Anne Danielsen

• Hansen, Heidi Marie Umbach; R?ysamb, Espen; Vassend, Olav Mandt; Czajkowski, Nikolai Olavi; Endestad, Tor & Danielsen, Anne [Vis alle 7 forfattere av denne artikkelen] (2024). The underlying architecture of musical sensibility: One general factor, four subdimensions, and strong genetic effects. Annals of the New York Academy of Sciences. ISSN 0077-8923. doi: 10.1111/nyas.15227.
• Spiech, Connor; Danielsen, Anne; Laeng, Bruno & Endestad, Tor (2024). Oscillatory attention in groove. Cortex. ISSN 0010-9452. 174, s. 137¨C148. doi: 10.1016/j.cortex.2024.02.013.
• Danielsen, Anne; Br?vig, Ragnhild; B?hler, Kjetil Klette; C?mara, Guilherme Schmidt; Haugen, Mari Romarheim & Jacobsen, Eirik [Vis alle 13 forfattere av denne artikkelen] (2024). There¡¯s More to Timing than Time: Investigating Musical Microrhythm Across Disciplines and Cultures. Music Perception. ISSN 0730-7829. 41(3), s. 176¨C198. doi: 10.1525/mp.2024.41.3.176. Fulltekst i vitenarkiv Vis sammendrag

  The TIME project: Timing and Sound in Musical Microrhythm (2017¨C2022) studied microrhythm; that is, how dynamic envelope, timbre, and center frequency, as well as the microtiming of a variety of sounds, affect their perceived rhythmic properties. The project involved theoretical work regarding the basic aspects of microrhythm; experimental studies of microrhythm perception, exploring both stimulus features and the participants¡¯ enculturated expertise; observational studies of how musicians produce particular microrhythms; and ethnographic studies of musicians¡¯ descriptions of microrhythm. Collectively, we show that: (a) altering the microstructure of a sound (¡°what¡± the sound is) changes its perceived temporal location (¡°when¡± it occurs), (b) there are systematic effects of core acoustic factors (duration, attack) on microrhythmic perception, (c) microrhythmic features in longer and more complex sounds can give rise to different perceptions of the same sound, and (d) musicians are highly aware of microrhythms and have developed vocabularies for describing them. In addition, our results shed light on conflicting results regarding the effect of microtiming on the ¡°grooviness¡± of a rhythm. Our use of multiple, interdisciplinary methodologies enabled us to uncover the complexity of microrhythm perception and production in both laboratory and real-world musical contexts.

• Danielsen, Anne & Jacobsen, Eirik (2023). ¡°Hard¡± or ¡°Soft¡±: Shaping Microtiming through Sonic Features in Jazz-Related Groove Performance. Journal of Jazz Studies (JJS). ISSN 2158-1401. 14(2).
• Danielsen, Anne; Paulsrud, Thea S?rli & Hansen, Niels Chr. (2023). ¡°MusicLab Copenhagen¡±: The Gains and Challenges of Radically Interdisciplinary Concert Research. Music & Science. ISSN 2059-2043. 6. doi: 10.1177/20592043231194747. Fulltekst i vitenarkiv Vis sammendrag

  The pioneering ¡°research concerts¡± of recent decades represent prime examples of interdisciplinary music research. MusicLab Copenhagen, a collaboration between RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion at the University of Oslo and the Danish String Quartet was no exception in this regard. This paper aims to document and critically evaluate key components of the project by framing it as a radically interdisciplinary research collaboration. We review the multidimensional differences and similarities between the research traditions involved and report on semi-structured interviews with five key project members. This, in turn, forms the basis for a critical discussion of organizational aspects, aims, values, and overt and covert hierarchies resulting from the meeting of divergent scientific disciplines. Ultimately, we review the practical, epistemological, and theoretical gains and challenges involved in conducting organizationally complex research at the vanguard of interdisciplinarity¡ªboth in general terms and within music research in particular. A set of recommendations is provided for conducting successful research concerts, emphasizing, among other things, the importance of providing realistic and artistically satisfying concert experiences while still collecting valid, reliable, and sufficient data; of matching expectations about what can and cannot be achieved and concluded from the collected data; of prioritizing organizational competence and infrastructure, striking a balance between top-down control and bottom-up initiatives; and of recognizing and respecting each other's expertise across the involved research disciplines.

• Spiech, Connor; Endestad, Tor; Laeng, Bruno; Danielsen, Anne & Ebad Fardzadeh, Haghish (2023). Beat alignment ability is associated with formal musical training not current music playing. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2023.1034561.
• H?ffding, Simon; Yi, Wenbo; Lippert, Eigil; Gonzalez Sanchez, Victor Evaristo; Bishop, Laura & Laeng, Bruno [Vis alle 9 forfattere av denne artikkelen] (2023). Into the Hive-Mind: Shared Absorption and Cardiac Interrelations in Expert and Student String Quartets. Music & Science. ISSN 2059-2043. 6. doi: 10.1177/20592043231168597. Fulltekst i vitenarkiv
• Haugen, Mari Romarheim; C?mara, Guilherme Schmidt; Nymoen, Kristian & Danielsen, Anne (2023). Instructed timing and body posture in guitar and bass playing in groove performance. Musicae Scientiae. ISSN 1029-8649. doi: 10.1177/10298649231182039. Fulltekst i vitenarkiv
• C?mara, Guilherme Schmidt; Sioros, George; Nymoen, Kristian; Haugen, Mari Romarheim & Danielsen, Anne (2023). Sound-producing actions in guitar performance of groove-based microrhythm. Empirical Musicology Review. ISSN 1559-5749. 18(1), s. 21¨C36. doi: 10.18061/emr.v18i1.9124. Fulltekst i vitenarkiv Vis sammendrag

  This paper 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¡ª¡°laidback,¡± ¡°on-the-beat,¡± and ¡°pushed¡±¡ªin 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).

• Danielsen, Anne (2023). Shaping the beat bin in computer-based grooves. I W?llner, Clemens & London, Justin (Red.), Performing Time. Synchrony and Temporal Flow in Music and Dance. Oxford University Press. ISSN 9780192896254. Fulltekst i vitenarkiv
• Danielsen, Anne; Johansson, Mats Sigvard; Br?vig, Ragnhild; Sandvik, Bj?rnar Ersland & B?hler, Kjetil Klette (2023). Shaping rhythm: timing and sound in five groove-based genres. Popular Music. ISSN 0261-1430. 39(1). doi: 10.1017/S0261143023000041. Fulltekst i vitenarkiv
• Danielsen, Anne; Johansson, Mats Sigvard & Stover, Chris (2023). Bins, Spans, Tolerance: Three Theories of Microtiming Behavior. Music Theory Spectrum. ISSN 0195-6167. 45(2). doi: 10.1093/mts/mtad005. Fulltekst i vitenarkiv
• Danielsen, Anne & Paulsrud, Thea S?rli (2022). ¡°Three and a Half Minutes of Attitude.¡± Vocal Delivery, Groove, and Production in Azealia Banks' ¡°212¡± (2014). I Moylan, William; Burns, Lori & Mike, Alleyne (Red.), Analyzing Recorded Music: Collected Perspectives on Popular Music Tracks (1st ed.). Routledge. ISSN 9781003089926. doi: 10.4324/9781003089926-21. Vis sammendrag

  ¡°212¡± is the first single from Azealia Banks¡¯ debut album Broke with Expensive Taste (2014), co-written and produced by the Dutch electro-house duo Lazy Jay who first released its beat under the title Float My Boat (2009). The aim of this chapter is to unpack the secrets to success of ¡°212¡± by focusing in particular on the track's groove, production, vocal delivery, and overall stylistic fusion of rap, reggaet¨®n, pop, and house. We argue that Banks¡¯ expressive range and seamless fusion of singing and rapping, her negotiations between confirming and protesting hip-hop norms, in combination with the style mix inherent in both Lazy Jay's original beat and her own rendition, were key to the track's success. An important aspect is the mix of musical forms typical of song and groove-directed repertoires, which allowed for many different interpretations and uses.

