimuli/contexts and higher for pulse attribution (whether one can perceive a “beat”; Madison & Merker 2002, Psychol Res) than for simple detection of asynchrony and anisochrony (whether one can perceive “rhythmic irregularities”). Thresholds will likely be modulated by intensity (Goebl & Parncutt 2002, ICMPC7), tempo (Friberg & Sundberg 1995, J Acous Soc Am), instrumentation (Danielsen et al. 2019, J Exp Psychol), and genre/stylistic conventions (C?mara & Danielsen 2019, Oxford). Musically trained/stylistically familiar listeners may also display style-typical sensitivity to microrhythmic manipulations (Danielsen et al. 2021 Atten Percept Psychophys; Jakubowski et al. 2022; Cogn). In terms of subjective experience, we expect that onset asynchrony exaggerations will likely elicit lower pleasure and movement ratings compared to performances with idiomatic timing profiles (Senn et al. 2018, PLoS One). Higher ratings should also be biased in favor of familiar styles (Senn et al. 2021) and rhythmic patterns that do not engender excessive metrical ambiguity are likely to elicit higher ratings (Spiech et al. 2022, preprint; Witek et al. 2014, PLoS One).
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C?mara, Guilherme Schmidt; Sioros, Georgios; Danielsen, Anne; Nymoen, Kristian & Haugen, Mari Romarheim
(2023).
Sound-producing actions in guitar performance of groove-based microrhythm.
Show summary
This study reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 expert electric guitarists were instructed to perform a simple rhythmic pattern in three different timing styles—“laidback,” “on-the-beat,” and “pushed”—in tandem with a metronome. Results revealed systematic differences across participants in the striking velocity and movement duration of chords in the different timing styles. In general, laid-back strokes were played with lower striking velocity and longer movement duration relative to on-the-beat and pushed strokes. No differences in the fretboard striking position were found (neither closer to the “bridge” [bottom] or to the “neck” [head]). Correlations with previously reported audio features of the guitar strokes were also investigated, where lower velocity and longer movement duration generally corresponded with longer acoustic attack duration (signal onset to offset).
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Danielsen, Anne
(2023).
Decolonizing groove (panel discussion).
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Danielsen, Anne
(2023).
Ain’t that a groove! Musicological, philosophical and psychological perspectives on groove (keynote).
Show summary
The notion of groove is key to both musicians’ and academics’ discourses on musical rhythm. In this keynote, I will present groove’s historical grounding in African American musical practices and explore its current implications by addressing three distinct understandings of groove: as pattern and performance; as pleasure and “wanting to move”; and as a state of being. I will point out some musical features that seem to be shared among a wide range of groove-based styles, including syncopation and counterrhythm, swing and subdivision, and microrhythmic qualities. Ultimately, I will look at the ways in which the groove experience has been approached in different disciplines, drawing on examples from musicology / ethnomusicology, philosophy, psychology and neuroscience.
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Danielsen, Anne; Br?vig, Ragnhild; C?mara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin
(2023).
There’s more to timing than time: Investigating sound–timing interaction across disciplines and cultures
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Lartillot, Olivier; Thedens, Hans-Hinrich; Mjelva, Olav Lukseng?rd; Elovsson, Anders; Monstad, Lars L?berg & Johansson, Mats Sigvard
[Show all 8 contributors for this article]
(2023).
Norwegian Folk Music & Computational Analysis.
Show summary
As a prélude for Norway's Constitution Day, this special event celebrated the Norwegian folk music tradition, showcasing our new online archive and demonstrating the richness of Hardanger fiddle music, with live performance. One aim of the project is to conceive new technologies allowing to better access, understand and appreciate Norwegian folk music.
In this event, we introduced a new online version of the Norwegian Folk Music Archive and discuss underlying theoretical and technical challenges. A live concert/workshop, with the participation of Olav Lukseng?rd Mjelva, offered a lively introduction to Hardanger fiddle music and its elaborate rhythm. The interests and challenges of automated transcription and analysis were discussed, with the public release of our new software Annotemus.
The symposium was organised in the context of the MIRAGE project (RITMO, in collaboration with the National Library of Norway's Digital Humanities Laboratory).
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Danielsen, Anne
(2023).
Beat bins, asynchronies and muddy sounds: Shaping micro-time in grooves.
Show summary
In musical genres such as neo-soul and hip-hop, beats often have a temporal shape that makes their placement in time difficult to locate relative to a single point in time. This is often due to ?muddy?, processed sounds or asynchronies between events at beat-related metric positions. The beat bin theory suggests that the perceptual counterpart to such beat asynchronies or muddy beat shapes in a sounding groove is an internal (perceptual) reference structure of beat bins of considerable ‘width’ and a distinctive ‘shape’. I will start by pre- senting the theory and then focus on how various acoustic factors influence the beat bin, using examples from computer-based musical grooves. Ultimately, I argue that micro-level perception of, and synchronization to, sound is opti- mized for the task at hand, in line with the flexibility and dynamic nature of the human apparatus in perceiving, predicting, and processing rhythm.
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Leske, Sabine Liliana; Endestad, Tor; Volehaugen, Vegard; Foldal, Maja Dyhre; Blenkmann, Alejandro Omar & Solbakk, Anne-Kristin
[Show all 7 contributors for this article]
(2023).
Predicting the Beat Bin – Beta Oscillations Support Top-Down Prediction of The Temporal Precision of a Beat .
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Br?vig, Ragnhild
(2023).
Wakeful Sleep and Sleepy wakefulness in EDM.
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Br?vig, Ragnhild & Stevenson, Alex
(2023).
Machine Aesthetics: An Analytical Framework .
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Oddekalv, Kjell Andreas
(2022).
Categorical perception and quantisation in hip-hop practice and discourse.
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Danielsen, Anne & Leske, Sabine Liliana
(2022).
How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives.
Show summary
The internal beat or pulse in the listener is not a single point in time, but has a shape and a width and can be described via a probability distribution. This phenomenon has been conceptualized in the beat bin thoery (Danielsen 2010). The internal beat bin of the listener varies systematically with the precision needed in the given musical or sonic context. Anne and Sabine will present behavioral evidence for this phenomenon and a first attempt to reveal the underlying neural mechanism behind the flexible adaptation to the precision of the current beat bin context. They will present effects of acoustic factors on the perceptual center and the beat bin, as well as preliminary results on how neural oscillatory activity might represent a neural mechanism behind this phenomenon.
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Br?vig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bj?rnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne
(2022).
Musical rhythm. Qualitative investigations.
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Danielsen, Anne
(2022).
Rytme, groove og digitale signaturer.
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Oddekalv, Kjell Andreas
(2022).
Intervju om musikkrettigheiter - NRK Nyhetsmorgen.
[TV].
NRK.
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Oddekalv, Kjell Andreas
(2022).
Rap as composite auditory streams: Techniques and approaches for chimericity through layered vocal production in hip-hop, and their aesthetic implications.
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Oddekalv, Kjell Andreas
(2022).
On Being a White Norwegian Analysing Rap.
Dansk Musikforskning Online.
ISSN 1904-237X.
