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Jensenius, Alexander Refsum & Laczko, Balint
(2024).
Video Visualization.
Show summary
This workshop is targeted at students and researchers working with video recordings. You will learn to use MG Toolbox, a Python package with numerous tools for visualizing and analyzing video recordings. This includes visualization techniques such as motion videos, motion history images, and motiongrams; techniques that, in different ways, allow for looking at video recordings from different temporal and spatial perspectives. It also includes some basic computer vision analysis, such as extracting quantity and centroid of motion, and using such features in analysis.MG Toolbox for Python is a collection of high-level modules for generating all of the above-mentioned visualizations and analyses. This toolbox was initially developed to analyze music-related body motion but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, psychology, medicine, and educational sciences.
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Talseth, Thomas & Br?vig, Ragnhild
(2024).
Kommentar til innlegget "Refser NRK for ? la G?te-l?t konkurrere i Melodi Grand Prix".
[Newspaper].
VG.
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Oddekalv, Kjell Andreas
(2024).
The Sound of the crew in rap:
Rapping chimeras, illusory posses and other fantastical creatures summoned in the studio and cipher.
.
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Oddekalv, Kjell Andreas
(2024).
Humaniorafestivalen 2024, Inn i historien: Dr. Kjell presenterer: 40 ?r med norsk hiphop | Bj?rnholt.
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Lartillot, Olivier
(2024).
Harmonizing Tradition with Technology: Enhancing Norwegian Folk Music through Computational Innovation.
Show summary
My work involves developing computational tools to safeguard and elevate the cultural significance of music repertoires, with a focus on a cooperative project with the National Library of Norway related to their collection of Norwegian folk music. Our first phase centered on transforming unstructured audio tapes into a systematic dataset of melodies while ensuring its access and longevity through efficient data management and linking with other catalogues.
Our core activity involves transcribing audio recordings into scores, comparing the traditional manual method with our modern attempts towards automation. Providing detailed performance notation, the close alignment between scores and audio recordings will help improve comprehension and overall accessibility, as well as a more advanced structuring of the collection.
Challenges arose when incorporating this music into the International Inventory of Musical Sources (RISM) database due to the incompatible 'incipit' concept, unfitting genres like Hardanger fiddle folk music. We suggest innovative generalisations for this concept. Moreover, we're creating techniques to digitally dissect the musical corpus, aiming to extract key features of each tune. This initiative not only serves as an alternative to incipits but also provides novel metadata formats, increasing the usability and connectivity within its content and with other databases.
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Johansson, Mats Sigvard & Lartillot, Olivier
(2024).
Automated transcription of Hardanger fiddle music: Tracking the beats.
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Monstad, Lars L?berg & Lartillot, Olivier
(2024).
muScribe: a new transcription service for music professionals.
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Lartillot, Olivier
(2024).
Overview of the MIRAGE project.
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Lartillot, Olivier
(2024).
Musicological and Technological Perspectives on Computational Analysis of Electroacoustic Music.
In Jensenius, Alexander Refsum (Eds.),
Sonic Design: Explorations Between Art and Science.
Springer Nature.
ISSN 978-3-031-57892-2.
p. 271–297.
doi:
https:/doi.org/10.1007/978-3-031-57892-2_15.
Show summary
Analysing electroacoustic music remains challenging, leaving this artistic treasure somewhat out of reach of mainstream musicology and many music lovers. This chapter examines electroacoustic music analysis, covering musicological investigations and desires and technological challenges and potentials. The aim is to develop new technologies to overcome the current limitations. The compositional and musicological foundations of electroacoustic music analysis are based on Pierre Schaeffer’s Traité des objects musicaux. The chapter presents an overview of core analytical principles underpinning more recent musicological approaches, including R. Murray Schafer’s soundscape analysis, Denis Smalley’s spectro-morphology, and Lasse Thoresen’s graphical formalisation. Then the state of the art in computational analysis of electroacoustic music is compiled and organised along broad themes, from detecting sound objects to estimating dynamics, facture and grain, mass, motions, space, timbre and rhythm. Finally, I sketch the principles of what could be a Toolbox des objets sonores.
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Jensenius, Alexander Refsum & Jerve, Karoline Ruderaas
(2024).
Verdens st?rste musikkeksperiment.
[Business/trade/industry journal].
Ballade.
Show summary
I kveld m?tes NRKs popul?rvitenskapelige radioprogram Abels t?rn, KORK og forskningsprosjektet MusicLab for ? m?le hva som skjer mellom musikere og publikum n?r de utsettes for musikk.
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Jensenius, Alexander Refsum
(2024).
Mock PhD Interview.
Show summary
The objective of the interview mockup is to provide an example of what a PhD interview looks like. We want to provide a safe space to ask questions to an experient interviewer and to understand how to better prepare for the interview if you're applying to PhD positions in other countries.
LatAm BISH Bash is a series of meetings and networking events that connect engineers, researchers, students, and companies working on speech, acoustics, and audio processing.
This time, we will have a PhD mockup interview conducted by Alexander Jensenius, who is a professor of music technology and Director of RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
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Vuoskoski, Jonna Katariina
(2024).
Some of our favourite songs make us sad, which may be why we like them.
[Internet].
https://www.newscientist.com/article/2426284-some-of-our-fav.
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Danielsen, Anne
(2024).
There’s more to timing than time: P-centers, beat bins and groove in musical microrhythm.
Show summary
How does the dynamic shape of a sound affect its perceived microtiming? In the TIME project, we studied basic aspects of musical microrhythm, exploring both stimulus features and the participants’ enculturated expertise via perception experiments, observational studies of how musicians produce particular microrhythms, and ethnographic studies of musicians’ descriptions of microrhythm. Collectively, we show that altering the microstructure of a sound (“what” the sound is) changes its perceived temporal location (“when” it occurs). Specifically, there are systematic effects of core acoustic factors (duration, attack) on perceived timing. Microrhythmic features in longer and more complex sounds can also give rise to different perceptions of the same sound. Our results shed light on conflicting results regarding the effect of microtiming on the “grooviness” of a rhythm.
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Jensenius, Alexander Refsum & Danielsen, Anne
(2024).
Tverrfaglighet: 40-grupper til besv?r.
Uniforum.
ISSN 1891-5825.
Show summary
Vi er positive til fler- og tverrfaglige studiel?p og synes 40-grupper er en god idé. Strukturen er p? plass, men implementeringen er mangelfull. Til tider er det vanskelig ? skj?nne at vi jobber ved samme institusjon.
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Jensenius, Alexander Refsum
(2024).
Mock PhD Interview.
Show summary
The objective of the interview mockup is to provide an example of what a PhD interview looks like. We want to provide a safe space to ask questions to an experient interviewer and to understand how to better prepare for the interview if you're applying to PhD positions in other countries.
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Vuoskoski, Jonna Katariina & Stupacher, Jan
(2024).
Investigating internal motor simulation in response to music stimuli with varying degrees of rhythmic complexity.
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Vuoskoski, Jonna Katariina; Treider, John Melvin Gudnyson & Huron, David
(2024).
The attribution of virtual agency to music predicts liking.
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Lartillot, Olivier
(2024).
Real-time MIRAGE visualisation of Bartok's first quartet, first movement.
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Lartillot, Olivier
(2024).
MIRAGE Closing Seminar: Digitisation and computer-aided music analysis of folk music.
Show summary
One aim of the MIRAGE project is to conceive new technologies allowing to better access, understand and appreciate music, with a particular focus on Norwegian folk music. This seminar presents what has been achieved during the four years of the project, leading in particular to the digital version of the Norwegian Catalogue of Folk Music. We are also conceiving tools to automatically transcribe audio recordings of folk music. More advanced musicological applications are discussed as well. To conclude, we introduce the new spinoff project, called muScribe, aimed at the development of transcription services, for a broad range of music, besides folk music, in a first stage tailored to professional organisations such as archives, publishers and producers.
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Thedens, Hans-Hinrich & Lartillot, Olivier
(2024).
The Norwegian Catalogue of Folk Music Online.
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Monstad, Lars L?berg & Lartillot, Olivier
(2024).
Automated transcription of Hardanger fiddle music: Detecting the notes.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
(2024).
Sinsenfist p? Carls.
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Oddekalv, Kjell Andreas
(2024).
Vi skriv p? tog, og vi skriv p? tog - pitch.
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Oddekalv, Kjell Andreas & Jensenius, Alexander Refsum
(2024).
LAB.prat #3 og "NM i stillstand": Kan man st? stille til musikk?
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Oddekalv, Kjell Andreas & Laeng, Bruno
(2024).
LAB.prat #2: Professor Bruno Laeng - Vi lytter med ?ynene.
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Oddekalv, Kjell Andreas & Swarbrick, Dana
(2024).
LAB.prat #1: Dr. Dana Swarbrick || Dana & The Monsters.
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Oddekalv, Kjell Andreas
(2024).
Humaniorafestivalen 2024, Inn i historien: Dr. Kjell presenterer: 40 ?r med norsk hiphop | Stovner.
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Saplacan, Diana
(2024).
Social Robots and Socially Assistive Robots (SARs) within Elderly Care: Lessons Learned So Far.
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Jensenius, Alexander Refsum
(2024).
The assessment of researchers is changing – how will it impact your career?
Show summary
Changes are happening in the world of research assessment, for example by recognizing several competencies as merits and a better balance between quantitative and qualitative goals. In Norway, for example, Universities Norway presented the NOR-CAM report in 2021 which sparked a movement for reform. As an early career researcher, it's crucial to understand how these changes may impact your research career. In this talk, Jensenius will discuss the evolving landscape of research assessment and what it means for you.
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Jensenius, Alexander Refsum; Danielsen, Anne; Kvammen, Daniel & Tollefsb?l, Sofie
(2024).
Musikksnakk: Musikk i urolige tider.
Show summary
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 – kanskje svarer de p? ditt sp?rsm?l ogs?? Samtalen er beregnet for et publikum uten faglig bakgrunn i temaet.
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Jensenius, Alexander Refsum
(2024).
Tverr faglighet? Muligheter og utfordringer med fler- og tverrfaglighet.
Show summary
Tverrfaglighet nevnes gjerne i festtaler og s?knadstekster, men hvordan er virkeligheten? I denne presentasjonen vil professor Alexander Refsum Jensenius diskutere egne erfaringer med fler- og tverrfaglige forskningsprosjekter.
Han vil ogs? presentere hvordan RITMO jobber med ? utvikle en forskningskultur og prosjekts?knader p? kryss og tvers av gjeldende fagdisipliner.
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Jensenius, Alexander Refsum
(2024).
Vurderinger i akademiske karrierel?p.
Show summary
UHRs arbeidsgruppe for ?pen vurdering utarbeidet i 2021 en veileder for vurdering i akademiske
karrierel?p – NOR-CAM. Det finnes ogs? andre initiativer for vurdering av akademiske karrierer,
deriblant det europeiske Coalition for Advancing Research Assessment (CoARA). Men hva er verdien
av disse vurderingsveilederne? Hvem er de for og hva er de ment ? f? til? Og hvilke vurderingsveiledere
er det som blir viktig i tiden som kommer?
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Jensenius, Alexander Refsum
(2024).
Interdisciplinarity.
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Jensenius, Alexander Refsum
(2024).
Musikk, Data og KI.
Show summary
Musikk er en av de mest komplekse menneskelige kommunikasjonsformene som finnes og egner seg derfor godt for ? utforske kunstig intelligens. Presentasjonen beskriver hvordan musikkforskere, psykologer og informatikere jobber sammen ved RITMO for ? forst? mer om rytme, tid og bevegelse hos mennesker og maskiner.
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Jensenius, Alexander Refsum
(2024).
Fostering the emergence of new research data careers.
Show summary
Equipping future graduates, researchers, and society at large with the skills needed to support the digital transition is becoming a priority on European, national, and institutional agendas. Research data management (RDM) and FAIR data are part of this skillset, and research data careers are increasingly in demand in both the public and private sectors. At organisational level, the availability of staff with data competencies is crucial to support the implementation of FAIR RDM practices and, ultimately, to foster the transition towards Open Science. Data collected by the European University Association show for example how universities are creating dedicated research data support services and hiring specific support staff, but significant disparities exist between countries and institutions. RDM responsibilities still fall to existing members of staff. In many cases, technical skills are only partially available and new dedicated staff is required. Universities who have hired specific research data support roles may still have problems meeting the growing demand for research data expertise. Within this context, a major challenge is represented by the absence of a shared recognition and definition of research management professional profiles, despite recent progress being made at European level through ERA Action 17 on research management. This session will address needs, challenges and opportunities related to the emergence of new research data careers, including the identification of key skills, clear career paths and their integration into research assessment systems. It will do so by showcasing best practices and reflecting on ways forward with a panel of experts representing different actors, i.e. university leaders, research data practitioners and policymakers.
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Jensenius, Alexander Refsum & Bochynska, Agata
(2024).
Opphavsrettslige utfordringer ved overgangen til FAIR forskningsdata ved UiO.
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Jensenius, Alexander Refsum
(2024).
Hjernen i sentrum: Kunst.
Show summary
Hvorfor er noen musikalske og andre ikke? Hvordan har det seg at kunst kan treffe oss s? voldsomt - og s? ulikt! Ulike kunstneriske uttrykk som musikk, malerkunst, litteratur, dans og teater kommer uten fasit og tolkes vidt forskjellig fra person til person. Er det hjernen som styrer dette? Det er ?penbart at hjernen v?r er aktiv og ikke passiv n?r vi opplever kunst. Hvorfor er det s?nn? Gir kunstneriske opplevelser god hjernetrim? Er kunst viktig for hjernehelsen?
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Swarbrick, Dana
(2023).
Song Talk Radio: Interview with Dana Swarbrick and Alex Whorms.
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Danielsen, Anne
(2023).
Ain’t that a groove! Musicological, philosophical and psychological perspectives on groove (keynote).
Show summary
The notion of groove is key to both musicians’ and academics’ discourses on musical rhythm. In this keynote, I will present groove’s historical grounding in African American musical practices and explore its current implications by addressing three distinct understandings of groove: as pattern and performance; as pleasure and “wanting to move”; and as a state of being. I will point out some musical features that seem to be shared among a wide range of groove-based styles, including syncopation and counterrhythm, swing and subdivision, and microrhythmic qualities. Ultimately, I will look at the ways in which the groove experience has been approached in different disciplines, drawing on examples from musicology / ethnomusicology, philosophy, psychology and neuroscience.
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Danielsen, Anne
(2023).
Decolonizing groove (panel discussion).
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Jensenius, Alexander Refsum & Burnim, Kayla
(2023).
Forskere inntok Konserthuset.
[Newspaper].
Stavanger Aftenblad.