• C?mara, Guilherme Schmidt; Sioros, George & Danielsen, Anne (2022). Mapping timing and intensity strategies in drum-kit performance of a simple back-beat pattern. Journal of New Music Research. ISSN 0929-8215. doi: 10.1080/09298215.2022.2150649. Fulltekst i vitenarkiv Vis sammendrag

  In this article, we explore the various ways in which drummers express a simple ¡®backbeat¡¯ pattern when asked to play with different timing styles (laid-back, on-beat, pushed) via manipulation of stroke onset and intensity features. Based on hierarchical clustering analyses and phylogenetic tree visualizations, we found three main strategies used to distinguish pushed/laid-back from on-the-beat performances: (1) strong ¡®general earliness/lateness¡¯ strategies, where most instruments are consistently played earlier/later in time relative to a metrical grid; (2) subtler ¡®early/late flam¡¯ strategies, where most instruments are played synchronously with the grid but at least one instrument is distinctively played as an early/late flam ; and (3) even subtler ¡®ambiguously early/late compound sound¡¯ strategies, where two instruments form a compound sound, but one is played synchronously with the grid, while the other is played early/late. The majority of drummers used additional consistent intensity strategies, the most common being greater hi-hat or snare intensity, which might enhance the effect of laidback and pushed rhythmic events. However, intensity was not used uniformly to exclusively distinguish laid-back/pushed from on-beat timing.

• Kwak, Dongho; Krzyzaniak, Michael Joseph; Danielsen, Anne & Jensenius, Alexander Refsum (2022). A mini acoustic chamber for small-scale sound experiments. I Iber, Michael & Enge, Kajetan (Red.), Audio Mostly 2022: What you hear is what you see? Perspectives on modalities in sound and music interaction. ACM Publications. ISSN 978-1-4503-9701-8. s. 143¨C146. doi: 10.1145/3561212.3561223. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the design and construction of a mini acoustic chamber using low-cost materials. The primary purpose is to provide an acoustically treated environment for small-scale sound measurements and experiments using ¡Ü 10-inch speakers. Testing with different types of speakers showed frequency responses of <?10?dB peak-to-peak (except the ¡±boxiness¡± range below 900?Hz), and the acoustic insulation (soundproofing) of the chamber is highly efficient (approximately 20?dB?SPL in reduction). Therefore, it provides a significant advantage in conducting experiments requiring a small room with consistent frequency response and preventing unwanted noise and hearing damage. Additionally, using a cost-effective and compact acoustic chamber gives flexibility when characterizing a small-scale setup and sound stimuli used in experiments.

• Kwak, Dongho; Olsen, Petter Angell; Danielsen, Anne & Jensenius, Alexander Refsum (2022). A trio of biological rhythms and their relevance in rhythmic mechanical stimulation of cell cultures. Frontiers in Psychology. ISSN 1664-1078. 13. doi: 10.3389/fpsyg.2022.867191. Fulltekst i vitenarkiv
• Spiech, Connor; Sioros, Georgios; Endestad, Tor; Danielsen, Anne & Laeng, Bruno (2022). Pupil drift rate indexes groove ratings. Scientific Reports. ISSN 2045-2322. 12(1). doi: 10.1038/s41598-022-15763-w. Fulltekst i vitenarkiv
• Sioros, Georgios; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2022). Syncopation and Groove in Polyphonic Music: Patterns Matter. Music Perception. ISSN 0730-7829. 39(5), s. 503¨C531. doi: 10.1525/mp.2022.39.5.503. Fulltekst i vitenarkiv Vis sammendrag

  Music often evokes a regular beat and a pleasurable sensation of wanting to move to that beat called groove. Recent studies show that a rhythmic pattern¡¯s ability to evoke groove increases at moderate levels of syncopation, essentially, when some notes occur earlier than expected. We present two studies that investigate that effect of syncopation in more realistic polyphonic music examples. First, listeners rated their urge to move to music excerpts transcribed from funk and rock songs, and to algorithmically transformed versions of these excerpts: 1) with the original syncopation removed, and 2) with various levels of pseudorandom syncopation introduced. While the original excerpts were rated higher than the de-syncopated, the algorithmic syncopation was not as successful in evoking groove. Consequently, a moderate level of syncopation increases groove, but only for certain syncopation patterns. The second study provides detailed comparisons of the original and transformed rhythmic structures that revealed key differences between them in: 1) the distribution of syncopation across instruments and metrical positions, 2) the counter-meter figures formed by the syncopating notes, and 3) the number of pickup notes. On this basis, we form four concrete hypotheses about the function of syncopation in groove, to be tested in future experiments.

• Kwak, Dongho; Combriat, Thomas Michel Daniel; Wang, Chencheng; Scholz, Hanne; Danielsen, Anne & Jensenius, Alexander Refsum (2022). Music for Cells? A Systematic Review of Studies Investigating the Effects of Audible Sound Played Through Speaker-Based Systems on Cell Cultures . Music & Science. ISSN 2059-2043. 5. doi: 10.1177/20592043221080965. Fulltekst i vitenarkiv Vis sammendrag

  There have been several studies investigating whether musical sound can be used as cell stimuli in recent years. We systematically searched publications to get an overview of studies that have used audible sound played through speaker-based systems to induce mechanical perturbation in cell cultures. A total of 12 studies were identified. We focused on the experimental setups, the sounds that were used as stimuli, and relevant biological outcomes. The studies are categorized into simple and complex sounds depending on the type of sound employed. Some of the promising effects reported were enhanced cell migration, proliferation, colony formation, and differentiation ability. However, there are significant differences in methodologies and cell type-specific outcomes, which made it difficult to find a systematic pattern in the results. We suggest that future experiments should consider using: (1) a more controlled acoustic environment, (2) standardized sound and noise measurement methods, and (3) a more comprehensive range of controlled sound parameters as cellular stimuli.