DMO Special Issue 2022,
p. 115–122.
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B?hler, Kjetil Klette
(2022).
Groove Politics: Pleasure and Participation in Cuban Dance Music.
Show summary
This paper develops the concept of groove politics to investigate how the rhythmic qualities of shared musical experiences influence participatory democracy. Groove Politics is grounded in an analysis of listening and draws on recent studies on how music grooves, creates pleasure, and produces affective communities. Groove Politics understands musical sounds as complex signs that operate thanks to an interplay between rhythm, melody, harmony, lyrics, and local cultural meanings in which political expressions gain affective force as they bring people together. I apply this lens to performances of the Cuban band Interactivo and their musical dialogues with political and cultural changes in Cuba over the last two decades. Interactivo has been among the most innovative, controversial, and popular bands in the country of late thanks to their unique mixture of timba, rumba, jazz, funk, trova, hip-hop and world music. The study illuminates how Interactivo’s grooves both nurture and contest people’s sense of revolutionary values thanks to particular organizations of musical sound.
While existing scholarship on the politics of music elaborates upon the ways in which music is “articulated,” “mediated,” or “embedded” in larger political contexts and discourses, few studies have shown how music shapes political experience. Groove Politics fills this lacuna by taking seriously music’s ability to move us and create affective communities of political expression. The paper questions the established truism within popular music studies that the political meaning of music cannot be found in “the music itself”. Instead, Groove Politics takes its cue from John Street’s remark that what is lacking in existing scholarship is a “musical theory of politics [that takes seriously] the political possibilities inherent in pleasure”. Conceptually, Groove Politics builds on arguments within political theory by Arendt and Rancière that underscore the importance of aesthetics in politics coupled with research on how music grooves. It uses this frame to study how grooves redefine community and political discourse. The paper adds to existing musicological scholarship on popular music by drawing attention to how music moves us politically and aesthetically, coupled with analysis of the artistic and ethical judgements that give rise to and result from such practices.
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Oddekalv, Kjell Andreas
(2022).
KARPE KARPE KARPE - Aftenposten Forklart.
[Internet].
Aftenposten Forklart Podcast.
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Oddekalv, Kjell Andreas
(2022).
Rap music’s black cultural heritage: How does “pushing the limits” of dopeness relate to hip hop values of excellence and/as badness?
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Oddekalv, Kjell Andreas
(2022).
Public defense: Kjell Andreas Oddekalv.
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Oddekalv, Kjell Andreas
(2022).
Intervju om rap flows - Studio 2, NRK P2.
[Radio].
NRK P2.
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Oddekalv, Kjell Andreas
(2022).
Hva gir hiphop flow? En norsk forsker mener han har funnet svaret.
[Newspaper].
Morgenbladet.
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Oddekalv, Kjell Andreas; Gudnason, Runar & Opsvik, Olav
(2022).
H?ge Brelle – Runar Gudnason, Kjell Andreas Oddekalv og louilexus.
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Danielsen, Anne
(2022).
Rhythm, Time, and Presence.
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Spiech, Connor; Hope, Mikael; C?mara, Guilherme Schmidt; Sioros, Georgios; Endestad, Tor & Laeng, Bruno
[Show all 7 contributors for this article]
(2022).
PredicTAPbility: Sensorimotor Synchronization Increases Groove.
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Leske, Sabine Liliana
(2022).
Inter-Trial Coherence (ITC).
Show summary
An introduction to the inter-trial coherence measure (ITC) and how it is applied to EEG data (with example code/scripts in MATLAB). Furthermore caveats of the measure are discussed along with it's relation to phase opposition measures.
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Leske, Sabine Liliana
(2022).
Phase Amplitude Coupling (PAC).
Show summary
An introduction to the Phase Amplitude Coupling (PAC) measure and how it is applied to EEG data (example code in MATLAB). The caveats of the measure are covered and which sanity checks might be necessary.
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Leske, Sabine Liliana
(2022).
Fourier Transform.
Show summary
An introduction to the Fourier transform and how it is applied to EEG data. The short time fourier transform (STFT) and different measures (phase and amplitude) derived from it are explained.
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Lartillot, Olivier; Elovsson, Anders; Johansson, Mats Sigvard; Thedens, Hans-Hinrich & Monstad, Lars Alfred L?berg
(2022).
Segmentation, Transcription, Analysis and Visualisation of the Norwegian Folk Music Archive.
Show summary
We present an ongoing project dedicated to the transmutation of a collection of field recordings of Norwegian folk music established in the 1960s into an easily accessible online catalogue augmented with advanced music technology and computer musicology tools. We focus in particular on a major highlight of this collection: Hardanger fiddle music. The studied corpus was available as a series of 600 tape recordings, each tape containing up to 2 hours of recordings, associated with metadata indicating approximate positions of pieces of music. We first need to retrieve the individual recording associated with each tune, through the combination of an automated pre-segmentation based on sound classification and audio analysis, and a subsequent manual verification and fine-tuning of the temporal positions, using a home-made user interface.
Note detection is carried out by a deep learning method. To adapt the model to Hardanger fiddle music, musicians were asked to record themselves and annotate all played note, using a dedicated interface. Data augmentation techniques have been designed to accelerate the process, in particular using alignment of varied performances of same tunes. The transcription also requires the reconstruction of the metrical structure, which is particularly challenging in this style of music. We have also collected ground-truth data, and are conceiving a computational model.
The next step consists in carrying out detailed music analysis of the transcriptions, in order to reveal in particular intertextuality within the corpus. A last direction of research is aimed at designing tools to visualise each tune and the whole catalogue, both for musicologists and general public.
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Sandvik, Bj?rnar Ersland
(2022).
Sample, Slice, Stretch! Four Innovative Moments in the History of Waveform Representation.
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Oddekalv, Kjell Andreas
(2022).
Skreiv bok om H?ge Brelle.
[Newspaper].
M?re.
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Danielsen, Anne
(2022).
Bidrag til enquete om rock.
In Karlsen, Ole & Markussen, Bjarne (Ed.),
Sanglyrikk. Teori - Metode - Sjangrer.
Scandinavian Academic Press.
ISSN 978-82-304-0342-6.
Show summary
Lyrikken er den mest popul?re og utbredte av alle diktarter – vel ? merke sanglyrikken, den som fremf?res til musikk og formidles gjennom radio, grammofonplater, CD-er og str?mmetjenester. Den omgir oss til daglig og er samtidig den eldste formen for lyrikk vi kjenner til. I det gamle Hellas ble diktene fremsagt til lyrespill.
Til tross for dette har sanglyrikken v?rt mindre utforsket enn skriftlyrikken, og det har skortet p? teoretiske og metodiske perspektiver. Det s?ker denne boka ? r?de bot p?. Her diskuteres f?rst de grunnleggende likheter og forskjeller mellom skrift- og sanglyrikk, mellom ?ye- og ?rekunst. Videre dr?ftes metodiske innfallsvinkler til studiet av sanglyrikk, med tanke p? samspillet mellom ord og musikk. Deretter gj?r boka rede for en rekke kjente sanglyriske sjangrer: ballader, skillingsviser, salmer, joik, viser, blues, rock, indie-folk og rap.