Show summary
Hundrevis av elever kom for ? h?re p? Stavanger symfoniorkester. Mens orkesteret spilte, var musikerne, dirigenten og publikum del av et unikt forskningsprosjekt.
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Jensenius, Alexander Refsum & Rosenberg, Ingvild
(2023).
Unik forskningskonsert.
[Radio].
NRK P1.
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Jensenius, Alexander Refsum
(2023).
CV-modul som grunnlag for NOR-CAM.
Show summary
Vurdering av forskning er p? dagsorden som aldri f?r. NIFU inviterer derfor til ?pent seminar om helhetlig vurdering av forskere og forskning. Bakteppet er den nye europeiske avtalen om evaluering av forskning og den nye norske veilederen for karrierevurdering av forskere. Seminaret arrangeres i 欧洲杯在线买球_欧洲杯投注网站推荐@ mellom NIFU (R-Quest), UHR og Det nasjonale publiseringsutvalget.
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Jensenius, Alexander Refsum
(2023).
Exploring large datasets of human, music-related standstill.
Show summary
Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.
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Jensenius, Alexander Refsum & Poutaraud, Joachim
(2023).
Video Visualization.
Show summary
This workshop is targeted at students and researchers working with video recordings. Even though the workshop will be based on quantitative tools, the aim is to provide solutions for qualitative research. This includes visualization techniques such as motion videos, motion history images, and motiongrams, which, in different ways, allow for looking at video recordings from different temporal and spatial perspectives. It also includes basic computer vision analysis modules, such as extracting quantity and centroid of motion, and using such features in analysis.
The participants will learn to use the Musical Gestures Toolbox for Python, a collection of high-level modules for easily generating all of the above-mentioned visualizations and analyses. This toolbox was initially developed for analyzing music-related body motion but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, psychology, medicine, and educational sciences.
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Jensenius, Alexander Refsum
(2023).
Oppsummering av arbeidet med opphavsrett og lisenser i QualiFAIR.
Show summary
Forskere ofte stiller sp?rsm?l p? hvordan de skal h?ndtere opphavsrett n?r det samler inn data. Hvem eier data? Hvem har rettigheter og hvilke rettigheter har man som prosjektleder eller prosjektdeltaker? Hvilke lisenser skal man velge n?r man vil dele ulikt materiale slikt som artikler, datasett, kildekode, bilder, lyd- og videoopptak? Hvordan kan man bruke andres materiale som ikke har spesifikke lisenser? Hvordan kan UiO legge bedre til rette for at studenter og ansatte f?r et bevisst forhold til opphavsrett?
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Jensenius, Alexander Refsum
(2023).
Sound Actions: An Embodied approach to a Digital Organology.
Show summary
What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.
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Jensenius, Alexander Refsum
(2023).
Explorations of human micromotion through standing still.
Show summary
Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.
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Jensenius, Alexander Refsum
(2023).
Rhythmic Data Science.
Show summary
Rhythm is everywhere, from how we walk, talk, dance and play to telling stories about our past and even predicting the future. Rhythm is key to how we interact with our world. Our heartbeat, nervous system, and other bodily cycles work through rhythm. As such, rhythm is a crucial aspect of human action and perception, and it is in complex interaction with the world's cultural, biological and mechanical rhythms. At RITMO, they research rhythmic phenomena and their complex relationships with the rhythms of human bodies and brains. In the talk, Alexander will present examples of how they record, synchronize, and analyze data of complex, rhythmic human behavior, such as real-world concerts.
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Saplacan, Diana
(2023).
Introduction on my background and on the University of Oslo, Robotics and Intelligent Systems Research Group, Norway for Human-Robot Interaction Lab, Department of Social Informatics, Kyoto University, Japan.
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Saplacan, Diana; Pajalic, Zada & T?rresen, Jim
(2023).
Should Social and Assistive Robots Integrated within Home- and Healthcare Services Be Universally Designed?
Cambridge Handbook on Law, Policy, and Regulations for Human-Robot Interaction.
Cambridge University Press.
ISSN 000-0-000-00000-0.
doi:
ISBN%209781009386661.
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Jensenius, Alexander Refsum
(2023).
Wishful thinking about CVs: Perspectives from a researcher.
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Jensenius, Alexander Refsum
(2023).
Conceptualizing Musical Instruments.
Show summary
What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.
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Ellefsen, Kai Olav
(2023).
More human robot brains with inspiration from biology, psychology and neuroscience.
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Herrebr?den, Henrik; Espeseth, Thomas & Bishop, Laura
(2023).
Cognitive load affects effort, performance, and kinematics in elite and non-elite rowers.
Journal of Sport & Exercise Psychology (JSEP).
ISSN 0895-2779.
45(S1),
p. S83–S83.
doi:
10.1123/jsep.2023-0077.
Show summary
The extent to which elite athletes depend on mental effort and attention to task execution has been a debated topic. Some studies have suggested that motor experts might be relatively unaffected in the face of distraction and that they might even perform better when they attend to extraneous cognitive stimuli (for example in a dual-task paradigm), as compared to single-task conditions where they concentrate fully on a sports task. However, task complexity and participants’ skill levels have so far been relatively modest in most dual-task studies. To address gaps in past research, a multi-method study was conducted using a rowing ergometer task. Participants were nine male elite rowers from the Norwegian national rowing team, preparing for the 2020 Olympic Games in Tokyo, as well as nine male recreational rowers. Participants engaged in three-minute rowing trials of varying task demands, including single-task conditions (focusing on rowing only) and dual-task conditions (focusing on rowing and solving arithmetic problems). Performance and mental effort were measured via ergometer data (i.e., rowing speed values) and eye-tracking measures (i.e., blink rates and pupil size measurements), respectively. Movement kinematics was measured by motion capture technology. The results suggested that adding extraneous cognitive load led to performance decline and increased mental effort across all participants. Both elites and non-elites demonstrated kinematic changes when going from single-task to dual-task performance. That is, kinematic events in participants’ lower-body and upper-body segments became more temporally coupled, and more in line with movement patterns associated with novice athletes when the extraneous cognitive load was added. This study contradicts several past findings and suggests that elite athletes rely on attentional resources to execute fundamental aspects of their performance. Funding source: Research Council of Norway.
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Saplacan, Diana
(2023).
Presentation of the paper "Health Professionals’ Views on the Use of Social Robots with Vulnerable Users: A Scenario-Based Qualitative Study Using Story Dialogue Method".
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Swarbrick, Dana; Bosnyak, Dan; Marsh Rollo, Susan; Fu, Nicole; Trainor, Laurel & Vuoskoski, Jonna Katariina
(2023).
Being in Concert: The Effects of Audience Participation on Motion, Emotion, and Connectedness.
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Bernhardt, Emil
(2023).
More than a Metaphor? Schubert and an Aesthetics of the Body.
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Bernhardt, Emil
(2023).
Entrainment and Aesthetic Experience.
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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?
.
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Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Solbakk, Anne-Kristin & Endestad, Tor
(2023).
Periodic vs Aperiodic Temporal Predictions: Shared or Separate Mechanisms?
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Br?vig, Ragnhild
(2023).
Machine Rhythms.
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Br?vig, Ragnhild
(2023).
Arousal, Expectancy Violation, and Pleasure.
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Br?vig, Ragnhild
(2023).
Different approaches to qualitative methods.
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Asko, Olgerta; Solbakk, Anne-Kristin; Leske, Sabine Liliana; Meling, Torstein Ragnar; Knight, Robert T. & Endestad, Tor
[Show all 7 contributors for this article]
(2023).
The orbitofrontal cortex (OFC) has a critical role in the generation of high-level expectations.
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C?mara, Guilherme Schmidt; Danielsen, Anne & Oddekalv, Kjell Andreas
(2023).
Funky rhythms – broken beats!?Kulturelle og estetiske perspektiver p? groove-basert musikk.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
(2023).
Sinsenfist p? Parkteateret - med Horny Horns og Fister Sisters - Support louilexus & ?se.
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Lartillot, Olivier & Monstad, Lars L?berg
(2023).
MIRAGE - A Comprehensive AI-Based System for Advanced Music Analysis.
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Lartillot, Olivier
(2023).
Dynamic Visualisation of Fugue Analysis, Demonstrated in a Live Concert by the Danish String Quartet.
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Lartillot, Olivier
(2023).
Towards a comprehensive model for computational music transcription and analysis: a necessary dialog between machine learning and rule-based design?
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Br?vig, Ragnhild & Furunes, Marit Johanne
(2023).
Karrierel?psprogrammet p? RITMO med mentorordning.
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Br?vig, Ragnhild
(2023).
My way to becoming a full professor.
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Jensenius, Alexander Refsum
(2023).
Observing spaces while standing still.
Show summary
Throughout 2023, I stand still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. Previously, I have been interested in the impact of music. Now, I am listening to ventilation systems, elevators, and people walking and talking and reflecting on how they influence my body and
mind. The aim is to understand more about the rhythms of the environment.
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Jensenius, Alexander Refsum
(2023).
Innovasjon og ?pen forskning.
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Martin, Remy Richard
(2023).
Sensing Contexts: An Audio Walk Through the Nasjonalmuseet.
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Riaz, Maham
(2023).
An Investigation of Supervised Learning in Music Mood Classification for Audio and MIDI.
Show summary
This study aims to use supervised learning – specifically, support vector machines – as a tool for a music mood classification task. Four audio and MIDI datasets, each containing over four hundred files, were composed for use in the training and testing processes. Mood classes were formed according to the valence-arousal plane, resulting in the following: happy, sad, relaxed, and tense. Additional runs were also conducted with the linear discriminant analysis, a dimensionality reduction technique commonly used to better the performance of the classifier. The relevant audio and MIDI features were carefully selected for extraction. MIDI datasets for the same music generated better classification results than corresponding audio datasets. Furthermore, when music is composed with each mood associated with a particular key instead of mixed keys, the classification accuracy is higher.
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Guo, Jinyue
(2023).
Automatic Recognition of Cascaded Guitar Effects.
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Riaz, Maham
(2023).
Using SuperCollider with OSC Commands for Spatial Audio Control in a Multi-Speaker Setup.
Show summary
With the ever-increasing prevalence of technology, its application in various music-related processes, such as music composition and performance, has become increasingly prominent. One fascinating area where technology finds utility is in music performance, offering opportunities for extensive sound exploration and manipulation. In this paper, we introduce an approach utilizing SuperCollider and Open Sound Control (OSC) commands in a multi-speaker setup, enabling spatial audio control for a truly interactive audio spatialization experience. We delve into the musicological dimensions of these distinct methods, examining their integration within a live performance setting to uncover their artistic and expressive potential. By merging technology and musicology, our research aims to unlock new avenues for immersive and captivating musical experiences.
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C?mara, Guilherme Schmidt; Sioros, Georgios; Danielsen, Anne; Nymoen, Kristian & Haugen, Mari Romarheim
(2023).
Sound-producing actions in guitar performance of groove-based microrhythm.
Show summary
This study reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 expert electric guitarists were instructed to perform a simple rhythmic pattern in three different timing styles—“laidback,” “on-the-beat,” and “pushed”—in tandem with a metronome. Results revealed systematic differences across participants in the striking velocity and movement duration of chords in the different timing styles. In general, laid-back strokes were played with lower striking velocity and longer movement duration relative to on-the-beat and pushed strokes. No differences in the fretboard striking position were found (neither closer to the “bridge” [bottom] or to the “neck” [head]). Correlations with previously reported audio features of the guitar strokes were also investigated, where lower velocity and longer movement duration generally corresponded with longer acoustic attack duration (signal onset to offset).
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Bishop, Laura & Upham, Finn
(2023).
Bodies in Concert.
Show summary
Increasingly, research on music performance is moving out of controlled laboratory settings and into concert halls, where there are opportunities to explore how performance unfolds in high-arousal conditions and how performers and audiences interact. In this session, we will present findings from a series of live research concerts that we carried out with the Stavanger Symphony Orchestra. The orchestra performed the same program of classical repertoire for four audiences of schoolchildren and an audience of families. Orchestra members wore sensors that collected cardiac activity, respiration, and body motion data, and the conductor additionally wore a full-body motion capture suit and eye-tracking glasses. Audience members in some of the concerts were invited to wear reflective wristbands, and wristband motion was captured using infrared video recording. We will begin the session with a discussion of the scientific and methodological challenges that arose during the project, in particular relating to the large scale of data capture (>50 musicians and hundreds of audience members), the visible nature of research that is carried out on a concert stage, and the development of procedures for aligning data from different recording modalities. Next, we will present findings from two lines of analysis that investigate different aspects of behavioural and physiological coordination within the orchestra. One analysis investigates the effects of audience noise and musical roles on coherence in (i) cardiac rate and variability and (ii) respiratory phase and rate. The second analysis investigates the effects of musical demands on synchronization of body sway, bowing, and respiration in string sections. We will conclude the session with an open discussion of how live concert research might be optimized.
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Laczko, Balint
(2023).
Fluid.jit.plotter: a Max abstraction for plotting and querying millions of points fast using the Fluid Corpus Manipulation library.
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Upham, Finn
(2023).
Using Metrically-entrained Tapping to Align Mobile phone sensor measurements from In-person and Livestream Concert Attendees.
Show summary
Music is often made and enjoyed in large groups, but simultaneously capturing measurements from dozens or hundreds of people is technically difficult. When measurements are not constrained to wired or continuous connected wireless systems, we can record much bigger groups, potentially taking advantage of the wearable sensors in our phones, watches, and more dedicated devices. However, aligning measurements captured by independent devices is not always possible, particularly to a precision relevant for music research. Phone clocks differ and update sporadically, wearable device clocks drift, and for online broadcast performances, exposure times can vary by tens of seconds across the remote audience. Many measurement devices that are not open to digital synchronisation triggers still include accelerometers; with a suitable protocol, participant movement can be used to imbed synchronisation cues in accelerometry measurements for alignment regardless of clock times. In this paper, we present a tapping synchronisation protocol that has been used to align measurements from phones worn by audience members and a variety sensors worn by a symphony orchestra. Alignment with the embedded cues demonstrate the necessity of such a protocol, correcting offsets of more than 700 ms for devices supposedly initialised with the same computer clock, and over 10 s for online audience participants. Audience tapping performance improved cell phone measurement alignment to a median of 100 ms offset, and professional musicians tappings improved alignment precision to around 40 ms. While the temporal precision achieved with entrained tapping is not quite good enough for some types of analyses, this improvement over uncorrected measurements opens a new range of group coordination measurement and analysis options.
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Blenkmann, Alejandro Omar & Puppio, Daniel
(2023).
Interview at "La Ma?ana de la Radio" FM 97.3.
[Radio].
Neuquen, Argentina.
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Laczko, Balint
(2023).
Two-part guest lecture about spatial audio and Ambisonics for MCT students.