• Danielsen, Anne; Nymoen, Kristian; Langer?d, Martin Torvik; Jacobsen, Eirik; Johansson, Mats Sigvard & London, Justin (2021). Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli. Attention, Perception & Psychophysics. ISSN 1943-3921. doi: 10.3758/s13414-021-02393-z. Fulltekst i vitenarkiv Vis sammendrag

  Musical expertise improves the precision of timing perception and performance ¨C but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one¡¯s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (¡°P-center¡±) and variability (¡°beat bin¡±) for each group of experts. We had three stimulus categories ¨C Organic, Electronic, and Neutral sounds ¨C each of which had a 2 ?~ 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

• Danielsen, Anne (2021). Rhythm, time, and presence. I Doffman, Mark; Payne, Emily & Young, Toby (Red.), The Oxford Handbook of Time in Music. Oxford University Press. ISSN 9780190947279. doi: 10.1093/oxfordhb/9780190947279.013.8.
• Br?vig-Hanssen, Ragnhild; Sandvik, Bj?rnar; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2021). A Grid in Flux: Sound and Timing in Electronic Dance Music. Music Theory Spectrum. ISSN 0195-6167. 44(1). doi: 10.1093/mts/mtab013. Fulltekst i vitenarkiv Vis sammendrag

  Researchers have argued that temporal microdeviations from the metric grid, such as those producedby musicians in performance, are crucial to making a musical rhythm groovy and danceable. It is curious, then, that the music currently dominating the dance floor, ¡°electronic dance music¡± or EDM, is typically characterized by grid-based rhythms. But is such a ¡°mechanistic,¡± grid-based aesthetic necessarily devoid of microrhythmic nuance? In this article, we aim to show that the microrhythmic component of an engaging groove involves the manipulation of more than simply the onset locations of rhythmic events¡ªthe sonic features fundamentally contribute to shaping the groove as well. In particular, we seek to demonstrate that EDM producers, with their preference for a grid-based microtiming aesthetic, are very sensitive to and adept at manipulating such sonic features for expressive effect. Drawing on interviews with EDM producers, we show that producers are often concerned with both sonic and temporal features, as well as their interactions. We argue that sonic features are crucial to shaping groove and feel at the micro level of rhythm. Moreover, such features also tend to introduce an indirect microtiming aspect to the grid-based aesthetic of EDM through the ways in which they shape timing at the perceptual level.

• Lartillot, Olivier; Nymoen, Kristian; C?mara, Guilherme Schmidt & Danielsen, Anne (2021). Computational localization of attack regions through a direct observation of the audio waveform. Journal of the Acoustical Society of America. ISSN 0001-4966. 149(1), s. 723¨C736. doi: 10.1121/10.0003374. Vis sammendrag

  This article addresses the computational estimation of attack regions in audio recordings. Previous attempts to do so were based on the reduction of the audio waveform into an envelope curve, which decreases its temporal resolution. The proposed approach detects the attack region directly from the audio waveform. The attack region is modeled as a line starting from a low-amplitude point and intersecting one of the local maxima according to two principles: (1) maximizing the slope, while favoring, at the same time, a higher peak if the slope remains only slightly lower and (2) dismissing initial attack regions of relatively low amplitude. The attack start position is fine-tuned by intersecting the attack slope with the audio waveform. The proposed method precisely pinpoints the attack region in cases where it is unambiguously observable from the waveform itself. In such cases, previous methods selected a broader attack region due to the loss of temporal resolution. When attack regions are less evident, the proposed method¡¯s estimation remains within the range of results provided by other methods. Applied to the prediction of judgments of P-center localization [Danielsen, Nymoen, Anderson, C^amara, Langer?d, Thompson, and London, J. Exp. Psychol. Hum. Percept. Perform. 45, 402¨C418 (2019)], the proposed method shows a significant increase in precision, at the expense of recall.

• Danielsen, Anne (2020). 'Keeping it real', 'Keeping it dandy'? Male blackness and the popular music mainstream. I Hansen, Kai Arne; Jarman, Freya & Asker?i, Eirik (Red.), Popular Musicology and Identity: Essays in Honour of Stan Hawkins. Routledge. ISSN 9781138322882. Vis sammendrag

  Popular Musicology and Identity paves new paths for studying popular music¡¯s entwinement with gender, sexuality, ethnicity, class, locality, and a range of other factors. The book consists of original essays in honour of Stan Hawkins, whose work has been a major influence on the musicological study of gender and identity since the early 1990s. In the new millennium, musicological approaches have proliferated and evolved alongside major shifts in the music industry and popular culture. Reflecting this plurality, the book reaches into a range of musical contexts, eras, and idioms to critically investigate the discursive structures that govern the processes through which music is mobilised as a focal point for negotiating and assessing identity. With contributions from leading scholars in the field, Popular Musicology and Identity accounts for the state of popular musicology at the onset of the 2020s while also offering a platform for the further advancement of the critical study of popular music and identity. This collection of essays thus provides an up-to-date resource for scholars across fields such as popular music studies, musicology, gender studies, and media studies.

• C?mara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (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. ISSN 0730-7829. 38(1), s. 1¨C26. doi: 10.1525/mp.2020.38.1.1. Fulltekst i vitenarkiv
• Danielsen, Anne & Hawkins, Stan (2020). The Quest of Princian Research. Popular music and society. ISSN 0300-7766. 43(3), s. 231¨C236. doi: 10.1080/03007766.2020.1757811.
• Haugen, Mari Romarheim & Danielsen, Anne (2020). Effect of tempo on relative note durations in a performed samba groove. Journal of New Music Research. ISSN 0929-8215. doi: 10.1080/09298215.2020.1767655. Fulltekst i vitenarkiv Vis sammendrag

  Previous studies have revealed uneven duration patterns at the sixteenth note level of samba. In the present study, we investigated the influence of tempo on such sixteenth-note patterns in a performed samba groove.The results revealed an uneven duration pattern in all tempi. Interestingly, the shortest note becomes relatively shorter and the longest relatively longer as the tempo increases. We suggest that the differences in relative durations between tempi reflect the need to maintain the samba sixteenth note ¡®template¡¯ in all tempi: producing the samba ¡®feel¡¯ requires that relative durations have to be adjusted to tempo.

• Danielsen, Anne & Hawkins, Edgar Stanley (2020). ¡°The Right Amount of Odd¡±: Vocal Compulsion, Structure, and Groove in Two Love Songs from Around the World in a Day. Popular music and society. ISSN 0300-7766. 43(3). doi: 10.1080/03007766.2020.1757814. Fulltekst i vitenarkiv Vis sammendrag

  In this music-analytic interpretation of two love songs from Prince¡¯s Around the World in a Day album, we investigate the properties of groove, arrangement, and vocality, all of which contribute to the artist¡¯s inimitable signature. With a disciplinary grounding in musicology, we demonstrate ways whereby musical features are associated with meaning in recorded songs. Underlying the approach is the notion that it is in the music where Prince¡¯s ingenuity mainly lies. The analysis is informed by an understanding of the technological ramifications of the process on the part of Prince and his audio engineer Susan Rogers.

• C?mara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Effects of instructed timing on electric guitar and bass sound in groove performance. Journal of the Acoustical Society of America. ISSN 0001-4966. 147(2), s. 1028¨C1041. doi: 10.1121/10.0000724. Vis sammendrag

  This paper reports on two experiments that investigated the expressive means through which musicians well versed in groove-based music signal the intended timing of a rhythmic event. Data were collected from 21 expert electric guitarists and 21 bassists, who were instructed to perform a simple rhythmic pattern in three different timing styles¡ª¡°laidback,¡± ¡°on-the-beat,¡± and ¡°pushed¡±¡ªin tandem with a metronome. As expected, onset and peak timing locations corresponded to the instructed timing styles for both instruments. Regarding sound, results for guitarists revealed systematic differences across participants in the duration and brightness [spectral centroid (SC)] of the guitar strokes played using these different timing styles. In general, laid-back strokes were played with a longer duration and a lower SC relative to on-the-beat and pushed strokes. Results for the bassists indicated systematic differences in intensity (sound-pressure level): pushed strokes were played with higher intensity than on-the-beat and laid-back strokes. These results lend further credence to the hypothesis that both temporal and sound-related features are important indications of the intended timing of a rhythmic event, and together these features offer deeper insight into the ways in which musicians communicate at the microrhythmic level in groove-based music.