Boka er den f?rste i sitt slag i Norge. Den er s?rlig rettet mot forskere og studenter i h?yere utdanning, og l?rere som vil arbeide med sanglyrikk i skoleverket. Men alle som interesserer seg for sanglyrikkens sjangrer, vil finne noe ? glede seg over her.
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Sandvik, Bj?rnar Ersland
(2022).
Lydens utseende: Fra usynlig til gjenkjennelig p? skjermer vi alle g?r rundt med.
Musikkmagasinet Ballade.
ISSN 0805-5041.
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C?mara, Guilherme Schmidt; Sioros, George & Danielsen, Anne
(2021).
Mapping timing and intensity strategies in drum-kit performance via hierarchical clustering and phylogenetic visualizations
.
Show summary
Background and Aim:
Findings from performance timing experiments have shown that drummers are able to systematically play stroke onsets significantly earlier and later than an instructed on-the-beat performance (C?mara et al., 2020; Danielsen et al., 2015), and purportedly able to further control the degree of onset asynchrony between the various constituent instruments of the drum-kit (C?mara and Danielsen, 2019). Previous investigations have focused on comparing average statistical trends of onset timing between timing styles across entire groups of drummers. In this study, we map performance strategies present at the individual participant level and categorize the different archetypical ways in which drummers express different timing styles. We focus on the onset asynchrony and intensity of strokes between drum-kit instruments, and in relation to a metrical grid, and hypothesize that drummers employ consistent strategies to achieve different desired timing styles, choosing different instruments (snare/kick/hi-hat) in the rhythmic pattern to generate in-sync, late, and early timing performances.
Methods:
In a previous experiment (C?mara et al., 2020), twenty-two drummers were instructed to play a basic “back-beat” pattern along to a metronome and a pre-recorded instrumental track in three different timing conditions: laid-back, on-the-beat, and pushed. Here, we conduct a hierarchical cluster analysis of various onset and intensity features in this data set, combined with phylogenetic tree visualizations to provide an overview of the strategies used by the drummers to distinguish laid-back/pushed from on-the-beat performances. Furthermore, we encode the features of the onset or intensity clusters into microtiming archetypes that visually summarize the general characteristics of the drummers’ strategy in each cluster.
Results:
Overall, three overarching onset strategies were used to distinguish pushed/laid-back from on-the-beat performances: (1) strong “general earliness/lateness” strategies: most instruments are consistently played earlier/later in time relative to the grid; (2) subtler “early/late flam” strategies: most instruments are played synchronously with the grid but at least one instrument is played distinctively early/late ; and (3) even subtler “ambiguously early/late compound sound” strategies: two instruments are played synchronously in relation to each other as a compound sound, but one instrument is played synchronous with the grid and the other is played early/late. While no clear intensity manipulation patterns emerged to exclusively distinguish laid-back/pushed timing, they serve as a means of enhancing or diminishing the effect of intentionally produced asynchronies.
Conclusion:
Results indicate that performers utilize a range of inter-instrument onset timing and intensity relationships to express microrhythmic feel in groove performance, that is, different drummers use different means to achieve the same desired feel.
Implications:
The novel methods developed in this study may be applied to analysis of commercial recordings to provide insight into the idiomatic timing–sound strategies of influential performers and/or genres/styles more generally.
References:
C?mara, G. S., & Danielsen, A. (2019). Groove. In A. Rehding & S. Rings (Eds.), The Oxford handbook of critical concepts in music theory (pp. 271–294). Oxford University Press.
C?mara, G. S., Nymoen, K., Lartillot, O., & Danielsen, A. (2020). Timing Is Everything . . . or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance. Music Perception, 38(1), 1–26.
Danielsen, A., Waadeland, C. H., Sundt, H. G., & Witek, M. A. G. (2015). Effects of instructed timing and tempo on snare drum sound in drum kit performance. Journal of the Acoustical Society of America, 138(4), 2301–2316.
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Ganis, Francesco; Dahl, Sofia; C?mara, Guilherme Schmidt & Danielsen, Anne
(2021).
Beat precision and perceived danceability in drum grooves.
Show summary
Musicians can place the time-position of events with high precision and according to personal preference, genre and tempo [1]. For instance, the swing ratio is not kept constant, but it is systematically adapted to a global tempo [2]. In contemporary music, drummers can achieve a specific feel by manipulating the timing of rhythms in different ways and placing event onsets earlier or later compared to the time reference [1]. These small adjustments in time are also referred to as micro-timing variations. The aim of this study was to investigate the influence of micro-timing variations in live-played rhythms on the perceived danceability and timing precision. The stimuli were chosen from C?mara et al. [1] where drummers were playing two different patterns with different timing styles (laid-back, pushed, on-beat). Two drummers’ performances were selected based on their reported average systematic timing. These 12 recordings were mixed with the instrumental backing track (bass and guitar) heard by the drummers to form the stimuli. Forty participants (M = 28.23 years, SD = 11.80), 28 males and 12 females, with varying musical background were recruited via social media (Facebook pages, groups and direct messages to chat groups). Participants were sent a link to the online listening test using Google Forms with modifications that presented the stimuli as embedded videos. Each video started with a prompt to wear headphones followed by 4 bars of groove for a total of 11 seconds (with a static image). For each page, the participant was presented with a reference track (on-beat timing) and a “beat” track (laid-back or pushed timing) and asked to rate the perceived danceability from 1 (not danceable at all) to 5 (very danceable). Additionally, listeners were asked to compare the beat with the reference track and indicate whether this was pushed (ahead), laid-back (behind) or on-beat (synced with) the reference in terms of timing. Preliminary results indicate that micro-timing variations affect the perceived danceability. On-beat patterns were rated with the highest danceability, followed by laid-back and pushed styles. The drummer that obtained the highest danceability rating for the laid-back performance is also the one that was mainly recognized as on-beat performer. As expected, identification of timing (ahead, behind or on) proved to be difficult. Using the instrumental backing track as a time reference could possibly have made the task even harder for untrained listeners. Future research could address this by comparing danceability ratings for the grooves mixed with different backing tracks. References [1] G. S. C?mara, K. Nymoen, O. Lartillot, and A. Danielsen, “Timing Is Everything…Or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance,” Music Percept., vol. 38, no. 1, pp. 1–26, Sep. 2020, doi: 10.1525/mp.2020.38.1.1. [2] H. Honing and W. B. de Haas, “Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming,” Music Percept., vol. 25, no. 5, pp. 471–476, Jun. 2008, doi: 10.1525/mp.2008.25.5.471.
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Lartillot, Olivier & Johansson, Mats Sigvard
(2021).
Automated beat tracking of Norwegian Hardanger fiddle music.
Show summary
Norwegian Hardanger fiddle music is typically played by a solo fiddler, without rhythmic accompaniment except for the musician’s discreet foot stomping. Some of its repertoire features an asymmetrical ternary meter, with an uneven proportion of durations between the three beats of each bar, and with varying degrees of fluctuation of those proportions throughout each piece. In addition, there is often no clear audible onset corresponding to the beat position. As a result, many listeners find it difficult to hear the beats without experience from playing or dancing, and the beat onsets cannot be properly tracked by state-of-the-art beat trackers.