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Blenkmann, Alejandro Omar
(2023).
Altered hierarchical auditory predictive processing after lesions to the orbitofrontal cortex - Quantifying Evoked Responses through Encoded Information.
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T?rresen, Jim
(2023).
From Adapting Robot Body and Control to Human–Robot Interaction.
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T?rresen, Jim
(2023).
What is AI?
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Lartillot, Olivier & Monstad, Lars L?berg
(2023).
Computational music analysis: Significance, challenges, and our proposed approach.
Show summary
Music is something that we mostly all appreciate, yet it remains a hidden and enigmatic concept for many of us. Music notation, in the form of music scores, facilitates practicing and enhances the understanding of the richness of musical works. However, acquiring musical scores for any music performance is a tedious and demanding task (called music transcription) that demands considerable proficiency. Hence the interest of computational automation. But music is not just notes, it is also melody, rhythm, themes, timbre, and very subtle aspects such as form. While many of us may not be consciously familiar with these concepts, they still have a subconscious influence on our aesthetic experience. Interestingly, it often happens that the more we consciously understand the underlying language of music, the more we tend to appreciate and enjoy it. Therefore, there is value in creating computational tools that can automate and enhance these types of analyses.
The presenters' past work resulted in the creation of Matlab's MIRtoolbox, which measures a broad range of musical characteristics directly from audio through signal processing techniques. Currently, the MIRAGE project prioritises music transcription (with a particular focus on Norwegian folk music), blending neural-network-based deep learning with conventional rule-based models. Through this project, they highlight the importance of acknowledging the interconnectedness between all musical elements. Additionally, they have crafted animated visualisations to make analyses more accessible to the general public and are aiming to make music transcription technology available to the public, with support from UiO Growth House.
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T?rresen, Jim & Yao, Xin
(2023).
Tutorial: Ethical Risks and Challenges of Computational Intelligence.
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Bishop, Laura; H?ffding, Simon; Laeng, Bruno & Lartillot, Olivier
(2023).
Mental effort and expressive interaction in expert and student string quartet performance.
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Lartillot, Olivier; Thedens, Hans-Hinrich; Mjelva, Olav Lukseng?rd; Elovsson, Anders; Monstad, Lars L?berg & Johansson, Mats Sigvard
[Show all 8 contributors for this article]
(2023).
Norwegian Folk Music & Computational Analysis.
Show summary
As a prélude for Norway's Constitution Day, this special event celebrated the Norwegian folk music tradition, showcasing our new online archive and demonstrating the richness of Hardanger fiddle music, with live performance. One aim of the project is to conceive new technologies allowing to better access, understand and appreciate Norwegian folk music.
In this event, we introduced a new online version of the Norwegian Folk Music Archive and discuss underlying theoretical and technical challenges. A live concert/workshop, with the participation of Olav Lukseng?rd Mjelva, offered a lively introduction to Hardanger fiddle music and its elaborate rhythm. The interests and challenges of automated transcription and analysis were discussed, with the public release of our new software Annotemus.
The symposium was organised in the context of the MIRAGE project (RITMO, in collaboration with the National Library of Norway's Digital Humanities Laboratory).
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Lartillot, Olivier
(2023).
Music Therapy Toolbox, and prospects.
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Veenstra, Frank; Norstein, Emma Stensby & Glette, Kyrre
(2023).
Tutorial: Evolving Robot Bodies and Brains with Unity.
Show summary
The evolution of robot bodies and brains allows researchers to investigate which building blocks are interesting for evolving artificial life. Agnostic to the evolutionary approach used, the supplied building blocks influence how artificial organisms will behave. What should these building blocks look like? How should we associate control units with these building blocks? How should we represent the genomes of these robots? In this tutorial we discuss (1) previous approaches to evolving robots and virtual creatures, (2) outline how Unity simulations and Unity's ML-agents package can be used as an interface, and (3) our approach to evolving bodies and brains using Unity.
There are many existing solutions that are tailored to experimenting with body brain co-optimization and we have been using several simulation approaches to evolve modular robots that are represented by directed trees (directed acyclic graphs). Since evolving bodies can be relatively complex, we give participants an overview of existing methods and invite the participants to get some guided hands-on experience using the Unity ML-Agents for evolving robots. The Unity ML-Agents toolkit is an open-source toolkit for game developers, AI researchers, and hobbyists that can be used to train agents using various AI methods. Similar to OpenAI gym, it supplies a Python API through which one can optimize agents in a variety of environments. The Unity ML-Agents toolkit provides an easy-to-use interface that is flexible enough to allow for quick design iterations for evolving robot bodies and brains.
This tutorial is aimed at researchers that are interested in simulating the evolution of bodies and brains of robots. The tutorial will provide an overview of existing approaches to evolving bodies and brains of robots, and demonstrate how to design and incorporate control units, morphological components, environments and objectives. Participants will learn how to use Unity ML-Agents as a tool with evolutionary algorithms and learn how they can create incorporate their own robotic modules for evolving robots.
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Maidhof, Clemens; Agres, Kat; Fachner, J?rg & Lartillot, Olivier
(2023).
Intra- and inter-brain coupling during music therapy.
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Wosch, Thomas; Vobig, Bastian; Lartillot, Olivier & Christodoulou, Anna-Maria
(2023).
HIGH-M (Human Interaction assessment and Generative segmentation in Health and Music).
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Keeley, Crocket & T?rresen, Jim
(2023).
Workshop on Ethical Challenges within Artificial Intelligence - From Principles to Practice.
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Lartillot, Olivier; Swarbrick, Dana; Upham, Finn & Cancino-Chacón, Carlos Eduardo
(2023).
Video visualization of a string quartet performance of a Bach Fugue: Design and subjective evaluation.
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Monstad, Lars L?berg & Lartillot, Olivier
(2023).
Automatic Transcription Of Multi-Instrumental Songs: Integrating Demixing, Harmonic Dilated Convolution, And Joint Beat Tracking.
Show summary
In the rapidly expanding field of music information retrieval (MIR), automatic transcription remains one of the most sought-after capabilities, especially for songs that employ multiple instruments. Musscribe emerges as a state-of-the-art transcription tool that addresses this challenge by integrating three distinct methodologies: demixing, harmonic dilated convolution, and joint beat tracking. Demixing is employed to isolate individual instruments within a song by separating overlapping audio sources, thus ensuring each instrument is transcribed distinctly. Beat tracking is then run as a parallel process to extract the joint beat and downbeat estimations. These processes results in an output midi file, which is then quantized using information derived from the beat tracking. As such, this method paves the way for more accurate and sophisticated analyses, bridging the gap between human and machine understanding of music. Together, these methodologies allow us to produce transcriptions that are not only accurate but also highly representative of the original compositions. Preliminary tests and evaluations showcase the potential in transcribing complex musical pieces with high fidelity, outperforming many contemporary tools in the market. This innovative approach not only has implications for music transcription but also for broader applications in audio analysis, remixing, and digital music production. The model has been instrumental in accelerating the composition process for several Norwegian television shows. Moreover, its efficacy can be observed in the Netflix series "A Storm for Christmas." Renowned composer Peter Baden harnessed this tool to enhance his workflow, proving the demand for innovative tools like this in the professional music industry.
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T?rresen, Jim
(2023).
What is Robotics?
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T?rresen, Jim
(2023).
Future Intelligent and Adaptive Robots in Real-World Environments.
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T?rresen, Jim
(2023).
From Adapting Robot Body and Control Using Rapid-Prototyping to Human–Robot Interaction with TIAGo.
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T?rresen, Jim
(2023).
Artificial Intelligence – diverse in methods and applications.
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Br?vig, Ragnhild & Furunes, Marit Johanne
(2023).
Presentasjon av RITMOs karriereprogram for UiO sentralt (Seksjon for kompetanse- og organisasjonsutvikling, Avdeling for organisasjon og personal).
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Martin, Remy Richard
(2023).
Aesthetic Resonances: Senses of Self in Rhythm, Musical Time, and Space.
Show summary
Resonance is a rich concept that is receiving significant attention in current psychology, philosophy, and neuroscience. In ecologically-oriented literature its usage centres on perceivers’ adaptive detection of environmental information (Clarke, 2005; Raja, 2019). This is instructive of the modulating—and enhancing—nature of attention, awareness, and action. Distinct from perceptual notions of resonance in ecological psychology, physical understandings, and accounts of neural activity, appear in several related fields. These typically concern the oscillatory interactions of two systems including forms of phase locking, synchronisation, and entrainment. Elsewhere the metaphor of acoustic resonance, as manifest in political contexts, is receiving philosophical attention (James, 2019).
Resonance is also a central metaphor in the context of aesthetic subjectivities. Vernacular uses of the term in response to aesthetic entanglements (‘I resonate with this song’; ‘that artwork resonates with me’) are called to mind. Adopting the ecological approach, this paper foregrounds resonance as a means of understanding the relationship between the phenomenology of music reception and underlying perceptual and affective interactions. Particularly important, self- luminous aesthetic resonances – experienced as senses of agency, ownership, affirmation, and affiliation – form the focus of a discussion which draws empirical support from quantitative studies of live music spectatorship and rich reports of ‘private’ music listening gathered through media- stimulated, phenomenological interviews.
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Martin, Remy Richard
(2023).
Our Aesthetic Categories.
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T?rresen, Jim
(2023).
Robots-assistants that Care about Privacy, Security and Safety.
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T?rresen, Jim; Saplacan, Diana & Mahler, Tobias
(2023).
Ethical, Legal and User Perspectives on Social and Assistive Robots (ELUPSAR) workshop.
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T?rresen, Jim
(2023).
Human Intuition and its Impact on Human–Robot Interaction Regarding Safety and Accountability.
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Br?vig, Ragnhild
(2023).
RITMOs Mentorprogram.
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Martin, Remy Richard; Cross, Ian; Upham, Finn; Bishop, Laura; S?rb?, Solveig & ?land, Frederik
(2023).
What can one learn from more naturalistic concert research?
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C?mara, Guilherme Schmidt; Spiech, Connor & Danielsen, Anne
(2023).
To asynchrony and beyond: In search of more ecological perceptual heuristics for microrhythmic structures in groove-based music.
Show summary
There is currently a gap in rhythm and timing research regarding how we perceive complex acoustic stimuli in musical contexts. Many studies have investigated timing acuity in non-musical contexts involving simple rhythmic sequences comprised of clicks or sine waves. However, the extent to which these results transfer to our perception of microrhythmic nuances in multilayered musical contexts rife with complex instrumental sounds remains poorly understood. In this talk we will present an overview of a planned series of just-noticeable difference (JND) experiments that will generate ecologically valid perceptual heuristics regarding timing discrimination thresholds. The aim is to investigate the extent to which microrhythmic timing and sonic nuances are perceived in groove-based music and connect these heuristics to the pleasurable urge to move in groove-based contexts, as well as acoustic (e.g., intensity, duration, frequency) and musical features (e.g., tempo, genre), and listener factors (e.g. musical training, stylistic familiarity). Overall, we expect timing thresholds to be higher for polyphonic/musical than for monotonic/non-musical stimuli/contexts and higher for pulse attribution (whether one can perceive a “beat”; Madison & Merker 2002, Psychol Res) than for simple detection of asynchrony and anisochrony (whether one can perceive “rhythmic irregularities”). Thresholds will likely be modulated by intensity (Goebl & Parncutt 2002, ICMPC7), tempo (Friberg & Sundberg 1995, J Acous Soc Am), instrumentation (Danielsen et al. 2019, J Exp Psychol), and genre/stylistic conventions (C?mara & Danielsen 2019, Oxford). Musically trained/stylistically familiar listeners may also display style-typical sensitivity to microrhythmic manipulations (Danielsen et al. 2021 Atten Percept Psychophys; Jakubowski et al. 2022; Cogn). In terms of subjective experience, we expect that onset asynchrony exaggerations will likely elicit lower pleasure and movement ratings compared to performances with idiomatic timing profiles (Senn et al. 2018, PLoS One). Higher ratings should also be biased in favor of familiar styles (Senn et al. 2021) and rhythmic patterns that do not engender excessive metrical ambiguity are likely to elicit higher ratings (Spiech et al. 2022, preprint; Witek et al. 2014, PLoS One).
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Riaz, Maham
(2023).
Sound Design in Unity: Immersive Audio for Virtual Reality Storytelling.
Show summary
Research talk on sound design for games and immersive environments. The Unity game engine is used for environmental modeling. The Oculus Spatializer plugin provides control over binaural spatialization with native head related transfer functions (HRTF). Game scenes included C# scripts, which accounted for intermittent emitters (randomly triggered sounds of nature, critters and birds), crossfades, occlusion and raycasting. In the mixing stage, mixer groups, mixer snapshsots, snapshot triggers, SFX reverb sends, and low/high-pass filters were some of the tools demonstrated.
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Upham, Finn
(2023).
Breathing Together in Music, a RESPY Workshop.
Show summary
Respiration is a subtle but inescapable element of real time musical experiences, sometimes casually accompanying whatever we are hearing, other times directly involved in the actions of sound generation. This workshop explores respiratory coordination in music listeners and ensemble musicians with respy, a new python library for evaluating respiration information from single belt chest stretch recordings. Following an introduction to the human respiratory system and breathing in music, the workshop demonstrates how the respy algorithms evaluate phase and breath type, and presents statistical tools for assessing shared information in these features of people listening to or making music together. Rather than only use aggregate statistics such as respiration rate, respy aims to elevate the details of the respiratory sequence to facilitate our exploration of how breathing is involved in musical experiences, second-by-second. Measurable coordination of the respiratory system to musical activities challenges our expectations for interacting oscillatory systems. This session will conclude with a discussion on the different categories of relationships possible between people breathing together in music.
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Upham, Finn
(2023).
Insight into human respiration through the study of orchestras and audiences.
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Bernhardt, Emil
(2023).
Hva er musikk?
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Ellefsen, Kai Olav
(2023).
Kunstig intelligens: Verden sett gjennom en maskins ?yne.
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Ellefsen, Kai Olav
(2023).
Hva er Kunstig Intelligens?
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Ellefsen, Kai Olav
(2023).
Evolutionary Robotics.
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Upham, Finn & Christophersen, Bj?rn Morten
(2023).
Bodies in Concert: RITMO project with the Stavanger symfoniorkester.
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Upham, Finn & Oddekalv, Kjell Andreas
(2023).
Fingers and Tongues: Appreciating Rap Flows through Proprioceptive Interaction in Rhythm Hive.