• Danielsen, Anne (2020). Desktop production and groove. I Zagorski-Thomas, Simon & Bourbon, Andrew (Red.), The Bloomsbury Handbook of Music Production. Bloomsbury Academic. ISSN 9781501334047.
• Bromham, Gary; Moffat, David; Barthet, Mathieu; Danielsen, Anne & Fazekas, Gyo?rgy (2019). The Impact of Audio Effects Processing on the Perception of Brightness and Warmth, AM'19: Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ. Association for Computing Machinery (ACM). ISSN 9781450372978. s. 183¨C190. doi: 10.1145/3356590.3356618. Vis sammendrag

  It is not uncommon to hear musicians and audio engineers speak of warmth and brightness when describing analog technologies such as vintage mixing consoles, multitrack tape machines, and valve compressors. What is perhaps less common, is hearing this term used in association with retro digital technology. A question exists as to how much the low bit rate and low-grade conversion quality contribute to the overall brightness or warmth of a sound when processed with audio effects simulating early sampling technologies. These two dimensions of timbre are notoriously difficult to define and more importantly, measure. We present a subjective user study of brightness and warmth, where a series of audio examples are processed with different audio effects. 26 participants rated the perceived level of brightness and warmth of various instrumental sequences for 5 different audio effects including bit depth reduction, compression and equalisation. Results show that 8 bit reduction tends to increase brightness and decrease warmth whereas 12 bit reduction tends to do the opposite, although this is very much dependent on the instrument. Interestingly, the most significant brightness changes, due to bit reduction, were obtained for bass sounds. For comparison purposes, instrument phrases were also processed with both an analogue compressor and an equalisation plugin to see if any subjective difference was noticed when simulating sonic characteristics that might be associated with warmth. Greater significance was observed when the sound excerpts were processed with the plugins being used to simulate the effects of bit depth reduction.

• Sioros, George; C?mara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance. I Flexer, Arthur; Peeters, Geoffroy; Urbano, Juli¨¢n & Volk, Anja (Red.), Proceedings of the 20th International Society for Music Information Retrieval Conference, ISMIR 2019. International Society for Music Information Retrieval. ISSN 9781732729919.
• Skaansar, Jo Fougner; Laeng, Bruno & Danielsen, Anne (2019). Microtiming and mental effort: Onset asynchronies in musical rhythm modulate pupil size. Music Perception. ISSN 0730-7829. 37(2), s. 111¨C133. doi: 10.1525/mp.2019.37.2.111. Fulltekst i vitenarkiv Vis sammendrag

  The present study tested two assumptions concerning the auditory processing of microtiming in musical grooves (i.e., repeating, movement-inducing rhythmic patterns): 1) Microtiming challenges the listener's internal framework of timing regularities, or meter, and demands cognitive effort. 2) Microtiming promotes a ¡°groove¡± experience¡ªa pleasant sense of wanting to move along with the music. Using professional jazz musicians and nonmusicians as participants, we hypothesized that microtiming asynchronies between bass and drums (varying from ?80 to 80 ms) were related to a) an increase in ¡°mental effort¡± (as indexed by pupillometry), and b) a decrease in the quality of sensorimotor synchronization (as indexed by reduced finger tapping stability). We found bass/drums-microtiming asynchronies to be positively related to pupil dilation and negatively related to tapping stability. In contrast, we found that steady timekeeping (presence of eighth note hi-hat in the grooves) decreased pupil size and increased tapping performance, though there were no conclusive differences in pupil response between musicians and nonmusicians. However, jazz musicians consistently tapped with higher stability than nonmusicians, reflecting an effect of rhythmic expertise. Except for the condition most closely resembling real music, participants preferred the on-the-grid grooves to displacements in microtiming and bass-succeeding-drums-conditions were preferred over the reverse.

• Danielsen, Anne (2019). Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation. I Grimshaw-Aagaard, Mark; Walther-Hansen, Mads & Knakkergaard, Martin (Red.), The Oxford Handbook of Sound and Imagination, Volume 2. Oxford University Press. ISSN 9780190460242. doi: 10.1093/oxfordhb/9780190460242.013.27. Fulltekst i vitenarkiv
• London, Justin; Nymoen, Kristian; Langer?d, Martin Torvik; Thompson, Marc Richard; Code, David L?berg & Danielsen, Anne (2019). A comparison of methods for investigating the perceptual center of musical sounds. Attention, Perception & Psychophysics. ISSN 1943-3921. 81(6), s. 2088¨C2101. doi: 10.3758/s13414-019-01747-y. Fulltekst i vitenarkiv Vis sammendrag

  In speech and music, the acoustic and perceptual onset(s) of a sound are usually not congruent with its perceived temporal location. Rather, these "P-centers" are heard some milliseconds after the acoustic onset, and a variety of techniques have been used in speech and music research to find them. Here we report on a comparative study that uses various forms of the method of adjustment (aligning a click or filtered noise in-phase or anti-phase to a repeated target sound), as well as tapping in synchrony with a repeated target sound. The advantages and disadvantages of each method and probe type are discussed, and then all methods are tested using a set of musical instrument sounds that systematically vary in terms of onset/rise time (fast vs. slow), duration (short vs. long), and center frequency (high vs. low). For each method, the dependent variables were (a) the mean P-center location found for each stimulus type, and (b) the variability of the mean P-center location found for each stimulus type. Interactions between methods and stimulus categories were also assessed. We show that (a) in-phase and anti-phase methods of adjustment produce nearly identical results, (b) tapping vs. click alignment can provide different yet useful information regarding P-center locations, (c) the method of adjustment is sensitive to different sounds in terms of variability while tapping is not, and (d) using filtered noise as an alignment probe yields consistently earlier probe-onset locations in comparison to using a click as a probe.

• Danielsen, Anne; Nymoen, Kristian; Anderson, Evan; C?mara, Guilherme Schmidt; Langer?d, Martin Torvik & Thompson, Marc R. [Vis alle 7 forfattere av denne artikkelen] (2019). Where is the beat in that note? Effects of attack, duration, and frequency on the perceived timing of musical and quasi-musical sounds. Journal of Experimental Psychology: Human Perception and Performance. ISSN 0096-1523. 45(3), s. 402¨C418. doi: 10.1037/xhp0000611. Vis sammendrag

  The perceptual center (P-center) of a sound is typically understood as the specific moment at which it is perceived to occur. Using matched sets of real and artificial musical sounds as stimuli, we probed the influence of attack (rise time), duration, and frequency (center frequency) on perceived P-center location and P-center variability. Two different methods to determine the P-centers were used: Clicks aligned in-phase with the target sounds via the method of adjustment, and tapping in synchrony with the target sounds. Attack and duration were the primary cues for P-center location and P-center variability; P-center variability was found to be a useful measure of P-center shape. Consistent interactions between attack and duration were also found. Probability density distributions for each stimulus display a systematic pattern of P-center shapes ranging from narrow peaks close to the onset of sounds with fast attack and short duration, to wider and flatter shapes indicating a range synchronization points for sounds with slow attack and long duration. The results support the conception of P-centers as not simple time points, but "beat bins" with characteristic shapes, and the shapes and locations of these beat bins are dependent upon both the stimulus and the synchronization task.