The aim of this study is to develop a computational model of beat tracking of Hardanger fiddle music. Due to the rhythmic irregularity of the music, computational approaches relying on the detection of regular periodicities cannot be used. The proposed strategy adopts a cognitive perspective, modeling processes that progressively infer beats while scanning the music sequence chronologically. To each successive note is associated a tentative metrical position, which is determined based on a set of rules, using various input data such as (1) the ratio of the inter-onset interval (IOI) from the previous beat onset to the current note onset and the preceding inter-beat-onset interval and (2) the ratio of the IOI from the bar onset to the current note onset and the preceding inter-bar-onset interval. Successive repetition of eighth notes (as well as of eighth-note triplets) induce specific states that also guide the subsequent extension of the sequence. Multiple beat tracking scenarios can coexist at particular moments in the tune for very short periods. In particular, the very first notes at the beginning of the tune may initially imply conflicting metrical structures and tempi. The conflicting parallel beat tracking scenarios are progressively extended note after note in parallel. A scenario ends whenever it reaches a dead-end situation where the music is in total contradiction. Multiple scenarios are fused when they are continued exactly the same way, and only the scenario deemed the most congruent is retained.
One particularity of Hardanger fiddle music is that beat onsets are not precise points in time but rather diffuse temporal extension, closely related to the notion of beat bin (Danielsen, 2010). Sometimes, multiple successive notes can all be considered as possible onsets for a given beat (Johansson, 2010; Stover et al., 2021). This multiplicity of beat onsets has been integrated into the model.
Most of the analysis can be carried out using solely note onset time as input data, although more challenging cases occasionally require taking into account note duration or higher structure such as motivic repetition. This indicates that a proper beat tracker needs to be integrated as a module within a comprehensive music analysis framework, with bidirectional dependencies with the other modules of the framework. The model has so far been tuned and tested on a couple of tunes only. Its application to the automated analysis of a larger corpus is under investigation.
Danielsen, Anne (2010). “Here, there, and everywhere. Three accounts of pulse in D'Angelo's 'Left and Right’.” In A. Danielsen (Ed.), Musical Rhythm in the Age of Digital Reproduction. Farnham: Ashgate/Routledge, UK.
Johansson, Mats (2010). “The Concept of Rhythmic Tolerance – Examining Flexible Grooves in Scandinavian Folk-fiddling.” In A. Danielsen (Ed.), Musical Rhythm in the Age of Digital Reproduction. Farnham: Ashgate/Routledge, UK.
Stover, Chris; Danielsen, Anne & Johansson, Mats (2021). “Bins, Spans, Tolerance: Three Theories of Microtiming Behavior.” [under review in Music Theory Spectrum].
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Sioros, George
(2021).
Groove, meter and syncopation: a cognitive perspective. .
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Oddekalv, Kjell Andreas
(2021).
Korleis vert ei rap-l?t til?
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Oddekalv, Kjell Andreas
(2021).
Intervju med Kjell Andreas Oddekalv om Side Brok - H?ge Brelle p? Radio NRK M?re og Romsdal.
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Oddekalv, Kjell Andreas
(2021).
Benn?rn - Ei unik rytmisk r?yst i det norske rap-panteonet.
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Oddekalv, Kjell Andreas
(2021).
Skriv bok om nynorsk rap-suksess - "H?ge Brelle" mellom to permar.
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Oddekalv, Kjell Andreas
(2021).
"H?ge Brelle" mellom to permar.
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Br?vig-Hanssen, Ragnhild; Sandvik, Bj?rnar & Aareskjold-Drecker, Jon Marius
(2021).
Slow Attacks, Peculiar Accents, and Pumping Grooves: Perceptual Interaction between Timing and Intensity in Music Production.
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Br?vig-Hanssen, Ragnhild
(2021).
Rhythm, Repetition, and Expectations.
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Solbakk, Anne-Kristin; Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anais & Funderud, Ingrid
[Show all 13 contributors for this article]
(2021).
Auditory prediction and prediction error in self-generated tones.
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Spiech, Connor; Laeng, Bruno; Sioros, George; Danielsen, Anne & Endestad, Tor
(2021).
More Than Meter’s The Eye: Divergent Roles of Pickups and Syncopation in Groove.
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Oddekalv, Kjell Andreas
(2021).
Solveigs Speisa Musikk - med Kjell Andreas Oddekalv.
[Radio].
RadiOrakel.
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Danielsen, Anne
(2021).
Time and time again: repetition and difference in grooves.
Show summary
The focus of the paper will be analytical and experiential aspects of repetition and difference in grooves. Inspired by the philosophy of Gilles Deleuze, I will discuss the difference between static and dynamic repetition and develop the idea of repetition as production, which will then be applied to various musical examples of African-American groove-based music.
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Oddekalv, Kjell Andreas
(2021).
Solveigs Speisa Musikk - Kjell Andreas Oddekalv igjen.
[Radio].
RadiOrakel.
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Danielsen, Anne
(2021).
Shaping rhythm: Timing and sound in EDM.
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Danielsen, Anne
(2021).
Rhythm and Meter.
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Oddekalv, Kjell Andreas
(2021).
Verses in verses - convergent and divergent metrical structure in rap flows.
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Haugen, Mari Romarheim
(2021).
Investigating the Effect of Tempo on Non-Isochronous Subdivisions in Brazilian Samba.
Show summary
Recent studies have revealed that systematic non-isochronous duration patterns on sixteenth note level in samba, seems to be a prominent feature of this style (e.g., Gerischer, 2006; Gouyon, 2007; Haugen and God?y, 2014; Naveda, 2011). Present study investigates the effect of tempo on the duration pattern on sixteenth note level in a performed samba groove. Some previous studies conducted in other genres have found that uneven duration patterns seem to become more even as tempo increases. It has been suggested that this effect might be due to perceptual constraints producing a lower limit for duration (e.g., Friberg and Sundstr?m, 1997) or a reduction of rhythmic categories when two initially uneven short notes become so similar in fast tempi that they merge into one single category (Clarke, 1985).
Two samba performers from S?o Paulo in Brazil, a percussionist and a dancer, were recorded. The percussionist played a samba groove on a Brazilian hand drum called pandeiro and the dancer performed the dance in samba no pé style. The samba groove was performed at three different tempi: fast (133 bpm), preferred (100 bpm), and slow (69 bpm).
The results are based on an analysis of the recorded sound. The temporal positions of the played sixteenth notes were detected using the MIRtoolbox (Lartillot and Toiviainen, 2007). The results show that all the sixteenth notes were significantly different in all tempi, suggesting a medium/long– short–medium/short–long duration pattern. We found that the second sixteenth note becomes relatively shorter and the fourth relatively longer as the tempo increases. This is in contrast with previous research, which suggest that non-isochronous duration patterns become more even as tempo increases.
We suggest that the non-isochronous duration pattern must become more pronounced when tempo increases in order to maintain the specific ‘feel’ of the samba groove. This implies that the duration pattern have to be consistent at a categorical level across tempi: the groove pattern is a pattern of duration categories and does not rely on fixed percentages or ratios. Future work will include more recordings in order to be able to draw more general conclusions.