Show summary
Rhythm games have been studied for their potential to develop interest in music making (Cassidy and Paisley, 2013) and transferable musicianship skills (Richardson and Kim, 2011), but how might they influence players appreciation for specific musical works? Proprioceptive interaction, a concept by game designer Matt Bloch (Miller, 2017), refers to changes in a game player's perception of music as they practice specific movements to it. By drawing attention to coincidental sounds, players can develop their hearing and appreciation for nuances of production and performance. Many fans of rap enjoy performances in languages they do not speak themselves. Without specific language skills, expertise in rap performance, and/or time to learn lyrics phonetically, their experience of a rap flow is hampered by an inability to imitate and imagine the generative action of performance. Rhythm Hive is a mobile rhythm game based on the music of BTS, Enhyphen, and TXT, Kpop groups with substantial followings outside of Korea. Game play presents players with finger choreographies to these groups’ hit songs, tapping sequences to the vocal performances across four to seven positions in a line. For these groups’ many non-rapping and non- Korean-speaking fans, playing Rhythm Hive may offer deeper understanding of performances by rappers like RM, Suga, and J-Hope. Through expert analysis of rap performance, transcriptions of game play, and reflections on the experience of playing Rhythm Hive, we consider shared structure between the prescribed finger choreographies and the rap flows they accompany. We studied rap verses from four BTS songs along side their Easy and Hard level tapping sequences (vocal versions only) to identify parallels in rhythm, segmentation, repetition, and accents. Easy mode choreographies tend to mark their relationship to rap vocals by hitting the start of lines and then articulating structure with repeated contours tapped on quarter and eighth notes. Hard mode choreographies tend to hit every rapped syllable and incorporate more gestural flourishes to mark pitch changes, ending and internal rhymes, and interesting breaks from a steady 16th note flow. Both Easy and Hard tappings sequences consistently follow the rap track when it deviates from a quantized beat. The finger choreographies of Rhythm Hive illuminate rap performances by directing and rewarding players’ attention to details of flows that may otherwise be missed. Game feedback pushes players to replicate delivery microtiming, while spatial patterns underline linguistic and rhythmic structure. Hard mode tapping sequences articulate distinguishing characteristics of specific rap styles, given players tangible sensitivity to degrees of technicality and nuances of genre. While fans may be motivated to play rhythm games like Rhythm Hive out of a preexisting love of the music and bands, tapping along offers them a chance to attend to, appreciate, and even rehearse key aspects of these rappers’ expert performance choices, regardless of how well they might follow by ear.
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Blenkmann, Alejandro Omar; Ianni, Pablo & Verdugo, Rodrigo
(2023).
Interview for TV show "Salud en Movimiento", Radio Television Neuquén.
[TV].
Neuquen, Argentina.
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Laczko, Balint
(2023).
Video poster of the project entitled “The autophagic symphony – Unveiling the final rhythm”.
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Laczko, Balint
(2023).
Online guest lecture about The Hum - a real-time 3D audiovisual performance in Max.
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Blenkmann, Alejandro Omar; Asko, Olgerta; Volehaugen, Vegard; Foldal, Maja Dyhre; Solli, Sandra & Leske, Sabine Liliana
[Show all 9 contributors for this article]
(2023).
Auditory perception, memory, and predictions.
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Blenkmann, Alejandro Omar & Agrawal, Rahul Omprakash
(2023).
Intracranial Electrode Localization workshop.
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Jensenius, Alexander Refsum
(2023).
Exploring Human Micromotion Through Standing Still.
Show summary
Moving slowly likely puts us into a special state of mind. Subjective reports from various practices including dance, Tai Chi and walking meditation suggest that slow movements can bring participants into a special state involving increased relaxation and awareness. Interestingly, relatively little research has been performed specifically to understand the underlying mechanisms and the possible applications of human slow movement. One reason might be that slow movements are not common in day-to-day life: when we want to move – for example to pick up our cup of coffee - we usually want to do it now. Some evidence suggests that humans tend to avoid moving slowly in different tasks, for example, when improvising movements together. The goal of this meeting is to bring together scholars and practitioners interested in slow movement, and to foster interdisciplinary research on this somewhat neglected topic.
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Jensenius, Alexander Refsum
(2023).
Explorations of human micromotion through standing still.
Show summary
Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.
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Jensenius, Alexander Refsum
(2023).
Sound Actions - Conceptualizing Musical Instruments.
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Jensenius, Alexander Refsum
(2023).
Sound Actions: Conceptualizing Musical Instruments.
Show summary
How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? These are questions addressed in the new book by Professor Alexander Refsum Jensenius: Sound Actions: Conceptualizing Musical Instruments published by the MIT Press.
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Jensenius, Alexander Refsum
(2023).
Introducing MusicLab.
Show summary
In 2021, one of the world’s finest string quartets, The Danish String Quartet (DSQ), and a large team of international researchers based at RITMO, co-hosted MusicLab Copenhagen – a groundbreaking event where DSQ performed their best repertoire while researchers experimented with, measured, and analyzed the experiences and behavior of musicians and audience. Some of the questions we tried to answer were: Do we become one grand “we” when absorbed in music together? How do we synchronize our bodily rhythms with the music during a concert? As an innovative musical and scientific format, the concert has been widely reported and won “Event of the Year” by the Danish National Broadcasting Corporation (DR P2). Now, the researchers have completed their analyses, and we are excited to share findings in a hybrid launch event.
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Pleiss, Martin Peter
(2023).
The affective cycle of orientation in unfamiliar contexts within an aesthetic Virtual Reality environment.
Show summary
Art has been proposed as an opportunity (Noe?) to observe the ‘strange’ (Gallagher) in the quest for phenomenological descriptions. These fringe forms of factual variations help illuminate experiential structures (Merleau-Ponty).
This paper is presenting
1) an observed, shared cycle of relationships between perceptive actions, affect and degrees of familiarity with a novel and hard-to- grasp Virtual Reality artwork.
This description results from 2) a concrete experimental methodology to utilise the combination of factual variations and experiential artworks in a phenomenological project.
As part of the analysis of my PhD project, this paper describes an experience of orientation that we subjected experiment participants to. The experiment used a multimodal VR artwork, which features a very abstract and unexpectedly inter- actable world, devoid of apparent contexts, symbolisms or real-world references. While intended as an aesthetic experience by its creators, the artwork is rich in its underlying governing laws of physics, visual- and auditory design and in its interaction dynamics.
The resulting ‘strange’ experience made it possible to observe the changing relationship of how-it-mattered: The VR world appearing as the unknown initially and then gradually becoming familiar as something through an action-centred being-with its objects. Different stages of affect become apparent, outlined as an ‘affective cycle of orientation’. Further the paper describes an observable spectrum in the quality of orienting actions and their respective intentions and stances. At one pole of this spectrum actions serve in a mediating and enabling function, the other end falls in a more classical definition of ‘affordances’ (Gibson). I will discuss this with respect to gestures and habits (Merleau-Ponty). And the paper showcases the self as more than just re-acting, but having self-enabling capacities for intentional actions by being enacted, embedded and embodied in an aesthetic experience.
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Pleiss, Martin Peter
(2023).
Action cycles before ‘affordances’ in unfamiliar contexts within a playful Virtual Reality environment.
Show summary
Virtual realities as playful, encompassing and somewhat ecological experiences offer unique opportunities for phenomenological inquiries into subjectivity. This paper is presenting
1) an observed, shared cycle of relationships between perceptive (inter)actions, affect and degrees of familiarity in the emergence of affordances while experiencing novel and hard-to-grasp objects and dynamics within a Virtual Reality.
This description results from
2) a concrete experimental methodology to utilise the potential of interactive virtual realities as factual variations to investigate subjectivity and the phenomenology of aesthetic experiences in particular. Aesthetic experiences have been proposed (No?) to observe the ‘strange’ (Gallagher) in the quest for phenomenological descriptions. This paper highlights virtual realities as fringe forms of these factual variations, which help illuminate experiential structures (Merleau-Ponty). As part of the analysis of my PhD project, the paper describes the emergence of affordances in an initially unknown VR environment. My experiment used a multimodal VR artwork, which features a very abstract and unexpectedly inter-actable world, devoid of apparent contexts, symbolisms or real- world references. While intended as an aesthetic experience by its creators, the artwork is rich and playful in its underlying governing laws, design and in its
interaction dynamics.
The resulting ‘strange’ experience made it possible to observe the changing relationship of how-it-mattered: The unknown world gradually becoming familiar as something through an action-centred being-with its objects. Different stages of affect become apparent, outlined as an ‘affective cycle of orientation’. Further the paper describes an observable spectrum in the quality of orienting actions and their respective intentions and stances. At one pole of this spectrum actions serve in a mediating and enabling function, the other end falls in a more classical definition of ‘affordances’ (Gibson). I will discuss this in relation to gestures and habits (Merleau- Ponty) and our self-enabling capacities for intentional actions by being enacted, embedded and embodied (4E-d) in an aesthetic experience.
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Jensenius, Alexander Refsum
(2023).
Tverrfaglig forskning p? rytme, tid og bevegelse.
Show summary
RITMO er et unikt SFF p? grunn av sin radikalt tverrfaglige oppbygning. Hvordan fungerer det i praksis?
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Danielsen, Anne; Br?vig, Ragnhild; C?mara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin
(2023).
There’s more to timing than time: Investigating sound–timing interaction across disciplines and cultures
.
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Lartillot, Olivier
(2023).
Computational audio and musical features extraction: from MIRtoolbox to the MiningSuite.
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Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Leske, Sabine Liliana; Llorens, Ana?s; Funderud, Ingrid & Larsson, P?l Gunnar
[Show all 10 contributors for this article]
(2023).
Temporal and precentral brain activity in automatic auditory deviance detection. Evidence from human intracranial EEG recordings.
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Blenkmann, Alejandro Omar
(2023).
Neural correlates of auditory predictions using intracranial EEG.
Show summary
Website https://gumed.edu.pl/76777.html
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Martin, Remy Richard & Bernhardt, Emil
(2023).
Entrainment, free will, and musicking: an enactivist perspective.
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Swarbrick, Dana; Danielsen, Anne; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina
(2023).
The Effects of “Feeling Moved” and “Groove” On Standstill.
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Swarbrick, Dana
(2023).
Being in Concert: Fostering Togetherness in Audiences.
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Swarbrick, Dana & Vuoskoski, Jonna Katariina
(2023).
Exploring the Relationship Between Experiences of Awe, Being Moved, and Social Connectedness in Concert Audiences.
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Swarbrick, Dana
(2023).
The Effects of Music on Climbing.
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Oddekalv, Kjell Andreas
(2023).
Sounding Same/Sounding Other:
Creative, practical and aesthetic aspects of ad libs and ‘backtracks’ in rap
.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
[Show all 8 contributors for this article]
(2023).
Sommeren for ti ?r sia : "Strekker meg, "Hvite sneakers", "Storeslem".
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Oddekalv, Kjell Andreas
(2023).
'Them bars really ain't hittin' like a play fight' : Analysing weak alternative lineations and ambiguous lineation in relation to metrical structure in rap flows.
.
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Oddekalv, Kjell Andreas
(2023).
Weak Alternatives …and their presence making shit dope.
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Oddekalv, Kjell Andreas
(2023).
Project: Chimera
Postdoctoral project – overview, examples, loose thoughts. HHRIG meeting presentation
.
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Oddekalv, Kjell Andreas
(2023).
On Analysing Hip-Hop/Rap : Doing Hip-Hop Scholarship in a hip-hop way
.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
(2023).
Sinsenfist p? St?dt.
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Oddekalv, Kjell Andreas
(2023).
Flow, layering and rupture in composite auditory streams.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
(2023).
Sinsenfist p? Strynefestivalen.
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Oddekalv, Kjell Andreas
(2023).
A Norwegian emcee/scholar – Theorizing rap flow from the outside and inside
.
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Swarbrick, Dana
(2023).
Les Effets du Musique sur Grimper .
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Jensenius, Alexander Refsum & S?rnes, Astrid Johanne
(2023).
Ny Beatles-musikk.
[Radio].
NRK Nyhetsmorgen.
Show summary
The Beatles gir ut ny musikk
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Jensenius, Alexander Refsum & S?rnes, Astrid Johanne
(2023).
Beatles med ny l?t.
[Internet].
NRK.
Show summary
?Now And Then? er ferdigstilt av Paul McCartney og Ringo Starr – med litt hjelp fr? kunstig intelligens.
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Blenkmann, Alejandro Omar
(2023).
Expectation and attention in auditory prediction.
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Br?vig, Ragnhild
(2023).
Digitalisering i musikkutdanningen.
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Blenkmann, Alejandro Omar
(2023).
Neurophysiological Mechanisms of Human Auditory Predictions: From population- to single neuron recordings.
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Lucas Bravo, Pedro Pablo
(2023).
Sonic Explorations for 3D Swarmalators.
Show summary
A swarmalator is a type of self-organizing system where agents or particles interact with each other through local rules. The term "swarmalator" is a combination of "swarm," which refers to a group of agents, and "oscillator," which refers to a system that exhibits periodic behavior. In a swarmalator system, each agent has an internal oscillator that determines its behavior, and the agents interact with their neighbors, affecting each other's oscillations and leading to synchronization. This synchronization can result in collective behaviors such as coordinated motion or pattern formation. Both the phase dynamics and spatial dynamics of the oscillators are coupled in swarmalators. Swarmalators are related to the concept of entrainment, which refers to the synchronization of rhythmic patterns in biological or physical systems.
Swarmalator systems can be used to model entrainment and the emergence of collective behavior in natural systems. Sonic and musical properties can be explored using the parameters involved in swarmalators, leading to interesting self-organized compositions and emergent behaviors capable of interacting with humans in a synchronized environment. Some of these sonical mappings will be presented for a 3D version of swarmalators, and future directions for interactive music systems based on synchronized swarms will be discussed.
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Polak, Rainer; Pearson, Lara & Horlor, Sam
(2023).
Theorizing audiency.
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Lucas Bravo, Pedro Pablo
(2023).
Human-Swarm Interactive Music Systems: Design, Algorithms, Technologies, and Evaluation.
Show summary
This paper presents considerations for developing Human-Swarm Interactive Music Systems (IMS), based on previous work in the field. We discuss design principles, algorithms, technologies, and evaluation methods for creating user-centred Human-Swarm IMSs using architectural approaches, swarm strategies, and levels of embodiment in implementation. Our contribution aims to establish a framework for future applications and research studies on swarm-based music platforms.
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Christodoulou, Anna-Maria; Lartillot, Olivier & Anagnostopoulou, Christina
(2023).
Computational Analysis of Greek Folk Music of the Aegean.
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Monstad, Lars Alfred L?berg; Baden, Peter & W?rstad, Bernt Isak Grave
(2023).
Kan kunstig intelligens brukes i l?tskriverprosessen?
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Volehaugen, Vegard; Leske, Sabine Liliana; Funderud, Ingrid; Llorens, Ana?s; Carvalho, Vinicius Rezende & Endestad, Tor
[Show all 8 contributors for this article]
(2023).