• Danielsen, Anne (2018). Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves. I Scotto, Ciro; Smith, Kenneth M. & Brackett, John (Red.), The Routledge Companion to Popular Music Analysis: Expanding Approaches. Routledge. ISSN 9781138683112. doi: 10.4324/9781315544700-12. Fulltekst i vitenarkiv
• C?mara, Guilherme Schmidt & Danielsen, Anne (2018). Groove. I Alexander, Rehding & Steven, Rings (Red.), The Oxford Handbook of Critical Concepts in Music Theory. Oxford University Press. ISSN 9780190454746. doi: 10.1093/oxfordhb/9780190454746.013.17. Fulltekst i vitenarkiv Vis sammendrag

  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 general understandings of groove: (1) pattern and performance; (2) pleasure and ¡°wanting to move¡±; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown¡¯s ¡°Get Up (I Feel Like Being A) Sex Machine¡± (1970), aspects of counter-rhythm in Jackie Wilson¡¯s ¡°(Your Love Keeps Lifting Me) Higher and Higher¡± (1967), and the extending of beats into beat bins in D¡¯Angelo¡¯s ¡°Left & Right¡± (2000) and Rihanna¡¯s ¡°Needed Me¡± (2016).

• Danielsen, Anne; Kjus, Yngvar & Kraugerud, Emil (2018). Gendered patterns in music mediation: a study of male and female performers at the ?ya festival using multiple data sources. Poetics. ISSN 0304-422X. doi: 10.1016/j.poetic.2018.09.002. Fulltekst i vitenarkiv
• Danielsen, Anne (2018). Music, media and technological creativity in the digital age. Nordisk musikkpedagogisk forskning : ?rbok. ISSN 1504-5021. 18, s. 9¨C22.
• Danielsen, Anne (2018). Novel, expressive and skilled! I Eliassen, Knut Ove; Hovden, Jan Fredrik & Prytz, ?yvind (Red.), Contested qualities: negotiating value in arts and culture. Fagbokforlaget. ISSN 9788245023770. s. 187¨C202.
• Danielsen, Anne (2018). Time and Time Again: Repetition and Difference in Repetitive Music. I Julien, Olivier & Levaux, Christophe (Red.), Over and Over. Exploring Repetition in Popular Music. Bloomsbury Academic. ISSN 9781501324888. doi: 10.5040/9781501324871.ch-002. Fulltekst i vitenarkiv
• Danielsen, Anne (2017). Struktur og performativitet: mikrorytmikk i afroamerikansk popul?rmusikk. Svensk tidskrift f?r musikforskning. ISSN 2002-021X. 99, s. 3¨C19. Fulltekst i vitenarkiv
• Br?vig-Hanssen, Ragnhild & Danielsen, Anne (2017). Music Production: Recording Technology and Acousmatic Listening. I Ashley, Richard D & Timmers, Renee (Red.), The Routledge Companion to Music Cognition. Routledge. ISSN 9781138721050. Fulltekst i vitenarkiv
• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox. I Lokki, Tapio; Pa?tynen, Jukka & Va?lima?ki, Vesa (Red.), Proceedings of the 14th Sound and Music Computing Conference 2017. Aalto University. ISSN 978-952-60-3729-5. s. 214¨C219. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Danielsen, Anne & Kjus, Yngvar (2017). The Mediated Festival: Live Music as Trigger of Music Streaming and Social Media Engagement. Convergence. The International Journal of Research into New Media Technologies. ISSN 1354-8565. 25(4), s. 714¨C734. doi: 10.1177/1354856517721808. Fulltekst i vitenarkiv Vis sammendrag

  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 ?ya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents sta- tistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.

• Danielsen, Anne (2017). "Hot rhythms": Rytmisk musikk som den vestlige rasjonalitetens andre. I Stens?th, Karette; Trondalen, Gro & Vark?y, ?ivind (Red.), Musikk, handlinger, muligheter. Festskrift til Even Ruud. Norges musikkh?gskole. ISSN 978-82-7853-225-6. s. 197¨C206. Fulltekst i vitenarkiv
• Danielsen, Anne (2016). Nyskapende, sterkt og kompetent! Kvalitetsforst?elser i musikkfeltet i lys av tre poul?rmusikalske sjangre. I Eliassen, Knut Ove & Prytz, ?yvind (Red.), Kvalitetsforst?elser. Kvalitetsbegrepet i samtidens kunst og kultur.. Fagbokforlaget. ISSN 978-82-7081-179-3. s. 104¨C119.
• Danielsen, Anne & Helseth, Inger (2016). Mediated Immediacy: The Relationship between Auditory and Visual Dimensions of Live Performance in Contemporary Technology-Based Popular Music. Rock Music Studies. ISSN 1940-1159. 3(1), s. 24¨C40. doi: 10.1080/19401159.2015.1126986. Fulltekst i vitenarkiv Vis sammendrag

  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 approach this paradox through analysis, participatory observation, and interviews with audience members from a concert with Norwegian artist Susanne Sundf?r. We conclude that an audience can accept huge discrepancies between auditory and visual information, as long as the music¡¯s core auditory elements are convincingly communicated and represented visually on stage. This ¡°mediated immediacy¡± is an important aspect of the live concert experience in contemporary technology-reliant genres.

Se alle arbeider i Cristin

• Br?vig-Hanssen, Ragnhild & Danielsen, Anne (2016). Digital Signatures: The Impact of Digitization on Popular Music Sound. MIT Press. ISBN 9780262034142. 188 s.

Se alle arbeider i Cristin

• Danielsen, Anne (2024). Musikalsk rytme, rytmeforskning og hva den kan brukes til.
• Danielsen, Anne (2024). There¡¯s more to timing than time: shaping microrhythm in groove-based music.
• Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Doelling, Keith & Solbakk, Anne-Kristin [Vis alle 7 forfattere av denne artikkelen] (2024). Rhythm-based temporal expectations: Unique contributions of predictability and periodicity. Vis sammendrag

  Flexibly adapting to our dynamic surroundings requires anticipating upcoming events and focusing our attention accordingly. Rhythmic patterns of sensory input offer valuable cues for these temporal expectations and facilitate perceptual processing. However, a gap in understanding persists regarding how rhythms outside of periodic structures influence perception. Our study aimed to delineate the distinct roles of predictability and periodicity in rhythm-based expectations. Participants completed a pitch-identification task preceded by different rhythm types: periodic predictable, aperiodic predictable, and aperiodic unpredictable. By manipulating the timing of the target sound, we observed how auditory sensitivity was modulated by the target position in the different rhythm conditions. The results revealed a clear behavioral benefit of predictable rhythms, regardless of their periodicity. Interestingly, we also observed an additional effect of periodicity. While both periodic and aperiodic predictable rhythms improved overall sensitivity, only the periodic rhythm seemed to induce an entrained sensitivity pattern, wherein sensitivity peaked in synchrony with the expected continuation of the rhythm. The recorded event-related brain potentials further supported these findings. The target-evoked P3b, possibly a neural marker of attention allocation, mirrored the sensitivity patterns. This supports our hypothesis that perceptual sensitivity is modulated by temporal attention guided by rhythm-based expectations. Furthermore, the effect of rhythm predictability seems to operate through climbing neural activity (similar to the CNV), reflecting preparation for the target. The effect of periodicity is likely related to more precise temporal expectations and could possibly involve neural entrainment. Our findings suggest that predictability and periodicity influence perception via distinct mechanisms.

• Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Doelling, Keith & Solbakk, Anne-Kristin [Vis alle 7 forfattere av denne artikkelen] (2024). Rhythm-based temporal expectations: Unique contributions of predictability and periodicity.
• Danielsen, Anne (2024). Interdisciplinary music research: gains and challenges. Vis sammendrag

  Interdisciplinary music research: gains and challenges Recent years have seen a steady increase in calls for interdisciplinary approaches to research from politicians, university administrators, and public and private funding agencies alike. Interdisciplinary research is needed, it is claimed, to solve many of the foundational crises faced by societies today. While interdisciplinary research holds great promise for large-scale problem-solving, it is also bedeviled by obstacles at the institutional and individual level that monodisciplinary research does not face to the same extent, such as insufficient infrastructure, organizational barriers, lower employability, and few well- established publication channels. Sometimes even more challenging, however, are the different research traditions of the disciplines involved, which might adhere to profoundly different methodological traditions, lack shared criteria for quality assessment, and even disagree regarding what counts as science. In this talk, I will address the gains and challenges of working across radically different disciplines in music research, sharing my experience from three highly interdisciplinary projects: the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion; the MusicLab Copenhagen research concert; and the TIME project on musical microrhythm.

• Leske, Sabine Liliana; Endestad, Tor; Volehaugen, Vegard Akselsson; Foldal, Maja Dyhre; Blenkmann, Alejandro Omar & Solbakk, Anne-Kristin [Vis alle 7 forfattere av denne artikkelen] (2024). Predicting the Beat Bin: Beta Oscillations Predict the Envelope Sharpness in a Rhythmic Sequence .
• Danielsen, Anne; Syvertsen, Tuva; Holm, Askil & Austlid, Alexander (2024). Trenger vi utdanning i l?tskriving og musikkproduksjon?
• Nordg?rd, Daniel; Danielsen, Anne; Eriksen, Torun; Antonsen, Ole Henrik & Kolst?, Hanne (2024). Musikk og teknologi: venn eller fiende?
• Jensenius, Alexander Refsum; Danielsen, Anne; Kvammen, Daniel & Tollefsb?l, Sofie (2024). Musikksnakk: Musikk i urolige tider. Vis sammendrag

  P? konsert f?ler vi samhold med fremmede, viser forskning. I et kort ?yeblikk samler musikken oss. Hvordan kan musikk ogs? samle oss i urolige tider? Hva er det med akkurat musikk som forener oss? Bli med p? musikksnakk med artistene Daniel Kvammen og vokalist i FIEH, Sofie Tollefsb?l, og musikkforsker Anne Danielsen. Her vil musikkprofessor Alexander Refsum Jensenius lede samtalen med ulike sp?rsm?l knyttet til tematikken ¨C kanskje svarer de p? ditt sp?rsm?l ogs?? Samtalen er beregnet for et publikum uten faglig bakgrunn i temaet.

• Danielsen, Anne (2024). There¡¯s more to timing than time: P-centers, beat bins and groove in musical microrhythm. Vis sammendrag

  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.

• Jensenius, Alexander Refsum & Danielsen, Anne (2024). Tverrfaglighet: 40-grupper til besv?r. Uniforum. ISSN 1891-5825. Vis sammendrag

  Vi er positive til fler- og tverrfaglige studiel?p og synes 40-grupper er en god id¨¦. Strukturen er p? plass, men implementeringen er mangelfull. Til tider er det vanskelig ? skj?nne at vi jobber ved samme institusjon.

• Danielsen, Anne (2023). Long Story Short: Experiences from publishing interdisciplinary research.
• 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. Vis sammendrag

  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).

• C?mara, Guilherme Schmidt; Sioros, Georgios; Danielsen, Anne; Nymoen, Kristian & Haugen, Mari Romarheim (2023). Sound-producing actions in guitar performance of groove-based microrhythm. Vis sammendrag

  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¡ª¡°laidback,¡± ¡°on-the-beat,¡± and ¡°pushed¡±¡ªin 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).

• Swarbrick, Dana; Danielsen, Anne; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina (2023). The Effects of ¡°Feeling Moved¡± and ¡°Groove¡± On Standstill.
• C?mara, Guilherme Schmidt; Danielsen, Anne & Oddekalv, Kjell Andreas (2023). Funky rhythms ¨C broken beats!?Kulturelle og estetiske perspektiver p? groove-basert musikk.
• 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¨Ctiming interaction across disciplines and cultures .
• Solli, Sandra; Doelling, Keith; Leske, Sabine Liliana; Danielsen, Anne & Endestad, Tor (2023). The role of the motor system in predicting accelerating and decelerating auditory rhythms.
• Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Solbakk, Anne-Kristin & Endestad, Tor (2023). Periodic vs Aperiodic Temporal Predictions: Shared or Separate Mechanisms?
• Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin & Endestad, Tor (2023). Both periodic and aperiodic rhythms facilitate perceptual processing.
• Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin & Endestad, Tor (2023). Periodic vs Aperiodic Temporal Predictions: Shared or Separate Mechanisms? .
• Danielsen, Anne; Br?vig, Ragnhild; C?mara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin (2023). Microrhythm depends on sound qualities: Investigating sound¨Ctiming interaction across disciplines and cultures.
• Danielsen, Anne (2023). Beat bins, asynchronies and muddy sounds: Shaping micro-time in grooves. Vis sammendrag

  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.

• Danielsen, Anne; Langer?d, Martin Torvik & London, Justin (2023). Where is the beat in that complex note? Effect of Instrument Asynchrony on the Perceived Timing of Compound Musical Sounds.
• Jensenius, Alexander Refsum; Danielsen, Anne & S?ndergaard, Pia (2023). Hvor blir det av UiOs alumni-satsing? Uniforum. ISSN 1891-5825. Vis sammendrag

  Det snakkes i festlige lag om at v?re alumni er en ressurs. Dessverre viser praksis at man ikke bare ignorerer tidligere ansatte, men aktivt fors?ker ? fjerne alle spor av at de har forsket ved institusjonen.

• Danielsen, Anne (2023). Modulasjonen har forsvunnet fra popmusikken. [Radio]. NRK P2-pulsen.
• Danielsen, Anne (2023). Panelsamtale om flow i rap.
• Danielsen, Anne & Aas, Endre Ugelstad (2023). Popen f?r pipestemme. [Avis]. Klassekampen.
• Danielsen, Anne (2023). Decolonizing groove (panel discussion).
• Danielsen, Anne (2023). Ain¡¯t that a groove! Musicological, philosophical and psychological perspectives on groove (keynote). Vis sammendrag

  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.

• Danielsen, Anne (2022). Bidrag til enquete om rock. I Karlsen, Ole & Markussen, Bjarne (Red.), Sanglyrikk. Teori - Metode - Sjangrer. Scandinavian Academic Press. ISSN 978-82-304-0342-6. Vis sammendrag

  Lyrikken er den mest popul?re og utbredte av alle diktarter ¨C 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.