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Sioros, George
(2020).
Comparing the timing of repetitive human movements.
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Oddekalv, Kjell Andreas
(2020).
Food & Paper: Metre-on-metre interactions – analysing the rhythms of rap flows.
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Oddekalv, Kjell Andreas
(2020).
Metre-on-metre interactions – analysing the rhythms of rap flows.
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Danielsen, Anne
(2020).
Interdisciplinary music research.
Show summary
In this keynote I will discuss interdisciplinarity as a methodological approach in music studies. I begin by outlining different forms of collaboration across disciplines. Then I will share my experiences with designing and leading the project TIME: Timing and Sound in Musical Microrhythm, funded by the NFR-TOPPFORSK scheme. The project draws on a wide variety of disciplines that have been central to the study of rhythm in music and explores a broad methodological palette: from musical analysis and aesthetic interpretation, to qualitative interviews, controlled experiments and cross-cultural comparative approaches. I will focus on how different methods can be combined to provide richer answers to the same research questions, and how to organize research to achieve collaboration across traditions. The challenges facing interdisciplinary research will also be addressed. In the last part of the lecture, the focus will be on interdisciplinarity across disciplines based on our experiences of running the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo, where music scholars collaborate with researchers from other fields, such as informatics and cognitive psychology.
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Haugen, Mari Romarheim & Kleppe, Synn?ve Sudb?
(2020).
Bortebuaren.
[Newspaper].
B? Blad.
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Br?vig-Hanssen, Ragnhild
(2020).
Playful Rhythms and Mosaic Flow.
Show summary
Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.
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Oddekalv, Kjell Andreas
(2020).
Food & Paper: Metre on metre - a theoretical framework for rap analysis.
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Oddekalv, Kjell Andreas
(2020).
Brakkeskole: Kjell Andreas Oddekalv forskar p? rapflow.
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Oddekalv, Kjell Andreas
(2020).
IMV PhD Midway Assessment for Kjell Andreas Oddekalv.
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Oddekalv, Kjell Andreas
(2020).
METRE MEETS METRE – HOW DO WE HEAR, ANALYSE AND LISTEN TO RAP FLOWS?
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Oddekalv, Kjell Andreas
(2020).
When Metre meets Metre: Rhythmic Ambiguity and Flexibility in Rap Flows .
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Jemterud, Torkild; Danielsen, Anne; Brodal, Per; L?vvik, Ole Martin; Goodwin, Morten & Knudsen, P?l Moddi
(2020).
Abels t?rn: En f?lsom AI tester visesang.
Show summary
Kan en AI lage bedre tekster enn en visesanger? Og bedre drinker enn en bartender? Vi tester begge deler. Pr?vekanin er P?l Moddi Knudsen. En AI har tygd seg gjennom de gamle tekstene hans, og spytta ut en splitter ny. Dessuten - Hvorfor h?rer man bare bassen fra festen ved siden av? - Konsentrer man seg bedre med musikk? - L?per man raskere med musikk? - Hvorfor har vi s? ulik musikksmak? - Hvorfor er Moddis gitar alltid sur? - Hvor varmt blir det i en peisovn? I panelet Visesanger P?l Moddi Knudsen Datalog Morten Goodwin Musikkviter Anne Danielsen Fysiker Ole Martin L?vvik Hjerneforsker Per Brodal
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Danielsen, Anne
(2020).
Does genre expertise modulate micro level synchronisation to musical sounds?
Show summary
Musical synchronization may be achieved with greater or lesser precision. Previous research has shown that acoustic factors systematically influence where a musician places one sound in relation to another in order to hear them as perfectly synchronized. However, it remains unclear how synchrony is affected by musical enculturation. In this talk, Anne Danielsen will present results from a comparative study where expert musicians and producers from jazz, folk music, and EDM/hip-hop did click alignment and tapping to different musical and quasi-musical sounds.
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Danielsen, Anne
(2020).
Musical listening, micro-time .
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Bruford, Fred & Lartillot, Olivier
(2020).
Multidimensional similarity modelling of complex drum loops using the GrooveToolbox.
Show summary
The GrooveToolbox is a new Python toolbox implementing various algorithms, new and pre-existing, for the analysis and comparison of symbolic drum loops, including rhythm features, similarity metrics and microtiming features. As part of the GrooveToolbox we introduce two new metrics of rhythm similarity and four features for describing the significant properties of microtiming deviations in drum loops. Based on a two-part perceptual evaluation, we show these four new microtiming features can each correlate to similarity perception, and be used with rhythm similarity metrics to improve personalized similarity models for drum loops. A new measure of structural rhythmic similarity is also shown to correlate more strongly to similarity perception of drum loops than the more com- monly used Hamming distance. These results point to the potential application of the GrooveToolbox and its new features in drum loop analysis for intelligent music production tools. The GrooveToolbox may be found at: https://github.com/fredbru/GrooveToolbox
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Br?vig-Hanssen, Ragnhild & Sandvik, Bj?rnar Ersland
(2020).
Timing in Electronic Dance Music.
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Br?vig-Hanssen, Ragnhild
(2020).
A Doubled Now: Parody Theories.
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Haugen, Mari Romarheim
(2020).
"Brain in Research(ers)" Panel.
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Haugen, Mari Romarheim
(2020).
Musical performance.
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Lartillot, Olivier & Toiviainen, Petri
(2020).
Read about the Matlab MIRtoolbox.
Young Acousticians Network (YAN) Newsletter.
p. 4–10.
Show summary
MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyv?skyl?, Finland)
You can also check out the MIRtoolbox website at:
shorturl.at/oA038
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Lartillot, Olivier & Bruford, Fred
(2020).
Bistate reduction and comparison of drum patterns.
Show summary
This paper develops the hypothesis that symbolic drum patterns can be represented in a reduced form as a sim- ple oscillation between two states, a Low state (commonly associated with kick drum events) and a High state (often associated with either snare drum or high hat). Both an onset time and an accent time is associated to each state. The systematic inference of the reduced form is formal- ized. This enables the specification of a rhythmic struc- tural similarity measure on drum patterns, where reduced patterns are compared through alignment. The two-state representation allows a low computational cost alignment, once the complex topological formalization is fully taken into account. A comparison with the Hamming distance, as well as similarity ratings collected from listeners on a drum loop dataset, indicates that the bistate reduction enables to convey subtle aspects that goes beyond surface-level com- parison of rhythmic textures.
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Br?vig-Hanssen, Ragnhild; Théberge, Paul; Lefford, Nyssim; Provenzano, Catherine & Williams, Alan
(2019).
Methodology Panel.
Show summary
Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and its Aesthetics.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus & Hole, Erik
(2019).
Rapkjefta - Episode 5.
[Radio].
Ordentlig Radio.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik
(2019).
Rapkjefta - Episode 4.
[Radio].
Ordentlig Radio.
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Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien
(2019).
Does moderate syncopation increase groove? The answer depends on the syncopation pattern.