Echoes of the unheard: An intracranial electrophysiology study of expectation and attention in auditory omission processing.
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Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin & Endestad, Tor
(2023).
Both periodic and aperiodic rhythms facilitate
perceptual processing.
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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.
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Martin, Remy Richard
(2023).
Ultima Listeners.
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Laczko, Balint
(2023).
Guest lecture about granular synthesis with onset detection in Max.
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Riaz, Maham; Upham, Finn; Burnim, Kayla; Bishop, Laura & Jensenius, Alexander Refsum
(2023).
Comparing inertial motion sensors for capturing human micromotion.
Show summary
The paper presents a study of the noise level of accelerometer data from a mobile phone compared to three commercially available IMU-based devices (AX3, Equivital, and Movesense) and a marker-based infrared motion capture system (Qualisys). The sensors are compared in static positions and for measuring human micromotion, with larger motion sequences as reference. The measurements show that all but one of the IMU-based devices capture motion with an accuracy and precision that is far below human micromotion. However, their data and representations differ, so care should be taken when comparing data between devices.
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Jensenius, Alexander Refsum
(2023).
The assessment of researchers is changing – how will it impact your career?
Show summary
Changes are happening in the world of research assessment, for example by recognizing several competencies as merits and a better balance between quantitative and qualitative goals. In Norway, for example, Universities Norway presented the NOR-CAM report in 2021 which sparked a movement for reform. As an early career researcher, it's crucial to understand how these changes may impact your research career. In this talk, Jensenius will discuss the evolving landscape of research assessment and what it means for you.
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Masu, Raul; Morreale, Fabio & Jensenius, Alexander Refsum
(2023).
The O in NIME: Reflecting on the Importance of Reusing and Repurposing Old Musical Instruments.
Show summary
In this paper, we reflect on the focus of “newness” in NIME research and practice and argue that there is a missing O (for “Old”) in framing our academic discourse. A systematic review of the last year’s conference proceedings reveals that most papers do, indeed, present new instruments, interfaces, or pieces of technology. Comparably few papers focus on the prolongation of existing NIMEs. Our meta-analysis identifies four main categories from these papers: (1) reuse, (2) update, (3) complement, and (4) long-term engagement. We discuss how focusing more on these four types of NIME development and engagement can be seen as an approach to increase sustainability.
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Karbasi, Seyed Mojtaba; Jensenius, Alexander Refsum; God?y, Rolf Inge & T?rresen, Jim
(2023).
Exploring Emerging Drumming Patterns in a Chaotic Dynamical System using ZRob.
Show summary
ZRob is a robotic system designed for playing a snare drum. The robot is constructed with a passive flexible spring-based joint inspired by the human hand. This paper describes a study exploring rhythmic patterns by exploiting the chaotic dynamics of two ZRobs. In the experiment, we explored the control configurations of each arm by trying to create un- predictable patterns. Over 200 samples have been recorded and analyzed. We show how the chaotic dynamics of ZRob can be used for creating new drumming patterns.
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Bukvic, Ivica Ico; Jensenius, Alexander Refsum; Wittman, Hollis & Masu, Raul
(2023).
Implementing the new template for NIME music proceedings with the community.
Show summary
We will analyze a new possible template for NIME submissions which would simplify the integration of NIME music performances in the COMPEL, a database which facilitates navigation across different categories (pieces, persons, instruments). The template emerges from a workshop run last year at NIME about the structure of COMPEL and the process of entering all performances presented last year. From this workshop we expect to improve the template and validate it with a community.
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Oddekalv, Kjell Andreas; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik
(2023).
Nova nedstrippa - Sinsenfist.
[Radio].
Radio Nova.
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Karbasi, Seyed Mojtaba
(2023).
Reinforcement Learning for Curious Systems.
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Hope, Mikael; Spiech, Connor & Bégel, Valentin
(2023).
Synchronizing at Slower Tempi Increases Pupil Activity Compared With One’s Own Spontaneous Motor Tempo.
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Martin, Remy Richard & Bernhardt, Emil
(2023).
Entrainment, free will, and musicking: an enactivist perspective.
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Nielsen, Nanette; Martin, Remy Richard & Bernhardt, Emil
(2023).
Entrainment, free will, and musicking: an enactivist perspective.
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Monstad, Lars L?berg
(2023).
Kunstig Intelligens i kunst og kultur.
[TV].
NRK Dagsrevyen.
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Monstad, Lars Alfred L?berg
(2023).
Demonstrasjon av Kunstig Intelligens som verkt?y for komponister.
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Monstad, Lars L?berg; Silje Larsen, Borgan & Vegard, Waske
(2023).
AI i musikken: konsekvenser og muligheter.
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Lartillot, Olivier
(2023).
Towards a Comprehensive Modelling Framework for Computational Music Transcription/Analysis.
Show summary
Computational music analysis, still in its infancy, lacking overarching reliable tools, can be seen at the same time as a promising approach to fulfill core epistemo- logical needs. Analysis in the audio domain, although approaching music in its entirety, is doomed to superficiality if it does not fully embrace the underlying symbolic system, requiring a complete automated transcription and scaffolding of metrical, modal/harmonic, voicing and formal structures on top of the layers of elementary events (such as notes). Automated transcription enables to get over the polarity between sound and music notation, providing an interfacing semiotic system that combines the advantages of both domains, and surpassing the limitation of traditional approaches based on graphic representations. Deep learning and signal processing approaches for the discretisation of the continuous signal are compared and discussed. The multi-dimensional music transcription and analysis framework (where both tasks are actually deeply intertwined) requires to take into account the far-reaching interdependencies between dimensions, for instance between motivic and metrical analysis. We propose an attempt to build such a comprehensive framework, founded on general musical and cognitive principles and an attempt to build music analysis capabilities through a combina- tion of simple and general operators. The validity of the analyses is addressed in close discussion with music experts. The potential capability to produce valid analyses for a very large corpus of music would make such a complex system a potentially relevant blueprint for a cognitive modelling of music understanding. We try to address a large diversity of music cultures and their specific challenges: among others, maqam modes (with Mondher Ayari), Norwegian Hardanger fiddle rhythm (with Mats Johansson and Hans-Hinrich Thedens), djembe drumming from Mali (with Rainer Polak) or electroacoustic music (Towards a Toolbox des objets musicaux, with Rolf Inge God?y). We aim at making the framework fully transparent, collaborative and open.
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Vuoskoski, Jonna Katariina & Peltola, Henna-Riikka
(2023).
Who hates (some) music, and why? Explaining individual differences in the intensity of music-induced aversion.
Show summary
Aversive or disliked music has the capacity to evoke strong negative emotions and physical sensations – at least in some listeners. Although previous (qualitative) studies on aversive and disliked music have provided valuable insights into listeners’ experiences, more generalizable approaches are needed for understanding individual differences in strong aversion to disliked music. This study set out to explore these individual differences by developing a standardised questionnaire to measure the intensity of aversive musical experiences; The Aversive Musical Experience Scale (AMES). Furthermore, we explored potential predictors and hypothesized underlying mechanisms (such as emotional contagion and a general sensitivity to sounds) by measuring trait emotional contagion, misophonia, proneness to experiences of ASMR and frisson, and personality. Based on the results of exploratory and confirmatory factor analyses, a final 18-item version of AMES was constructed. The global AMES comprises three subscales: Sensations, Social and Features. The Sensations subscale taps into the physical sensations, bodily reactions and feelings associated with aversive musical experiences. The Social subscale comprises items related to social relationships and attitudes in the context of aversive music. Finally, the Features subscale taps into specific musical and acoustic features that participants find aversive. Misophonia emerged as the strongest predictor of global AMES and its three subscales, explaining 9-19 % (adj. R2 change) of the inter-individual variance. Emotional contagion also emerged as a significant predictor, accounting for 2-4 % of the variance in AMES and two of its subscales. Furthermore, the personality traits Neuroticism, Ageeableness, and Openness to experience, as well as age and musical training, emerged as significant predictors of at least one of the scales. The implications and limitations of the findings are discussed with respect to sound-sensitivity, music-induced emotions, and personality theory.
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Gibbs, Hannah & Vuoskoski, Jonna Katariina
(2023).
The effects of synchronised drumming and trait empathy on perspective taking and social bonding.
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Grüning, David J.; Kaemmerer, Mareike & Vuoskoski, Jonna Katariina
(2023).
Being Moved by Sad Music Across Countries: Characterising the Experience in Finland, Germany, and France.
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Vogt, Yngve; Krauss, Stefan Johannes Karl; Mossige, Joachim; Dysthe, Dag Kristian; Angheluta, Luiza & Jensenius, Alexander Refsum
(2023).
Bereder grunnen for kunstige organer.
[Business/trade/industry journal].
Apollon.
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Jensenius, Alexander Refsum
(2023).
Conceptualizing Musical Instruments.
Show summary
What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my recent book "Sound Actions". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments.
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Jónsson, Bj?rn Thór
(2023).
kromosynth.
Show summary
Sonic design with evolutionary algorithms: The engine behind synth.is and kromosynth-cli for audio waveform breeding with neuro-evolution of pattern producing networks and quality diversity search.
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Jónsson, Bj?rn Thór
(2023).
Live Streams From Evolutionary Search for Sounds.
Show summary
Here we present a web interface for navigating sounds discovered during runs of evolutionary processes. Those runs are performed as a part of investigations into the applicability of quality diversity search for sounds. This audible peek into the collected data supplements statistical analysis. Such a way of communicating the current results is intended to provide an engaging experience of the data. By either listening to automatic playback of the discovered sounds, or interacting with them, for example by changing their parameters, interesting, annoying, pleasing, and perhaps useful artefacts may be discovered, modified and downloaded for use in any creative work. The application can be accessed from desktops or mobile devices at: https: //synth.is/exploring-evoruns
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Jónsson, Bj?rn Thór
(2023).
Jukebox with research data.
Show summary
Evolution runs explorer: opening up access to current results from the application of quality diversity search algorithms to the discovery of synthesised sounds.
https://synth.is/exploring-evoruns
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Swarbrick, Dana; Palmer, Caroline; Keller, Peter; Clayton, Martin; Henry, Molly & Toiviainen, Petri
(2023).
Entrainment Workshop Panel Discussion.
Show summary
Definitions of entrainment vary across disciplines including mechanics, behavioural psychology, neuroscience, and biology. Generally, entrainment involves the adjustment of rhythmic signals to each other. Neural entrainment and rhythmic entrainment are common terms to distinguish the types of entrainment that occur in the brain or behaviour, respectively. Some use the term emotional entrainment to describe how individuals align their emotions with one another. Can a single definition truly encompass all crucial elements and be used across disciplines or are these disciplines using the term in ways that are too different from each other to be unified? One general definition from empirical musicology is “the process by which independent rhythmical systems interact with each other” (Clayton, 2012). The importance of this definition is in specifying that the independent systems must generate their own, self-sustaining rhythmic fluctuations, and that entrainment is the process of their interaction and their adjustments, whether both adjust to each other (symmetrical) or one to another (asymmetrical) (ibid.). Coincidental alignment is not necessarily a marker of entrainment processes because measuring alignment does not imply that a system has adjusted to another (ibid.). Instead, measuring adjustments after perturbations may provide stronger evidence for entrainment (ibid.). Many of the measures used to capture entrainment capture some element of alignment, however they do not necessarily measure outcomes of perturbations. A panel discussion with experts on entrainment from various disciplines will aim to highlight the successes and shortcomings of the current body of literature on entrainment and how we can improve research and methods on this phenomenon. Questions will probe researchers’ definitions of entrainment and its correspondences and distinctions with other related phenomena including general coordination and synchrony. Finally, we will aim to highlight the gaps that still exist in the literature and how these can be addressed with the currently available methods.
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Jensenius, Alexander Refsum & Zürn, Christof
(2023).
Standing still with Alexander Refsum Jensenius.
[Internet].
The Power of Music Thinking.
Show summary
What is the use of standing still for 10 minutes? I was asking myself when I saw a post on social media. It was a double picture of a man with a mobile phone around his neck displaying some data, and another picture showed the view he saw at that moment. I learned that he stood there for 10 minutes without any movement, listening to the sound that was already there. There were many pictures like this, and I decided to get in contact.
So, today, we are in Oslo. We speak with Alexander Refsum Jensenius, a professor of music technology at the University of Oslo, a book author, a music researcher and researching musician working in the fields of embodied music cognition and new interfaces for musical expression.
Alexander shares with us his experiences while performing and testing with artistic methods of embodied listening and how people experience music and sound. This goes from experiments with and without the conductor of a Symphony Orchestra to the sounds of our kitchen appliances.
We talk about his motion capture lab, where a person’s exact location and micro-movements can be detected while they hear different kinds of music, and how the researchers can understand what moves them.
Alexander shares insights about the Norwegian Championship of Stand Still, where until now, 1000s of people have participated, and the winner is the person with the lowest average velocity on standing the stillest over some time.
Alexander explains the interplay of body and mind and reveals some secrets on how to move people, for example, on the dance floor or to calm them down. It all has to do with our bpm, the average heartbeat of about 60 beats a minute.
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Solbakk, Anne-Kristin; Blenkmann, Alejandro Omar; Leske, Sabine Liliana & Endestad, Tor
(2023).
Orbitofrontal lesion impacts formation of auditory expectations.
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Jensenius, Alexander Refsum; Danielsen, Anne & S?ndergaard, Pia
(2023).
Hvor blir det av UiOs alumni-satsing?
Uniforum.
ISSN 1891-5825.
Show summary
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.
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Danielsen, Anne
(2023).
Beat bins, asynchronies and muddy sounds: Shaping micro-time in grooves.
Show summary
In musical genres such as neo-soul and hip-hop, beats often have a temporal shape that makes their placement in time difficult to locate relative to a single point in time. This is often due to ?muddy?, processed sounds or asynchronies between events at beat-related metric positions. The beat bin theory suggests that the perceptual counterpart to such beat asynchronies or muddy beat shapes in a sounding groove is an internal (perceptual) reference structure of beat bins of considerable ‘width’ and a distinctive ‘shape’. I will start by pre- senting the theory and then focus on how various acoustic factors influence the beat bin, using examples from computer-based musical grooves. Ultimately, I argue that micro-level perception of, and synchronization to, sound is opti- mized for the task at hand, in line with the flexibility and dynamic nature of the human apparatus in perceiving, predicting, and processing rhythm.
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Asko, Olgerta; Solbakk, Anne-Kristin; Leske, Sabine Liliana; Meling, Torstein Ragnar; Knight, Robert T. & Endestad, Tor
[Show all 7 contributors for this article]
(2023).
Orbitofrontal lesion impacts formation of auditory expectations.