• Danielsen, Anne; Paulsrud, Thea S?rli & London, Justin (2022). Where is the beat in that (sung) note?
• Danielsen, Anne (2022). Konsert med Ung Pike Forsvunnet.
• Stenseth, Nils Christian; Andreassen, Karin Marie; Danielsen, Anne; Helgaker, Trygve; Jansen, Eystein & Moser, Edvard Ingjald [Vis alle 11 forfattere av denne artikkelen] (2022). Grunnforskningen er truet. Klassekampen. ISSN 0805-3839.
• Danielsen, Anne & Kristensen, Regine Lund (2022). Det rykker litt ekstra i dansefoten n?r dette skjer. [Internett]. ung.forskning.no.
• Danielsen, Anne (2022). RITMO: ÑDz©ÓéÀÖ¹ÙÍø_ÑDz©ptÊÖ»ú¿Í»§¶ËµÇ¼ og infrastruktur.
• Danielsen, Anne (2022). Rhythm, Time, and Presence.
• Spiech, Connor; Hope, Mikael; C?mara, Guilherme Schmidt; Sioros, Georgios; Endestad, Tor & Laeng, Bruno [Vis alle 7 forfattere av denne artikkelen] (2022). PredicTAPbility: Sensorimotor Synchronization Increases Groove.
• Kwak, Dongho; Krzyzaniak, Michael Joseph; Danielsen, Anne & Jensenius, Alexander Refsum (2022). A mini acoustic chamber for small-scale sound experiments. Vis sammendrag

  This paper describes the design and construction of a mini acoustic chamber using low-cost materials. The primary purpose is to provide an acoustically treated environment for small-scale sound measurements and experiments using ¡Ü 10-inch speakers. Testing with different types of speakers showed frequency responses of <?10?dB peak-to-peak (except the ¡±boxiness¡± range below 900?Hz), and the acoustic insulation (soundproofing) of the chamber is highly efficient (approximately 20?dB?SPL in reduction). Therefore, it provides a significant advantage in conducting experiments requiring a small room with consistent frequency response and preventing unwanted noise and hearing damage. Additionally, using a cost-effective and compact acoustic chamber gives flexibility when characterizing a small-scale setup and sound stimuli used in experiments.

• Danielsen, Anne & Leske, Sabine Liliana (2022). How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives. Vis sammendrag

  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.

• Danielsen, Anne (2022). Microtiming and mental effort: Investigating onset asynchronies in musical rhythm.
• Danielsen, Anne; C?mara, Guilherme Schmidt; Lartillot, Olivier; Leske, Sabine Liliana & Spiech, Connor (2022). Musical rhythm. Behavioural, computational and neurophysiological perspectives.
• Danielsen, Anne & Jensenius, Alexander Refsum (2022). Presentation of RITMO Research.
• Danielsen, Anne (2022). Utvikling og ledelse av tverrfaglige forskningssentre - erfaringer fra RITMO SFF.
• Danielsen, Anne (2022). Rytme, groove og digitale signaturer.
• Br?vig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bj?rnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2022). Musical rhythm. Qualitative investigations.
• Funderud, Ingrid; Danielsen, Anne; Endestad, Tor; Jensenius, Alexander Refsum; Leske, Sabine Liliana & Solbakk, Anne-Kristin (2021). Improving working memory in patents with epilepsy by rhythmic sounds.
• Kwak, Dongho; Danielsen, Anne & Jensenius, Alexander Refsum (2021). Music for cells: The human body as a rhythm machine.
• Danielsen, Anne (2021). Utvikling og ledelse av tverrfaglige forskningssentre: Erfaringer fra RITMO SFF.
• Solbakk, Anne-Kristin; Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anais & Funderud, Ingrid [Vis alle 13 forfattere av denne artikkelen] (2021). Auditory prediction and prediction error in self-generated tones.
• Danielsen, Anne (2021). Opening remarks, presentation of RITMO.
• Danielsen, Anne (2021). Time and time again: repetition and difference in grooves. Vis sammendrag

  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.

• Danielsen, Anne (2021). Rhythm and Meter.
• Danielsen, Anne (2021). Rhythm and Groove in Contemporary African American Popular Music.
• Danielsen, Anne (2021). Shaping rhythm: Timing and sound in EDM.
• Danielsen, Anne; Langer?d, Martin Torvik; Nymoen, Kristian & London, Justin (2021). Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
• Danielsen, Anne; Langer?d, Martin Torvik; Nymoen, Kristian & London, Justin (2021). Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
• 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.
• Haugen, Mari Romarheim & Danielsen, Anne (2021). Influence of tempo on non-isochronous note duration pattern in a performed samba groove.
• Ganis, Francesco; Dahl, Sofia; C?mara, Guilherme Schmidt & Danielsen, Anne (2021). Beat precision and perceived danceability in drum grooves. Vis sammendrag

  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¨C26, 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¨C476, Jun. 2008, doi: 10.1525/mp.2008.25.5.471.

• C?mara, Guilherme Schmidt; Sioros, George & Danielsen, Anne (2021). Mapping timing and intensity strategies in drum-kit performance via hierarchical clustering and phylogenetic visualizations . Vis sammendrag

  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¨Csound 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¨C294). 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¨C26. 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¨C2316.

• Danielsen, Anne (2021). Groove.
• Danielsen, Anne & Mokkelbost, Erlend (2021). Intervju om soulmusikk til ?yapodcast.
• Danielsen, Anne; Jemterud, Torkild & Brodal, Per (2021). Abels t?rn. [Radio]. NRK P2.
• Danielsen, Anne (2021). RITMO: Senter for tverrfaglig forskning p? rytme, tid og bevegelse, UiO.
• Danielsen, Anne (2021). What is rhythm? What is micro rhythm?
• Lillesl?tten, Mari; C?mara, Guilherme Schmidt & Danielsen, Anne (2020). Hva du synes er bra musikk avgj?res p? noen tusendels sekunder. [Internett]. ÑDz©ÓéÀÖ¹ÙÍø_ÑDz©ptÊÖ»ú¿Í»§¶ËµÇ¼.no.
• Jensenius, Alexander Refsum & Danielsen, Anne (2020). UiOs nettsider er en viktig forskningsinfrastruktur. Uniforum. ISSN 1891-5825. Vis sammendrag

  Det er underlig at UiO s? aktivt g?r inn for ? slette tilgjengelig informasjon om v?r egen kultur og historie. Vi er enig i at det er behov for ? rydde opp i nettsidene, men mener at fokuset b?r ligge p? rydding og kvalitetssikring fremfor sletting, skriver Alexander Refsum Jensenius og Anne Danielsen i RITMO.

• Danielsen, Anne (2020). Interdisciplinary music research. Vis sammendrag

  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.

• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Khrono.no. ISSN 1894-8995. Vis sammendrag

  Forskerne bruker utallige arbeidstimer p? ? legge inn informasjonen. Det er p? tide ? f? den ut igjen.

• Danielsen, Anne (2020). Groove studies.
• 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. Vis sammendrag

  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

• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Uniforum. ISSN 1891-5825. Vis sammendrag

  Forskerne bruker utallige arbeidstimer p? ? legge inn informasjonen. Det er p? tide ? f? den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.

• Danielsen, Anne (2020). Musical listening, micro-time .
• Danielsen, Anne (2020). Does genre expertise modulate micro level synchronisation to musical sounds? Vis sammendrag

  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.

• Danielsen, Anne (2020). R?d og tips for s?kere til SFF V.
• Danielsen, Anne (2020). Exploring the Hu/Machine: Shaping beats in contemporary African-American popular music .
• Danielsen, Anne (2019). The Expanding Present (panel member).
• Danielsen, Anne & Nymoen, Kristian (2019). Where is the beat in that note?
• Kverndokk, Kristin; Danielsen, Anne; Hellstenius, Jon Henrik & Orning, Tanja (2019). Om spr?k og musikk. Spillerom s?ndag (NRK). [Radio]. NRK P2.
• Danielsen, Anne (2019). The impact of digitization on rhythm and groove in African-American popular music. Vis sammendrag

  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.

• Danielsen, Anne (2019). Workshop on microrhythmic analysis and groove.
• Danielsen, Anne (2019). Utfordringer og l?sninger for et tverrfakult?rt SFF.
• Sioros, George; C?mara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance.
• Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre [Vis alle 13 forfattere av denne artikkelen] (2019). Auditory prediction and prediction error in self-generated tones.
• Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre [Vis alle 13 forfattere av denne artikkelen] (2019). Action-based auditory predictions. Vis sammendrag

  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.