Show summary
Recent research points towards a relation between syncopation and groove (Witek et al., 2014; Madison and Sioros, 2014), i.e. the pleasurable sensation of wanting to move to music (Janata et al., 2012). We aimed at confirming the inverted-U shape relation found in previous research, using more controlled music examples (MEs). To this end, we asked twenty-seven participants to listen to and rate variations of MEs that only differ in their syncopation. Ten short funk and rock loops consisting of drums, bass and keyboards were algorithmically transformed (Sioros and Guedes, 2014) to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 25% (roughly equal amount to the original), 50%, and 70%. The MEs were produced using professional sound samples. The participants rated the groove of the original versions higher than all the transformed versions, including the version with a similar amount of algorithmic syncopation, while the 50% and 70% versions had the lowest scores. Statistically significant differences were observed between 1) the original and the rest, and 2) the 25% and the 50% and 70%, but not between the 25% and the deadpan. To understand this result, we compared the original and algorithmic syncopation. Our findings include: 1) The algorithmic syncopation is relatively uniformly distributed. In contrast, the original versions have less syncopated drums with almost no syncopated hi-hats. Certain metrical positions in the drums are never syncopated, e.g. the back-beat snare. 2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style (Danielsen, 2006). 3) The micro-timing alignment of sounds differs between versions. This experiment concludes that groove is increased by syncopation, however, not every pattern will do. Our analysis calls attention to the complex nature of syncopation and its possible dependence on structural factors.
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Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien
(2019).
The relation between groove and syncopation is intricate – not any pattern will do.
Show summary
Groove is the pleasurable sensation of wanting to move to music. A series of studies has attempted to
understand the function of this phenomenon by examining its relation to physical properties in the sound
signal and found, among other things, that groove increases at optimal levels of syncopation. Here, we
tested if the amount of syncopation is the critical factor, rather than the specific pattern of notes that are
syncopated. To this end, our algorithm transformed ten short funk and rock loops consisting of drums, bass
and keyboards to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation:
0%, 25% (similar amount to the original), 50%, and 70%. All the examples were produced using profes-
sional sound samples and were rated by 27 listeners. The ratings were highest for the original versions,
next highest for the 0 and 25% versions, and lowest for 50% and 70% versions, with statistically significant
differences between the original and the rest, and the 25% and the 50% and 70%, but not between the 0%
and 25%. Apparently, our algorithm failed to recreate the groove of the original music. Comparing the origi-
nal and algorithmic syncopation we found: (1) The algorithmic syncopation is relatively uniformly distributed
across the instruments, while the original versions have less syncopated drums with almost no syncopated
hi-hats, and the back-beat snare never syncopated. (2) The original syncopation forms more and longer
cross-rhythmic or metrically shifted patterns, as often encountered in the funk style. (3) Differences in the
micro-timing alignment of sounds. In conclusion, groove is greatly increased by syncopation; although, not
necessarily by syncopation per se, as the results point to several structural factors that may be important and
can be further tested and add to our understanding of the functional properties that underlie the sensation
of groove.
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Sioros, George; C?mara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian
(2019).
Timing and drummers’ movement: A novel methodology for performance analysis .
Show summary
Timing is an important aspect of groove music. The relationship between musicians’ body motion in
performance and timing is, however, as yet not well understood
Timing and drummers’ movement: A
novel methodology for performance analysis
. In the present study we recorded movement of 20
drummers performing the same rhythmic pattern under four different timing instructions: natural, on-
the-beat, laid-back and pushed. Motion capture data synchronized to audio recordings of their
performances were collected as part of a larger experimental project. This presentation focuses on our
method for analyzing motion capture data. The aim of the analysis is a) to identify common movement
strategies for sub-groups of drummers, and b) to identify strategies for achieving the four different
timing conditions across drummers.
In this presentation we focus on the movement of the left arm, and particularly on the preparation and
rebound phase of the snare strokes. To explore and analyze the data without statistically testing a
priori hypotheses about specific performance techniques, we combined existing practices from
different disciplines into a novel methodology. First, we reduce the data into motion templates (Müller
and R?der 2006). We design a set of 22 binary features to describe the movement of the arm. Second,
we perform a phylogenetic analysis of the motion templates, in which we identify clusters within each
timing condition. A comparison between clusters reveals differences in the coordination of the
participants’ movements that correspond to the different performance strategies. Preliminary analysis
has shown distinct clusters within all timing conditions that differ in specific features. For instance, we
observe three groups of participants within the “natural” condition that differ in the flexion of the
wrist and elbow.
Besides our findings we will present the details of the methodology, which can be applied in the study
of music-related movements beyond the scope of this project.
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Oddekalv, Kjell Andreas
(2019).
Rap Flows PhD Thesis.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & S?rli, Anders Ruud
(2019).
Rapkjefta - episode 1.
[Radio].
Ordentlig Radio.
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Lartillot, Olivier & Grandjean, Didier
(2019).
Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation.
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Oddekalv, Kjell Andreas
(2019).
Surrender to the flow – rhyme as the defining structural element in rap.
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Oddekalv, Kjell Andreas
(2019).
The urge to ?clean up? the rap: rhythm and plasticity in rap music.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & S?rli, Anders Ruud
(2019).
Parkour.
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Haugen, Mari Romarheim; Johansson, Mats Sigvard & Lartillot, Olivier
(2019).
Investigating rhythm production and perception in traditional scandinavian dance music in non-isochronous meter: A case study of norwegian telespringar.
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Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas
(2019).
Mechanical Entanglement: A Collaborative Haptic-Music Performance.
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Danielsen, Anne; Nymoen, Kristian & London, Justin
(2019).
Noise in the click or click in the noise: Investigating probe-stimulus order in
P-center estimation tasks.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik & S?rli, Anders Ruud
(2019).
Rapkjefta - episode 2.
[Radio].
Ordentlig Radio.
-
Danielsen, Anne
(2019).
Classic Album Sundays: Aretha Franklin (paneldeltakelse).
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal chops and Rhythm.
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Br?vig-Hanssen, Ragnhild
(2019).
Presentation of MASHED; TIME; and MusFrag.
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Lartillot, Olivier
(2019).
Computational analysis of tempo and metre: from signal processing to cognitive musicology.
Show summary
Computational models for the analysis of tempo, metre and the tracking of beats have made significant progress during the last decades. I first present a synthetic overview of the state of the art. Up to recently, classical approaches were based on signal processing, with the integration of heuristics based on assumptions related to music perception and cognition. The standard approach is to first detect percussive events through the establishment of an accentuation curve, followed by periodicity detection, and the construction and tracking of meter. Because rhythmic emphasis can develop on various metrical levels across time, it is necessary to track the metrical structure on multiple levels. I show the benefit of such detailed analysis with the use of a model I have developed, and which obtained one of the highest grades in the MIREX tempo estimation competition.
New approaches based on deep learning have achieved impressive progress and have largely surpassed signal-processing-based approached (including mine) in the recent yearly editions of MIREX. One limitation of these approaches, at least in their current stages, is that they appear as black boxes able to imitate a particular behaviour for which they were trained on particular examples. As such, they hardly offer insight on the cognitive mechanisms underlying the perception of metre.