Show summary
Current findings of orbitofrontal cortex (OFC) function suggest that this region might have a role in the generation of prediction error signals associated with top-down expectation of upcoming stimuli. We investigated the impact of lesions to the OFC on the Contingent Negative Variation (CNV), an electrophysiological marker of cognitive expectation and time perception. Twelve OFC patients and fifteen healthy controls performed an auditory local-global paradigm while brain electrical activity was recorded. The structural regularities of the tones were controlled at two hierarchical levels by rules defined at a local (i.e., between tones within sequences) level with a short timescale and at a global (i.e., between sequences) level with a longer timescale. At the global level, deviant tone sequences were interspersed among standard tone sequences in a pseudorandom order, rendering some deviant sequences more anticipated than others. We found that healthy controls exhibited CNV build-up before the occurrence of deviant sequences. The CNV drift rate was modulated by the expectancy of deviant sequences (i.e., the higher the expectancy, the higher the CNV drift rate), reflecting their ability to anticipate when a deviant tone sequence would occur. However, patients with OFC lesions did not show CNV drift modulations by the expectancy of the deviant tone sequences, indicating impaired anticipation of these upcoming events. These findings suggest involvement of the OFC in generating auditory expectations based on the contextual and temporal structure of the task.
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God?y, Rolf Inge
(2023).
Exploring sound-motion links in motormimetic cognition.
Show summary
The focus of my talk is on the intimate links between sensations of sound and of motion in music, summarized in the expression motormimetic cognition. The purpose of coining this neologism was to give a name to the mental re-enactment (in some cases, also as overt, visible body motion) of sound-related motion in listening to, or merely imagining, musical sound, and typically, as re-enactments of assumed sound-producing body motion, but also of more overall sensations of energy and/or affect.
My motivation for exploring this topic was a number of personal, introspection-based experiences of sound-producing body motion sensations when listening to music, or when merely imagining music. After quite extensive readings in various domains of the cognitive sciences, it dawned on me that maybe other people could have similar motion sensations when listening to, or merely imagining, music. When publishing papers on motormimetic cognition in musical experience, the response of people in the music cognition community was quite varied. However, in the last couple of decades, there has with the growing popularity of so-called embodied cognition in the cognitive sciences, become more accepted that there are indeed extensive links between perception and body motion in most, perhaps all, domains of human behavior. Yet, there are needless to say still very many outstanding questions as to what we mean by embodied cognition in music, and in my opinion, we seem in particular to lack more detail and systematic knowledge of how such embodied elements play out in very concrete musical features. And this is the aim of my presentation, namely to give an account of how the fusion of sound and motion can be explored in more detail.
One leading idea here is that there are constraints in sound production, both of instruments and sound-producing body motion, concerning biomechanics as well as motor control, and that we may enhance our understanding of motormimetic cognition in music by studying such constraints, first of all in performance, but also in improvisation and composition. This will include constraints and affordances of motion and body postures associated with patterns of textures, rhythm, various figures, ornaments, contours, spectral and formantic shapes, as well as the associated sense of effort and affect.
The basic idea here is to regard musical sound as intimately linked with sensations of motion, to the extent that we may actually perceive salient musical features as multimodal phenomena, e.g. in the case of a drum fill where sensations of drum sound and hands/arms motion are totally fused. Recognizing the extent of this multimodal fusion of sound and motion in music perception, should then have consequences for how we think about various theoretical and practical music-related activities, i.e. encourage us to think about a work of music as just as much a choreography of sound-producing motion as sequence of sounds.
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Monstad, Lars Alfred L?berg
(2023).
KI kan demokratisere musikkbransjen.
VG : Verdens gang.
ISSN 0805-5203.
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Glette, Kyrre
(2023).
Adaptive robots through evolutionary algorithms and machine learning.
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Glette, Kyrre
(2023).
Bio-inspiration for robot design and adaptation
.
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Glette, Kyrre
(2023).
Evolutionary and adaptive robotics: from simulation to reality
.
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Vuoskoski, Jonna Katariina
(2023).
Music and the experience of social connection.
Show summary
Musical engagement – ranging from group music-making to solitary music listening – is an inherently social activity that can facilitate communication, understanding, and connection between individuals and groups. The three studies presented in this talk shed light on the social dimension of musical experiences, focusing on the listener’s perspective. The first study explores the characteristics of virtual concerts and their impact on social connection and felt emotions during the COVID-19 pandemic. The second study compares live and livestreamed concerts and their effects on motion, emotion, the experiences of social connectedness. Finally, the third study investigates experiences of feeling moved in response to music listening, and shows that musically evoked experiences of feeling moved are associated with similar patterns of appraisals, physiological sensations, and empathic processes as feeling moved by videos depicting social scenarios. Together, these studies highlight the importance of social connection and empathy in musical experiences, demonstrating that music can serve as a powerful tool for promoting social bonding and experiences of connectedness.
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Polak, Rainer
(2023).
From Mali to Ghana: An Empirical Critique of the Theory of African Rhythm.
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Polak, Rainer
(2023).
Metric beat subdivision non-isochrony in African music: A comparative perspective.
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Polak, Rainer
(2023).
Embedded audiency: Performing as audiencing at music-dance events in Mali.
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Ranjan, Snehal; Hari, Kancharla Aditya; Vuoskoski, Jonna Katariina & Alluri, Vinoo
(2023).
Sad songs say so much: Analyzing moving music shared online.
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Vuoskoski, Jonna Katariina & Peltola, Henna-Riikka
(2023).
Who hates (some) music, and why? Explaining individual differences in the intensity of music-induced aversion.
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Vuoskoski, Jonna Katariina & Swarbrick, Dana
(2023).
Moving together: Exploring the relationship between emotions, connectedness, and motion in concert audiences.
Show summary
Music is able to evoke experiences of being moved and a sense of social connectedness in audiences – even in the context of streamed concerts and recorded music. The present study set out to investigate audiences’ emotional experiences and amount of movement in a classical string quartet concert, which was attend by both a live (N=91) and a livestreaming (N=45) audience. The results revealed that both audiences felt similarly connected to the performers, while the live audience felt more connected to other audience members than the livestreaming audience. Reports of ‘being moved’ and awe were influenced more by the piece of music than by the listening context, and the live audience demonstrated distinct motion patterns in response to different musical pieces. The amount of audience movement was also associated with the degree of connectedness experienced towards other audience members. In a follow-up online experiment, 189 participants continuously rated their experience of being moved while watching a recording of the Beethoven string quartet performance from the main concert experiment. Cross-correlations between the continuous ratings and musical features and audience movement patterns were analysed. Overall, the findings demonstrate that the degree of connectedness experienced towards other audience members is modulated by shared presence as well as the amount of audience movement, while experiences of ‘feeling moved’ and awe are influenced by the music itself.
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Br?vig, Ragnhild
(2023).
Crises affecting the economy, production, and consumption of music: Perspectives from remixers.
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Br?vig, Ragnhild
(2023).
Users’ Freedom of Expression in the Digital Era .
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Br?vig, Ragnhild
(2023).
Crisis in the Flow of Remixes and in the Maintenance of Copyright Exceptions.
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Jensenius, Alexander Refsum
(2023).
Forskarperspektivet.
Show summary
Denne hausten har Utkast til strategi for norsk vitenskapelig publisering etter 2024 vore ute til h?yring. Strategien skildrar tilr?dingar til b?de forskarar, forskingsutf?rande institusjonar, forskingsfinansi?rar og myndigheiter. I dette seminaret inviterer vi ein av dei som har utarbeidd strategien, Vidar R?eggen fr? Universitets- og H?gskoler?det, til ? fortelje om arbeidet med rapporten, innspel som har komme inn og korleis han ser for seg det framtidige publiseringslandskapet. Deretter g?r ordet til Alexander Jensenius (UiO, NOR-CAM), Johanne Raade (UiT) og Marte Qvenild (NFR), til ? diskutere korleis dei ser framtida for open publisering etter 2024, fr? perspektivet til ein forskar, institusjon og finansi?r, h?vesvis. Ser dei andre utfordringar enn dei som er fors?kt m?tt i den nye strategien?
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Jensenius, Alexander Refsum
(2023).
Still Standing: The effects of sound and music on people standing still.
Show summary
Throughout 2023, I have been standing still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for the conscious and unconscious control of musical sounds.
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Jensenius, Alexander Refsum
(2023).
Still Standing: The effects of sound and music on people standing still.
Show summary
Throughout 2023, I have been standing still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for the conscious and unconscious control of musical sounds.
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Rezende Carvalho, Vinicius; Collavini, Santiago; Kochen, Silvia; Solbakk, Anne-Kristin & Blenkmann, Alejandro Omar
(2023).
Single-neuron responses to a multifeature oddball paradigm.
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D'Amario, Sara; Ternstr?m, Sten; Goebl, Werner & Bishop, Laura
(2023).
Impact of singing togetherness and task complexity on choristers' body motion.
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Bishop, Laura; Bonnin, Geoffray & Frey, Jeremy
(2023).
Analyzing physiological data collected during music listening: An introduction.
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Bishop, Laura; H?ffding, Simon; Lartillot, Olivier Serge Gabriel & Laeng, Bruno
(2023).
Mental effort and expressive interaction in expert and student string quartet performance.
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Bishop, Laura; Niemand, Anna Maria; D'Amario, Sara & Goebl, Werner
(2023).
Coordinated head motion predicts cognitive effort and experiences of musical togetherness in singing-piano duos.
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Br?vig, Ragnhild & Stevenson, Alex
(2023).
Machine Aesthetics: An Analytical Framework .
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Br?vig, Ragnhild
(2023).
Presentation of the book Parody in the Age of Remix.
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Br?vig, Ragnhild
(2023).
Wakeful Sleep and Sleepy wakefulness in EDM.
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Br?vig, Ragnhild
(2023).
You’re not supposed to sample and rely on copyright exceptions.
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Br?vig, Ragnhild
(2023).
Publishing Panel (on the publishing of Parody in the Age of Remix).
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Serdar G?ksülük, Bilge
(2023).
Phenomenological Inquiry of Movement as a Methodology in Performing Arts Education.
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Serdar G?ksülük, Bilge
(2023).
The Implications of Laban/Bartenieff Movement Studies in the Field of Dance Anthropology.
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Serdar G?ksülük, Bilge
(2023).
Hybrid Format Movement Training Under the Pandemic Measures: A Clash Between Physical and Digital Realm.
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Serdar G?ksülük, Bilge
(2023).
Embodied Knowledge Production Through Telematics in the Hybrid Realm.
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Serdar G?ksülük, Bilge
(2023).
From Ritualistic Dance to Political Act: Embodying Oppositions Through Dancing Halay in Mass Demonstrations of Turkey .
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Serdar G?ksülük, Bilge
(2023).
Performative Quality of Aesthetics in Bio-Cultural Paradigm.
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Mossige, Joachim
(2023).
Paneldeltaker p? Abels t?rn.
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Leske, Sabine Liliana; Endestad, Tor; Volehaugen, Vegard; Foldal, Maja Dyhre; Blenkmann, Alejandro Omar & Solbakk, Anne-Kristin
[Show all 7 contributors for this article]
(2023).
Predicting the Beat Bin – Beta Oscillations Support Top-Down Prediction of The Temporal Precision of a Beat .
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Polak, Rainer
(2023).
DjembeDance – Multimodal rhythm in music and dance from West Africa.
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Rezende Carvalho, Vinicius; Mendes, Eduardo Mazoni; Cash, Sydney & Moraes, Márcio
(2023).
Auditory steady-state responses with stereoelectroencephalography: distribution and relation to seizure onset zone.
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Polak, Rainer
(2023).
Djembe Dance-Drumming from Mali and Beyond.
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Harmeling, Tobias & Polak, Rainer
(2023).
Kann man Rhythmusgefühl lernen? (Episode in the podcast "Obligato" hosted by the German music magazine "Stereo").
[Internet].
https://obligato.blogs.julephosting.de/5-kann-man-rhythmusge.
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Jensenius, Alexander Refsum
(2023).
Musikk og kunstig intelligens.
Show summary
Kunstig intelligens kan allerede skrive noter og mikse musikk. I tiden fremover vil vi se mange eksempler p? hvordan maskinl?ring tas i bruk i musikkut?ving og -produksjon og til ? skape nye lytteopplevelser. Men hva er egentlig musikalsk kunstig intelligens? Hva vil det si ? trene en maskinl?ringsmodell? Vil maskinene gj?re musikere og komponister overfl?dige? Denne forelesningen vil gi deg en del svar, men ogs? flere sp?rsm?l.
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Jensenius, Alexander Refsum
(2023).
Musikk og kunstig intelligens.
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van Otterdijk, Marieke; Saplacan, Diana; Laeng, Bruno & Torresen, Jim
(2022).
Explorative Study on Human Intuitive Responses to Observing
Expressive Robot Behavior.
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van Otterdijk, Marieke; Song, Heqiu; Tsiakas, Konstantinos; van Zeijl, Ilka & Barakova, Emilia
(2022).
Nonverbal Cues Expressing Robot Personality - a Movement Analysts Perspective.
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Jensenius, Alexander Refsum
(2022).
Erfaringer med ? lage 3xMOOC.
Show summary
I denne presentasjonen vil jeg presentere hvordan vi gjennom ?rene har utviklet tre komplette nettkurs ved Universitetet i Oslo: Music Moves (2016), Motion Capture (2022) og Pupillometry (2023). Fokuset vil ligge p? muligheter og utfordringer i video i utdanningssammenheng.
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Spiech, Connor
(2022).
Oscillatory Brain and Pupil Activity Varies with Rhythmic Complexity and Groove Ratings.
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Spiech, Connor; Hope, Mikael; C?mara, Guilherme Schmidt; Sioros, Georgios; Endestad, Tor & Laeng, Bruno
[Show all 7 contributors for this article]
(2022).
PredicTAPbility: Sensorimotor Synchronization Increases Groove.
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Volehaugen, Vegard; Leske, Sabine Liliana; Endestad, Tor; Solbakk, Anne-Kristin & Blenkmann, Alejandro Omar
(2022).
Violation of rule-based auditory patterns is detected independently of attention.
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Swarbrick, Dana & Whorms, Alex
(2022).
LIVELab Concert Experiment - Audience Motion and Emotion - Effects of Participation and Shared Presence on Motion, Emotion, and Bonding.
Show summary
September 23rd, 2022, Alex Whorms and her band, Konrad Swierczek (bass), Nigel Stewart (drums), and Stephen Orr (guitar) performed for a concert experiment on audience motion and emotion. Lead researcher Dana Swarbrick, doctoral researcher at the University of Oslo's RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, delivered a Science Snapshot presentation on the research experiment. The live audience's head motion was measured with the LIVELab's motion capture system and both the live and livestreaming audiences had their body motion measured with MoCap hats and the MusicLab App. Both audiences filled surveys that measured their emotions.