• Danielsen, Anne (2019). Glitched and Warped: Shaping the ¡°Beat Bin¡± in Contemporary African-American Popular Music.
• Danielsen, Anne (2019). Erfaringer fra SFF IV.
• Sioros, George & Danielsen, Anne (2019). How do Rhythmic Features Affect our Movement?
• Sioros, George; C?mara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian (2019). Timing and drummers¡¯ movement: A novel methodology for performance analysis . Vis sammendrag

  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 (M¨¹ller 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.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). Does moderate syncopation increase groove? The answer depends on the syncopation pattern. Vis sammendrag

  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.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). The relation between groove and syncopation is intricate ¨C not any pattern will do. Vis sammendrag

  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.

• 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.
• 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.
• Danielsen, Anne (2019). Hvor er egentlig beatet? Rytme og timing i rytmisk musikk.
• Hagen, Maren Kvamme & Danielsen, Anne (2019). Ein hest og ei landeplage. [Internett]. nrk.no.
• Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, Gyo?rgy (2019). Digital Warmth: The Retro in Digital.
• 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.
• Danielsen, Anne (2019). Roundtable: Translating, transferring (and maybe transcending) musical knowledge. Chair and respondent, session 3: Practices.
• Danielsen, Anne (2019). Classic Album Sundays: Aretha Franklin (paneldeltakelse).
• Kverndokk, Kristin; Hellstenius, Jon Henrik; Orning, Tanja & Danielsen, Anne (2018). Spillerom s?ndag: Om spr?k og musikk. [Radio]. NRK P2 .
• Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne (2018). Prediction of P-centers from audio recordings.
• Danielsen, Anne (2018). Hvordan legge til rette for nytt tverrfaglig ÑDz©ÓéÀÖ¹ÙÍø_ÑDz©ptÊÖ»ú¿Í»§¶ËµÇ¼ mellom institutter og fakulteter? RITMO Senter for tverrfaglig forskning p? rytme, tid og bevegelse.
• Jensenius, Alexander Refsum; Danielsen, Anne; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Intellectual warm-up: "Rhythm".
• Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Rytmen er en danser. [Fagblad]. Ballade.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). Rytme i tid og rom.
• 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.
• Danielsen, Anne (2018). Intervju om Aretha Franklin til NTB.
• Danielsen, Anne (2018). Intervju om Aretha Franklin i Dagsnytt, NRK 2 .
• Danielsen, Anne (2018). Microrhythms and Microsounds: The impact of digitization on African-American popular music.
• J?re, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum (2018). P? sporet av rytmen. [Internett]. Uniforum. Vis sammendrag

  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.

• Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim (2018). Presentasjon av TIME-prosjektet.
• Danielsen, Anne (2018). Hva er en sommerhit? [Radio]. NRK P2, Studio 2.
• Danielsen, Anne (2018). Analysing Popular Music in the Digital Age. Vis sammendrag

  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.

• Danielsen, Anne & Jensenius, Alexander Refsum (2018). UiOs innovasjonspris til RITMO ved Anne Danielsen og Alexander Refsum Jensenius. [Fagblad]. Ballade. Vis sammendrag

  F?r prisen for tverrfaglig, banebrytende og innovativt arbeid.

• Danielsen, Anne (2018). Veien til RITMO: Fra musikkestetikk til tverrfaglig rytmeforskning .
• Danielsen, Anne (2018). RITMO - a center for interdisciplinary research into rhythm, time and motion.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). The Norwegian Centre of Excellence RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "L?ten".
• Danielsen, Anne (2017). Methodologies in Record Production Research (Panel).
• Danielsen, Anne (2017). P-centres and beat bins - an introduction to the TIME project.
• Danielsen, Anne (2017). The perception, aesthetics, and cultural values of 'glitched' grooves.
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "Rytme".
• Danielsen, Anne (2017). Timing and Sound in Musical Microrhythm: Theoretical, Aesthetic and Empirical Aspects.
• 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.
• Danielsen, Anne (2017). Kvalitet i rytmisk musikk.
• 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.
• 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.
• 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.
• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox. Vis sammendrag

  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.

• Danielsen, Anne & Jensenius, Alexander Refsum (2017). Centre for Interdisciplinary Studies in Rhythm, Time and Motion f?r status som Senter for fremragende forskning. [Internett]. Ballade. Vis sammendrag

  Sentret ved institutt for musikkvitenskap p? Univeristetet i Oslo skal sammen med ni andre senter dele p? til sammen 1,5 milliarder kroner over ti ?r for ? drive forskning p? internasjonalt toppniv?.

• Danielsen, Anne (2017). Popul?rmusikk og mediering i den digitale tidsalder.
• Danielsen, Anne (2017). Digital Signatures. The Impact of Digitization on Popular Music Sound.
• Danielsen, Anne (2017). Music production research in Norway.
• Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & C?mara, Guilherme Schmidt (2017). Project presentation: Timing and Sound in Musical Microrhythm (TIME).
• Danielsen, Anne (2017). Rhythm and Groove in African-American Popular Music.
• Danielsen, Anne (2017). Experimental hip-hop and the meanings of glitched grooves . Vis sammendrag

  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.

• Danielsen, Anne (2016). Investigating the perception of sound-timing relationships in recorded (real) music.
• Br?vig-Hanssen, Ragnhild & Danielsen, Anne (2016). Listening to Recordings: Ecological Constraints and the Tuning of the Ear.
• Br?vig-Hanssen, Ragnhild & Danielsen, Anne (2016). Book presentation: Digital Signatures.
• Br?vig-Hanssen, Ragnhild & Danielsen, Anne (2016). Book launch: Digital Signatures.
• Danielsen, Anne (2016). Mediatised liveness: Music and media on and off stage .
• Danielsen, Anne; Maas?, Arnt; Hagen, Anja Nylund & Kjus, Yngvar (2016). Clouds & Concerts summarised.
• Danielsen, Anne (2016). Ung Pike Forsvant.
• Danielsen, Anne (2016). Ung Pike Forsvunnet, konsert p? Rock mot kreft.
• Danielsen, Anne (2016). Music, media and technology in the digital age (keynote). Vis sammendrag

  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 examine some examples of new sonic expressions within the field of popular music that have been produced through unorthodox application of the digital audio workstation. Then I will focus on new patterns of use and personalised music ¡°consumption¡±, using playlist creation in streaming services as my point of departure. Lastly, I will address how these two spheres of production and consumption meet in the so-called prosumption practices that have arised in the digital era in the form of remix, sample and mashup music.

• Kwak, Dongho; Jensenius, Alexander Refsum; Danielsen, Anne; Scholz, Hanne & Olsen, Petter Angell (2023). Music for cells? Rhythmic mechanical stimulations of cell cultures. Universitetet i Oslo. Fulltekst i vitenarkiv
• Danielsen, Anne; Stover, Chris & Oddekalv, Kjell Andreas (2022). What Makes the Shit Dope? The Techniques and Analysis of Rap Flows. Universitetet i Oslo.
• 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. Fulltekst i vitenarkiv Vis sammendrag

  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¨Csound 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.

• Kraugerud, Emil; Danielsen, Anne & Asker?i, Eirik (2016). Spaces of Sound: Meanings of Spatiality in Recorded Sound. Universitetet i Oslo.

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