I will discuss the limitations of signal processing approaches and highlight the complexity of the musical structure. Pulsation in music is not always expressed through a periodic repetition of percussive events, but may emerge from a subtle propagation of motivic or harmonic structures. I present an approach under development that models the different components of music analysis and combine them altogether, extending further Lerdahl and Jackendoff’s vision. Motivic repetition, which plays a core role, is also one of the dimensions that is the most difficult to model and automate.
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C?mara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne
(2019).
Timing is Everything... Or is it? Part I: Effects of Instructed Timing and Reference on Guitar and Bass Sound in Groove Performance.
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C?mara, Guilherme Schmidt; Nymoen, Kristian & Danielsen, Anne
(2019).
Timing is Everything... Or is it? Part II: Effects of Instructed Timing Style and Timing Reference on Drum-Kit Sound in Groove Performance.
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Sioros, George & Danielsen, Anne
(2019).
How do Rhythmic Features Affect our
Movement?
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Lartillot, Olivier
(2019).
A comprehensive framework for computational music analysis.
Show summary
During this presentation, Dr. Olivier Lartillot will give an overview of MIRtoolbox - a Matlab application enabling the extraction of a large range of audio and musical descriptions from recordings. MIRtoolbox is designed to be easy to use both for teaching at any level and for advanced research in musicology, signal analysis and music cognition. One initial aim of MIRtoolbox was to study the relationship between musical features and emotions evoked by music. MIRtoolbox focuses on signal-processing-based approaches that offer limited understanding of music. Lartillot is also developing computational methods for the analysis of notated music, starting from motivic analysis and aiming at building a comprehensive framework where audio and score are combined together.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; Walderhaug, Bendik & S?rli, Anders Ruud
(2019).
Rapkjefta - Episode 3.
[Radio].
Ordentlig Radio.
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Oddekalv, Kjell Andreas
(2019).
Likeins, likeins, men annleis – ulike spr?k/rytme-interaksjonar i rap.
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Sioros, George; C?mara, Guilherme Schmidt & Danielsen, Anne
(2019).
Mapping Timing Strategies in Drum Performance.
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Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre
[Show all 13 contributors for this article]
(2019).
Action-based auditory predictions.
Show summary
Sensory consequences of actions are predicted by the brain via an internal forward model to prepare sensory cortical areas, referred to as motor prediction. In a similar vein, the predictive coding framework suggests that perception is based on internal models making predictions about sensory events, based on statistical probabilities of the stimuli.
In the current study we investigated action-based sensory predictions. We used a self-paced, two-choice random generation task, infrequently inducing deviant outcomes of voluntary action. Participants repeatedly pressed a right and a left button normatively associated with a 70 ms long 1 kHz and 2 kHz tone, respectively. Occasional deviants occurred, inverting the learned button-tone association. Participants were instructed that their button presses should be random, at a regular but self-paced tempo of one press per 1-2 s, and that they should press both buttons with equal probability. They were informed that the tones are task-irrelevant.
We used intracranial EEG (iEEG) data recorded from 10 adult patients with electrodes localized in frontal and temporal lobes. The patients had drug resistant epilepsy and were undergoing presurgical monitoring via implanted stereotactic electrodes. Electrode coordinates and anatomical labels were obtained from coregistered MRI and CT images using iElectrodes toolbox. Initial results indicate that violations of action intentions modulated high frequency band activity (HFA, 75-145 Hz) in distributed brain regions including temporal and prefrontal cortices.
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Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre
[Show all 13 contributors for this article]
(2019).
Auditory prediction and prediction error in self-generated tones.
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Danielsen, Anne
(2019).
The impact of digitization on rhythm and groove in African-American popular music.
Show summary
Rhythm and groove are at the heart of many African-American musical traditions. In this lecture, I will discuss the ways in which creative use of new digital technology has changed how music sounds. As my examples I will use contemporary African-American popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon how sound processing can be used to alter the perceived timing of rhythmic events.
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Danielsen, Anne
(2019).
Workshop on microrhythmic analysis and groove.
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and it's aesthetics.
-
Haugen, Mari Romarheim & Habbestad, Ida
(2019).
? studere dei sm? detaljane. Kva kan teknologi for r?rslesporing bidra med i skildring av folkedansen?
[Journal].
Folkemusikk. Magasinet for folkemusikk og folkedans.
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Br?vig-Hanssen, Ragnhild
(2019).
Musical Fragmentation and Dual-Planed Temporality.
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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 Sundstr?m (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 & Sundstr?m. (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.
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Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip
(2018).
Rytmen er en danser.
[Business/trade/industry journal].
Ballade.
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Haugen, Mari Romarheim
(2018).
Investigating Rhythm Structures in Music and Dance Using Motion Capture.
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C?mara, Guilherme Schmidt
(2018).
Presentation of Mocap Component of Performance Experiments from the Timing and Sound in Musical Microrhythm (TIME) project .
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C?mara, Guilherme Schmidt
(2018).
Presentation of preliminary findings: Effects of Instructed Timing on Guitar and Bass Sound in Groove Performance.
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Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim
(2018).
Presentasjon av TIME-prosjektet.
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Danielsen, Anne
(2018).
Hva er en sommerhit?
[Radio].
NRK P2, Studio 2.
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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.
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Danielsen, Anne
(2018).
Intervju om Aretha Franklin til NTB.
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Danielsen, Anne
(2018).
Intervju om Aretha Franklin i Dagsnytt, NRK 2 .
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Danielsen, Anne
(2018).
Microrhythms and Microsounds: The impact of digitization on African-American popular music.
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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.
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Br?vig-Hanssen, Ragnhild; Aareskjold, Jon Marius & Sandvik, Bj?rnar
(2018).
EDM Producers' Reflections on Groove.
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J?re, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum
(2018).
P? sporet av rytmen.
[Internet].
Uniforum.
Show summary
Hvorfor f?r vi lyst til ? bevege oss n?r vi h?rer musikk? Vinnerne av UiOs innovasjonspris, Anne Danielsen og Alexander Refsum Jensenius, finner forh?pentligvis svaret n?r de fordyper seg i mennesket og rytmens mysterier.
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Haugen, Mari Romarheim
(2018).
Meter i Skandinavisk folkemusikk.
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Sioros, Georgios
(2018).
What we do when we move to music v.2.
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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.
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Oddekalv, Kjell Andreas
(2018).
Masteroppg?va: Kjell Andreas Oddekalv
Betre flows enn Akerselva.
M?l og makt.
ISSN 0332-7744.
48(1),
p. 33–41.
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Danielsen, Anne
(2017).
Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "L?ten".
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Danielsen, Anne
(2017).
Methodologies in Record Production Research (Panel).
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Haugen, Mari Romarheim
(2017).
Investigating Musical Meter as Shape: Two Case Studies of Brazilian Samba and Norwegian Telespringar.
Show summary
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 mental beats. This paper investigates whether experienced musical meter may not only include such mental points in time, but also trajectories between the points–that is, metrical shapes.
Previous studies have pointed out that there seems to be a relationship between musical meter and periodic body motions like foot tapping, head nodding and dancing. This paper investigates whether metrical shapes might also be present in performers’ periodic body motions.