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Krzyzaniak, Michael Joseph & Bishop, Laura
(2022).
Professor Plucky—Expressive body motion in human- robot musical ensembles.
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Bishop, Laura
(2022).
Attention focus affects togetherness and body interactivity in piano duos.
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Bishop, Laura & Laeng, Bruno
(2022).
Expertise modulates the relationship between musical demands and mental effort.
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Bishop, Laura
(2022).
Intersubjectivity and musical togetherness: What is the overlap?
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Kwak, Dongho; Krzyzaniak, Michael Joseph; Danielsen, Anne & Jensenius, Alexander Refsum
(2022).
A mini acoustic chamber for small-scale sound experiments.
Show summary
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 ≤ 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.
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Malmierca, Manuel S.; Auksztulewicz, Ryszard; Teichert, Tobias; Blenkmann, Alejandro Omar & Melloni, Lucia
(2022).
The Neuronal basis of predictive coding: Evidence from brain studies across species.
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Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Leske, Sabine Liliana; Llorens, Ana?s; Funderud, Ingrid & Collavini, Santiago
[Show all 13 contributors for this article]
(2022).
Human brain network involved in auditory deviance detection. An intracranial EEG study.
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Fuhrer, Julian; Glette, Kyrre; Ivanovic, Jugoslav; Larsson, P?l Gunnar; Bekinschtein, Tristan & Kochen, Silvia
[Show all 11 contributors for this article]
(2022).
Direct brain recordings reveal continuous encoding of structure in random stimuli.
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Swarbrick, Dana & Vuoskoski, Jonna Katariina
(2022).
Collectively Classical: Social connection at a classical concert.
Show summary
Background:
Concerts are fundamentally social experiences in which an audience and musicians gather to witness and create an aesthetic experience, together. Concerts and the music featured there may facilitate connectedness and the sociorelational emotion kama muta (frequently labelled “feeling moved”) through a variety of mechanisms. Kama muta is considered a self-transcendent emotion as is awe (Yaden et al., 2017). Recent research suggests that in virtual concerts, both concert characteristics (e.g. liveness, technological platform) and individual characteristics (e.g. empathy, loneliness, concentration) influence feelings and behaviours associated with social connectedness (Swarbrick et al., 2021; Onderdijk, Swarbrick et al., 2021). Social bonding during collective music listening has previously been demonstrated in the context of dance (Tarr et al., 2016).
Aims: In a live concert experiment, we aimed to examine how concert and personal characteristics influence social connectedness, kama muta, and awe at a live concert and how the effects of live and virtual concerts differ.
Methods:
MusicLab Copenhagen was a concert experiment in which the Danish String Quartet performed to a live (n = 91) and a livestreaming audience (n = 67). Participants listened to three distinct pieces of music and responded to a questionnaire that captured their personal characteristics and their social and emotional concert experience. Specifically, participants reported feelings of social connectedness that they felt towards the performers and the other audience members, and they responded to the kama muta scale (Zickfeld et al., 2019) and to a selection of items from the awe experience scale (Yaden et al., 2019).
Results:
The live audience members felt more connected to other audience members than the virtual audience members, but both live and virtual audience members felt equally connected to the performers. The live and virtual audiences felt similar levels of kama muta and awe. However while the pieces of music showed similar effects on both social connectedness and kama muta, the pieces had an opposite effect on awe.
Conclusions:
Even though live concerts facilitate more togetherness among audience members than livestreamed concerts, livestreaming and virtual audience members experience similar levels of connectedness towards the performers, kama muta, and awe. This indicates that virtual concerts may still be useful tools for performers to strengthen their bonds with their fans.
Implications:
This research will help us to continue to uncover the benefits of concert attendance on audiences. Furthermore, this research contributes to a burgeoning field comparing the effects of live and virtual experiences and the implications of their differences on our social well-being.
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Jensenius, Alexander Refsum; Furmyr, Frida; Poutaraud, Joachim; Widmer, Marcus & Laczko, Balint
(2022).
The Musical Gestures Toolbox for Python.
Show summary
The Musical Gestures Toolbox for Python is a collection of tools for video visualization and video analysis.
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Silje, Pileberg & Erdem, Cagri
(2022).
The new, artificial composers .
[Internet].
欧洲杯在线买球_欧洲杯投注网站推荐@.no.
Show summary
In recent years artificial intelligence (AI) has affected music to an increasing extent, for instance in music production: While a human writes the main melody the machine, through AI, may produce the background arrangement.
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Pileberg, Silje & Lan, Qichao
(2022).
He Made It Easier to Code Music With Others.
[Internet].
欧洲杯在线买球_欧洲杯投注网站推荐@.no.
Show summary
Qichao Lan wanted to make music live coding accessible to anyone. As part of his PhD, he made a music language and an app easily accessible in a web browser.
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Pileberg, Silje & Oddekalv, Kjell Andreas
(2022).
The magic of rap.
[Internet].
欧洲杯在线买球_欧洲杯投注网站推荐@.no.
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Laeng, Bruno & Vem?y, Silje Kilmork
(2022).
Pupillens hemmeligheter.
[Radio].
radio.nrk.no.
Show summary
Pupillens hemmeligheter
At ?ynenes er sjelens speil, er kanskje en mer presis observasjon enn mange er klar over. Den sorte pupillen kan fortelle en hel del om oss mennesker, for eksempel om hvordan vi har det.
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Danielsen, Anne
(2022).
Bidrag til enquete om rock.
In Karlsen, Ole & Markussen, Bjarne (Ed.),
Sanglyrikk. Teori - Metode - Sjangrer.
Scandinavian Academic Press.
ISSN 978-82-304-0342-6.
Show summary
Lyrikken er den mest popul?re og utbredte av alle diktarter – vel ? merke sanglyrikken, den som fremf?res til musikk og formidles gjennom radio, grammofonplater, CD-er og str?mmetjenester. Den omgir oss til daglig og er samtidig den eldste formen for lyrikk vi kjenner til. I det gamle Hellas ble diktene fremsagt til lyrespill.
Til tross for dette har sanglyrikken v?rt mindre utforsket enn skriftlyrikken, og det har skortet p? teoretiske og metodiske perspektiver. Det s?ker denne boka ? r?de bot p?. Her diskuteres f?rst de grunnleggende likheter og forskjeller mellom skrift- og sanglyrikk, mellom ?ye- og ?rekunst. Videre dr?ftes metodiske innfallsvinkler til studiet av sanglyrikk, med tanke p? samspillet mellom ord og musikk. Deretter gj?r boka rede for en rekke kjente sanglyriske sjangrer: ballader, skillingsviser, salmer, joik, viser, blues, rock, indie-folk og rap.
Boka er den f?rste i sitt slag i Norge. Den er s?rlig rettet mot forskere og studenter i h?yere utdanning, og l?rere som vil arbeide med sanglyrikk i skoleverket. Men alle som interesserer seg for sanglyrikkens sjangrer, vil finne noe ? glede seg over her.
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God?y, Rolf Inge & Hestholm, Marion
(2022).
Spillerom Ernst Simon Glaser og Rolf Inge God?y.
[Radio].
radio.nrk.no.
Show summary
D? solocellist i Kringkastingsorkesteret, Ernst Simon Glaser, bestilte seks nye verk for solo cello, ville han at komponistane skulle skrive i dialog med Bachs cellosuiter. Kva oppn?dde han med det? Echoes of what will come er tittelen p? utgivnaden med verk av seks komponistar som leverer eitt eller fleire nikk til gamle Johann Sebastian.
Namnet Rolf Inge God?y vert i dag knytt til forsking p? musikk og r?rsle ved Universitetet i Oslo. God?y har vore sentral i oppbygginga av eit forskingsmilj?, men i sitt nye tilv?re som professor emeritus vil han ta opp att komponeringa!
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Hestholm, Marion
(2022).
Spillerom.
[Radio].
Radioprogram.
Show summary
Namnet Rolf Inge God?y vert i dag knytt til forsking p? musikk og r?rsle ved Universitetet i Oslo. God?y har vore sentral i oppbygginga av eit forskingsmilj?, men i sitt nye tilv?re som professor emeritus vil han ta opp att komponeringa!
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Sandvik, Bj?rnar Ersland
(2022).
Sample, Slice, Stretch! Four Innovative Moments in the History of Waveform Representation.
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Br?vig, Ragnhild & Aareskjold-Drecker, Jon Marius
(2022).
Vocal Chops: Another Human/Machine Hybrid.
Show summary
Mainstream popular music has, over the past decade, been characterized by the rhythmic and weird-sounding vocal effect known as vocal chops—short vocal samples that are juxtaposed, rearranged, and repitched to create hooks and effects. The samples are usually manipulated (transposed, formant shifted, or cut up, for example) to create a hybrid human-syntheziser sound and rearranged into a melody with abrupt and often unexpected transitions between the sounds. In this paper, we will first explore the historical origins of vocal chops, framing this effect as the most recent incarnation of producers’ and listeners’ enduring fascination with vocal manipulation. Drawing on ecological affordance theory, we will further speculate on what it is that people find so fascinating about this effect. We will also demonstrate various approaches to creating vocal chops and the various effects that these approaches produce, arguing that the intense exploration of this technique in recent years has led to its normalization, and to its progressively subtler integration into music productions.
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Jensenius, Alexander Refsum
(2022).
Kunstfag og ?pen forskning.
Show summary
Hvilke dilemmaer oppst?r n?r forskningsdata og resultater skal deles og gjenbrukes? Og hvilke muligheter medf?rer mer ?penhet og ?kt deling av data for fag som eksempelvis musikk, visuell kunst, film, scenekunst og design?
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B?hler, Kjetil Klette
(2022).
Groove Politics: Pleasure and Participation in Cuban Dance Music.
Show summary
This paper develops the concept of groove politics to investigate how the rhythmic qualities of shared musical experiences influence participatory democracy. Groove Politics is grounded in an analysis of listening and draws on recent studies on how music grooves, creates pleasure, and produces affective communities. Groove Politics understands musical sounds as complex signs that operate thanks to an interplay between rhythm, melody, harmony, lyrics, and local cultural meanings in which political expressions gain affective force as they bring people together. I apply this lens to performances of the Cuban band Interactivo and their musical dialogues with political and cultural changes in Cuba over the last two decades. Interactivo has been among the most innovative, controversial, and popular bands in the country of late thanks to their unique mixture of timba, rumba, jazz, funk, trova, hip-hop and world music. The study illuminates how Interactivo’s grooves both nurture and contest people’s sense of revolutionary values thanks to particular organizations of musical sound.
While existing scholarship on the politics of music elaborates upon the ways in which music is “articulated,” “mediated,” or “embedded” in larger political contexts and discourses, few studies have shown how music shapes political experience. Groove Politics fills this lacuna by taking seriously music’s ability to move us and create affective communities of political expression. The paper questions the established truism within popular music studies that the political meaning of music cannot be found in “the music itself”. Instead, Groove Politics takes its cue from John Street’s remark that what is lacking in existing scholarship is a “musical theory of politics [that takes seriously] the political possibilities inherent in pleasure”. Conceptually, Groove Politics builds on arguments within political theory by Arendt and Rancière that underscore the importance of aesthetics in politics coupled with research on how music grooves. It uses this frame to study how grooves redefine community and political discourse. The paper adds to existing musicological scholarship on popular music by drawing attention to how music moves us politically and aesthetically, coupled with analysis of the artistic and ethical judgements that give rise to and result from such practices.
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Wallace, Benedikte & Melteig, Elina
(2022).
Benedikte ba maskinen lage egne danser, basert p? data fra ekte dansere.
[Internet].
titan.uio.no.
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Jensenius, Alexander Refsum
(2022).
Exploring music performance and perception through motion capture.
Show summary
This talk will present different approaches to capturing human bodily activity. Motion capture can be performed with sensor-based and camera-based systems, each of which has benefits and limitations. Sensor-based systems are flexible and scalable and can easily be used outside laboratory environments. They are good at tracking relative motion and rotation information but less suitable for tracking position. Camera-based systems come in many flavors and can be used with and without markers. They excel at tracking positions but are prone to reflections and environmental noise. As a consequence, camera-based motion capture systems are better suited for laboratory settings. I will discuss my twenty-year-long experience using different motion capture systems to study music-related body motion. This includes research on musicians, including rehearsal techniques and performance strategies. Such studies push the limits of the technology when it comes to precision and accuracy. It is particularly challenging when using motion capture equipment in real-world concert settings. At the University of Oslo, we have successfully captured the motion of both solo and ensemble performances and are currently trying to scale up to a full orchestra. We are also carrying out motion capture of perceivers, audience members in concerts, dancers, and other people moving to music. Through the Norwegian Championship of Standstill, we have delved into human micromotion, the tiniest actions we can perform and perceive. At this level, motion capture can detect physiological signals, such as breathing and heart rate. Data from such studies are interesting scientifically and have also been used in artistic practice. Finally, I will give examples of how real-time motion capture can be used in various creative applications, including "inverse" sonic interaction.
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Jensenius, Alexander Refsum & Lome, Ragnhild
(2022).
Mer mangfold innenfor humaniora?
[Business/trade/industry journal].
欧洲杯在线买球_欧洲杯投注网站推荐@spolitikk.
Show summary
En ny kunnskapspolitisk prosess er i gang, om hvordan akademiske karrierer skal vurderes. Hvordan p?virker det humaniora i Norge??
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Remache-Vinueza, Byron; Trujillo-León, Andrés; Clim, Maria-Alena; Sarmiento-Ortiz, Fabián; Topon-Visarrea, Liliana & Jensenius, Alexander Refsum
[Show all 7 contributors for this article]
(2022).
Mapping Monophonic MIDI Tracks to Vibrotactile Stimuli Using Tactile Illusions.
Show summary
In this project, we propose an algorithm to convert musical features and structures extracted from monophonic MIDI files to tactile illusions. Mapping music to vibrotactile stimuli is a challenging process since the perceptible frequency range of the skin is lower than that of the auditory system, which may cause the loss of some musical features. Moreover, current proposed models do not warrant the correspondence between the emotional response to music and the vibrotactile version of it. We propose to use tactile illusions as an additional resource to convey more meaningful vibrotactile stimuli. Tactile illusions enable us to add dynamics to vibrotactile stimuli in the form of movement, changes of direction, and localization. The suggested algorithm converts monophonic MIDI files into arrangements of two tactile illusions: “phantom motion” and “funneling”. The validation of the rendered material consisted of presenting the audio rendered from MIDI files to participants and then adding the vibrotactile component to it. The arrangement of tactile illusions was also evaluated alone. Results suggest that the arrangement of tactile illusions evokes more positive emotions than negative ones. This arrangement was also perceived as more agreeable and stimulating than the original audio. Although musical features such as rhythm, tempo, and melody were mostly recognized in the arrangement of tactile illusions, it provoked a different emotional response from that of the original audio.