Two motion capture studies form the empirical basis of this paper; first, a percussionist and a dancer performing Brazilian samba; second, a fiddler and two dancers performing Norwegian telespringar. Motion analysis of the samba performers’ periodic body motion revealed similar periodic shapes in both percussionist and dancer foot motion on sixteenth note level. In telespringar there seemed to be a relationship between the beat durations indicated by the fiddler’s periodic foot stamping and the shape of the dancers’ vertical body motion.
The results support the view that there is a close relationship between musical meter and performers’ periodic body motion. The analysis of the performers’ periodic body motions revealed periodic motion shapes on beat level in telespringar and on sixteenth note level in samba. This suggest that the underlying meter may not only include metrical points in time, but that each metrical beat/subdivision duration has a corresponding metrical trajectory with a certain shape. If this is the case, then perceivers’ and performers’ implicit knowledge of the underlying reference structure in samba and telespringar might incorporate knowledge about the underlying metrical shape.
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Danielsen, Anne
(2017).
Kvalitet i rytmisk musikk.
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Danielsen, Anne
(2017).
Timing and Sound in Musical Microrhythm: Theoretical, Aesthetic and Empirical Aspects.
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Danielsen, Anne; London, Justin & Nymoen, Kristian
(2017).
Mapping the Beat Bin: The Effects of Rise Time, Duration, and Frequency
Range on the Perceived Timing of Musical Sounds.
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Br?vig-Hanssen, Ragnhild & Sandvik, Bj?rnar
(2017).
Dynamic Range Compression’s Influence on Perceived Timing in EDM Music.
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Br?vig-Hanssen, Ragnhild & Sandvik, Bj?rnar
(2017).
Does Compression Influence Timing? A Case Study in EDM Music.
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Danielsen, Anne
(2017).
Digital Signatures. The Impact of Digitization on Popular Music Sound.
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Danielsen, Anne
(2017).
Rhythm and Groove in African-American Popular Music.
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London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne
(2017).
Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
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Danielsen, Anne; London, Justin & Nymoen, Kristian
(2017).
Mapping the beat bin: Effects of rise time, duration and frequency range on the perceived timing (P-center) of musical sounds.
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London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne
(2017).
Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
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Br?vig-Hanssen, Ragnhild & Sandvik, Bj?rnar
(2017).
Dynamic Range Compression’s Influence on Perceived Timing.
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Br?vig-Hanssen, Ragnhild & Sandvik, Bj?rnar
(2017).
Dynamic Range Processing’s Influence on Perceived Timing.
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Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & C?mara, Guilherme Schmidt
(2017).
Project presentation: Timing and Sound in Musical Microrhythm (TIME).
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Danielsen, Anne
(2017).
Experimental hip-hop and the meanings of glitched grooves
.
Show summary
Digital music technology has brought about unforeseen possibilities for manipulating sound, and, as a consequence, entirely new forms of musical expression have emerged. Among them are new rhythmic feels produced by either inserting glitches into the post-production of a played groove or by warping samples. Such rhythmic feels have been a striking aspect of African-American popular music styles such as, hip-hip, neo-soul, and contemporary R&B from the turn of the millennium onward. In this paper I present an analysis of the song ‘1000 Deaths’ from the album Black Messiah (2014) by D’Angelo. The analysis draws on previous work on D’Angelo’s microrhythms by Danielsen (2010). I will, first, map the micro-rhythmic relationship of the groove, and, secondly, relate its microrhythmic design to examples of similar past and present practices. The aim is to explore the wide array of musical and cultural meanings that such microrhythmic practices have taken on, from an experimental attitude (D’Errico) or political activism to black badness (West) or overtly sexual activities. The paper aims at bridging the gap between analysis of ‘the music itself’ and interpretations of its cultural and contextual meanings, demonstrating the ways in which they can be brought in touch with each other and mutually enhancing.
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Danielsen, Anne
(2017).
Popul?rmusikk og mediering i den digitale tidsalder.
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Sioros, George
(2017).
What we do when we move to music.
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Danielsen, Anne
(2017).
The perception, aesthetics, and cultural values of 'glitched' grooves.
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Danielsen, Anne
(2017).
P-centres and beat bins - an introduction to the TIME project.
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Danielsen, Anne
(2017).
Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "Rytme".
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Nymoen, Kristian; Danielsen, Anne & London, Justin
(2017).
Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox.
Show summary
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 a sound, and some have been made widely accessible to the research community in toolboxes for Matlab. While some work exists where proposed audio descriptors are grounded in listening tests, the approaches used in two of the most popular toolboxes for musical analysis have not been thoroughly compared against perceptual results. This article evaluates the calculation of attack phase descriptors in the Timbre toolbox and the MIRtoolbox by comparing their predictions to empirical results from a listening test. The results show that the default parameters in both toolboxes give inaccurate predictions for the sound stimuli in our experiment. We apply a grid search algorithm to obtain alternative parameter settings for these toolboxes that align their estimations with our empirical results.
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Danielsen, Anne
(2016).
Investigating the perception of sound-timing relationships in recorded (real) music.
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Danielsen, Anne; Stover, Chris & Oddekalv, Kjell Andreas
(2022).
What Makes the Shit Dope? The Techniques and Analysis of Rap Flows.
Universitetet i Oslo.
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C?mara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian
(2021).
Timing Is Everything . . . Or Is It? Investigating Timing and Sound Interactions in the Performance of Groove-Based Microrhythm.
Universitetet i Oslo.
Full text in Research Archive
Show summary
This thesis investigates the expressive means through which musicians well versed in groove-based music shape the timing of a rhythmic event, with a focus on the interaction between produced timing and sound features. In three performance experiments with guitarists, bassists, and drummers, I tested whether musicians systematically manipulate acoustic factors such as duration, intensity, and volume when they want to play with a specific microrhythmic style (pushed, on-the-beat, or laid-back).
The results show that all three groups of instrumentalists indeed played pushed, on-the-beat, or laid-back relative to the reference pulse and in line with the instructed microrhythmic styles, and that there were systematic and consequential sound differences. Guitarists played backbeats with a longer duration and darker sound in relation to pushed and laid-back strokes. Bassists played pushed beats with higher intensity than on-the-beat and laid-back strokes. For the drummers, we uncovered different timing–sound combinations, including the use of longer duration (snare drum) and higher intensity (snare drum and hi-hat), to distinguish both laid-back and pushed from on-the-beat strokes. The metronome as a reference pulse led to less marked timing profiles than the use of instruments as a reference, and it led in general to earlier onset positions as well, which can perhaps be related to the phenomenon of “negative mean asynchrony.” We also conducted an in-depth study of the individual drummers’ onset and intensity profiles using hierarchical cluster analyses and phylogenetic tree visualizations and uncovered a diverse range of strategies.
The results support the research hypothesis that both temporal and sound-related properties contribute to how we perceive the location of a rhythmic event in time. I discuss these results in light of theories and findings from other studies of the perception and performance of groove, as well as research into rhythm and microrhythmic phenomena such as perceptual centers and onset asynchrony/anisochrony.