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Solbakk, Anne-Kristin; Endestad, Tor & Knight, Robert Thomas
(2022).
Oslo - Berkeley collaboration in cognitive neuroscience and neuropsychology.
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Fu, Nicole; Bosnyak, Dan; Marsh Rollo, Susan; Vuoskoski, Jonna Katariina; Trainor, Laurel & Swarbrick, Dana
(2022).
Being in Concert: The effects of audience participation on engagement, kama muta, and connectedness.
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Swarbrick, Dana
(2022).
Being in Concert: Audience Motion, Emotion, and Bonding.
Show summary
https://ictm-somos.github.io/Symposium-2022/program.html
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Upham, Finn
(2022).
Uncovering the active listener.
Show summary
Our experiences of music are both highly idiosyncratic, special to each of us in each moment, and collective, with common influences across a listening crowd. Through a series of empirical studies on how people feel and behave during music listening, Finn Upham traces their trajectory from a basic model of performed stimulus and audience response to an empowered-listener view of musical engagement. If participation is part of all musical experiences, this poses a question to all producers of music: “What are you asking your audience to do?”
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Upham, Finn; Memis, Ahmet Emin; Hansen, Niels Chr.; Rosas, Fernando E.; Clim, Maria-Alena & Jensenius, Alexander Refsum
(2022).
Participatory applause: Interactions of audience members clapping at the end of a classical music concert.
Show summary
Participatory applause: Interactions of audience members clapping at the end of a classical music concert
According to musicological studies of audience culture, applause is the most overt form of participation allowed to the collections of individuals attending classical music concerts (Brandl-Risi, 2011; Small, 1998; Tr?ndle, 2020). The final round of applause can exhibit many interesting dynamics related to their collective enthusiasm for the performance (Lupyan & Rifkin, 2003), the local applause culture, and what is on stage during the clapping.
Quantitative empirical study of group clapping behaviours has principally depended on participants clapping on request in laboratory settings or A/V recordings from concerts (Neda, 2000) and presentations (Mann et al., 2013). To study the coordination involved in this collective behaviour, we need accurate measurements of individuals clapping voluntarily in a real concert setting.
To describe how the appreciative audience members adjust their clapping to each other and the action on stage during the final round of applause, demonstrating their participation at a concert’s end.
*
After the Danish String Quartet (DSQ) performed their last piece at the Music Lab Copenhagen Concert, the audience clapped continuously for nearly two minutes. During that time, the musicians stood and bowed, had scientific instruments removed from their bodies, left the stage, returned to bow again, and finally left the stage for good. The clapping action of individual participants in this concert experiment was captured by a mobile phone on their chests, and these recordings show how individuals’ clapping contributed to the collective effect shared with the musicians.
Through the final applause interval, 70 devices captured clear clap sequences, representing over half of the audience at this chamber performance. In some ways, their applause followed expected patterns for a concert audience. They began to applaud over a very short time interval (Mann et al., 2013), more than half starting within less than a second of each other. After 20 s of independent clapping at rates from under 120 BMP to over 200 BPM, the participants shifted to clapping together on a shared beat, a practice that is common for Danish audiences. This group maintained synchrony for over a minute while steadily accelerating from around 158 BMP to 176 BMP, an expected consequence of mutual adaptation during group clapping (Thomson et al., 2018). The coordinated action was strongest while the musicians were on the stage but a subset of independent clapping broke out while the audience waited for the performers to return for their final round of bows.
Participants’ claps were evaluated from two perspectives: the alignment of claps, reflecting the dominant shift from independence to coordination, and the distribution of participants’ clapping rates over time. Despite some measurement challenges, the shift from independent to coordinate clapping emerges strongly from participants’ movements, with the median rate of clapping slowing until a dominant beat takes hold. Individuals’ clap sequences confirm that the independent clapping at the start of the applause is a result of individual participants clapping isochronously at their own rate, separate in rate and phase from their neighbours in the hall. When the audience claps together, they are voluntarily adjusting to the dominant rate and phase of the people in the hall, with little change in the quality of their isochronous clapping action. Drift in the synchronised clapping rate reflects mutual attentiveness while variation in the number of participants contributing to the coordinated claps suggests differences in applause strategy. Many participants opted to coordinate with their peers while some seemed to prioritise reacting to the musicians.
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Upham, Finn; Park, So Yeon & Lee, Jin Ha
(2022).
Concert tweeting: Textures of fan activity on twitter during Sowoozoo.
Show summary
Live-streamed BTS concerts have become a familiar fan activity for ARMY. While the broadcasting platform gives fans reliable access to the show, these remote audiences are also using alternative platforms to connect with each other. We look at Twitter activity using the #SOWOOZOO tag around the muster concerts in 2021 to understand how and when ARMY twitter interacted during the performance.
Liking and retweeting activity followed the attentional demands of the concert live stream. We observed greater fan engagement during the less active times of Sowoozoo (e.g., when BTS were off stage or talking for long periods). This suggested fans did not want to look away from the exciting musical performances but did read and engage with circulating tweets when the program allowed, like in-person audience members checking in with their friends between sets. However, most original posts to the hashtag had a different pattern, reflecting fans’ needs to shout about what was on stage regardless of whether anyone was looking to read their reactions in real time. Although they contained highly relatable expressions of the tweeter’s own strong feelings of love and excitement, these reaction posts received relatively little engagement, buried quickly in the continued heavy flow on ARMY twitter’s timelines. Instead, the most popular tweets to share and like had high quality information like video clips and translations.Tweets in the middle range of engagement often included both expressions of excitement and valuable media. Disinterested in the limited interaction opportunities within the concert streaming platform, these fans adapted Twitter to serve multiple objectives, from screaming their feelings in a virtual crowd and to collecting and sharing the concert-related content they loved.
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Upham, Finn & Oddekalv, Kjell Andreas
(2022).
Tapping into the flow: Proprioceptive interaction with rap in Rhythm Hive.
Show summary
Rhythm Hive is a mobile rhythm game released that features music by the Hybe bands BTS, Enhyphen, and TXT. With examples of gameplay, we describe how this app gives fans access to new levels of appreciation for rap verses, particularly for non-korean speakers and non-rappers.
Interactive proprioception, a concept by game designer Matt Bloch (Miller, 2017), refers to changes in a player's perception of music as they learn movements to it. Choreography draws attention to coincidental elements of a track, allowing players to intimately and viscerally act with a recorded performance. Players’ actions in Rhythm Hive principally parallel the voiced tracks, the members’ contributions, through dense combinations of finger taps, holds, and slides. Taps to sung phrases often follow melodic pitch but the gestures for rap verses must negotiate different criteria for choosing which syllables to tap to and what shape to give mostly-monotone 16th note runs.
In a rap flow - here defined as the rhythm of the words and rhymes in a piece of rap music - the rhythmic structure is created by the placement of the rapped syllables, the stress patterns of said syllables, rhymes and phrase boundaries within a music-rhythmic context. Flow, together with delivery (the way the rhythms are performed) and lyrical content constitute the rap’s expression.
In Rhythm Hive, players kinesthetically experience structural features of rap flows: how rhythmic patterns are repeated with slight but significant differences, how long phrases cross music-metrical boundaries to build up tension towards an eventual release, and how phrase-endings with rhymes and punchlines are significant gestures. Comparing Easy and Hard mode sequences to select excerpts of the BTS discography, we show how gameplay illuminates the artistry in these verses by tapping along with and therefore into the flow.
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Asko, Olgerta; Blenkmann, Alejandro Omar; Leske, Sabine Liliana; Foldal, Maja Dyhre; Llorens, Ana?s & Funderud, Ingrid
[Show all 10 contributors for this article]
(2022).
Altered hierarchical auditory predictive processing after lesions to the orbitofrontal cortex.
Show summary
In this study, we tested the causal involvement of the OFC in noticing breaches of predictions (i.e., PEs) at different hierarchical levels of task structural complexity. With this aim, we examined the event-related potentials (ERPs) of patients with focal OFC lesions and healthy adults while performing an auditory local-global oddball paradigm. Altogether, we found that after OFC damage, low-level PEs (i.e., processing of stimuli that are unpredicted at the local level) and combined low- and high-level PEs (i.e., processing of stimuli that are unpredicted at both the local and global level) were impacted. However, the processing of standard tones was not affected. We conclude that the OFC may contribute to a top-down process that modulates the deviance detection system in the primary auditory cortices, and may be involved in connecting PEs at lower hierarchical areas with predictions at higher areas. The study sheds new light on the poorly explored deficits of hierarchical auditory prediction in patients with damaged OFC.
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Jensenius, Alexander Refsum
(2022).
RITMO and Interdisciplinarity.
Show summary
In this presentation I will discuss how we have been developing an interdisciplinary research centre, in which researchers from the arts and humanities and the social and natural sciences.
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Bishop, Laura
(2022).
Shared attention and shared expressive goals affect classical piano duos' playing quality and experiences of togetherness.
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Bishop, Laura
(2022).
Emergent coordination of ancillary gestures motivates musical and interperformer engagement during group music-making.
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Fuhrer, Julian; Blenkmann, Alejandro Omar; Endestad, Tor; Solbakk, Anne-Kristin & Glette, Kyrre
(2022).
Complexity-Based Encoded Information Quantification in Neurophysiological Recordings.
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Fuhrer, Julian; Glette, Kyrre; Ivanovic, Jugoslav; Larsson, P?l Gunnar; Bekinschtein, Tristan & Kochen, Silvia
[Show all 11 contributors for this article]
(2022).
Direct brain recordings reveal continuous encoding of structure in random stimuli.
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Jensenius, Alexander Refsum
(2022).
NOR-CAM - en introduksjon.
Show summary
A working group appointed by Universities Norway (UHR) was mandated to recommend guiding principles for the assessment and evaluation of research(ers) in light of the transition to Open Science. This working group proposed a more flexible and holistic framework for recognition and rewards in academic research assessment. The ambition has been to develop a guide that adopts three core principles for assessment: more transparency, greater breadth, and comprehensive assessments as opposed to the one-sided use of indicators.
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Jensenius, Alexander Refsum
(2022).
From ideas to reality: interdisciplinary collaborations.
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Jensenius, Alexander Refsum
(2022).
Open music research between art and science.
Show summary
Many music researchers are turning towards studying music performance and perception in real-world settings. Collecting data in a concert situation is non-trivial, and FAIRifying the data is even more challenging. In this talk, I will discuss some challenges with handling privacy and copyright matters in music research. I will also discuss some benefits of working towards more open music research.
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Jensenius, Alexander Refsum
(2022).
Publish or Perish? Researcher assessment is about to change.
Show summary
In July 2022, the European Commission launched an Agreement On Reforming Research Assessment. After years of talking, there is significant momentum for changing how researchers are assessed. In this talk, I will present some work leading up to the new agreement and how Universities Norway took a lead when developing the Norwegian Career Assessment Matrix (NOR-CAM). The core idea is that academics need to get recognition for a broader range of activities. This is important for transitioning to more open research practices and diverse career paths within and outside academia.
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Jensenius, Alexander Refsum
(2022).
Alternatives to journal-based metrics in research assessment.
Show summary
Science Europe invites institutional leaders, researchers at all stages of their careers, and experts from the field to join its 18 and 19 October 2022 conference on Open Science to discuss two key questions: (1) Is Open Science ready to become the norm in research? (2) How do we ensure this becomes an equitable transition? To find answers to these questions, the conference will provide a comprehensive overview of practical and policy initiatives, research assessment reforms, and financial measures that support the transition to Open Science. We will also look forward to new and emerging trends.
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Jensenius, Alexander Refsum
(2022).
Experiencing the world through sound actions.
Show summary
This talk will reflect on my year-long project recording a daily "sound action". These are multimodal entities consisting of body motion and its resultant sound. When we only see a sound action, we can imagine its sound. If we only hear a sound action, we can imagine the body motion and objects involved in the interaction. Sound actions are ubiquitous in everyday life yet rarely discussed and reflected upon. My attempts at analyzing sound actions show some of the complexity involved in making sense of actions, reactions, and interactions with the world. This complexity can also inspire creative usage. I will present examples of meaningless and cognitively conflicting sound actions in the talk.
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Herrebr?den, Henrik & Bj?rndal, Christian Thue
(2022).
Youth international experience is a limited predictor of senior success in football: The relationship between U17, U19, and U21 experience and senior elite participation.
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Ellefsen, Kai Olav
(2022).
Towards more Human Robot Brains.
Show summary
Despite many large breakthroughs in Artificial Intelligence in the last decade, robots are still struggling to solve tasks that we as humans take for granted, like emptying a dishwasher or learning multiple skills in a sequence.
In this talk, Kai Olav Ellefsen will talk about work he and colleagues at the group of Robotics and Intelligent Systems (ROBIN), University of Oslo, have done with the goal of making robots more robust and better learners, by taking inspiration from how humans and animals learn.
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Br?vig, Ragnhild
(2022).
PhD course on academic formats: monograph, article, kappe.
Show summary
Presentation and panel discussion
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Br?vig, Ragnhild
(2022).
Genre in the Context of Digital Media Culture Seminar and Doctoral Workshop.
Show summary
Presentation ("Do Genre Boundaries Belong to a Bygone Era?") and panel discussion
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Oddekalv, Kjell Andreas
(2022).
Skreiv bok om H?ge Brelle.
[Newspaper].
M?re.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik
(2022).
Bilkollektivbil.
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Lartillot, Olivier; Elovsson, Anders; Johansson, Mats Sigvard; Thedens, Hans-Hinrich & Monstad, Lars Alfred L?berg
(2022).
Segmentation, Transcription, Analysis and Visualisation of the Norwegian Folk Music Archive.
Show summary
We present an ongoing project dedicated to the transmutation of a collection of field recordings of Norwegian folk music established in the 1960s into an easily accessible online catalogue augmented with advanced music technology and computer musicology tools. We focus in particular on a major highlight of this collection: Hardanger fiddle music. The studied corpus was available as a series of 600 tape recordings, each tape containing up to 2 hours of recordings, associated with metadata indicating approximate positions of pieces of music. We first need to retrieve the individual recording associated with each tune, through the combination of an automated pre-segmentation based on sound classification and audio analysis, and a subsequent manual verification and fine-tuning of the temporal positions, using a home-made user interface.
Note detection is carried out by a deep learning method. To adapt the model to Hardanger fiddle music, musicians were asked to record themselves and annotate all played note, using a dedicated interface. Data augmentation techniques have been designed to accelerate the process, in particular using alignment of varied performances of same tunes. The transcription also requires the reconstruction of the metrical structure, which is particularly challenging in this style of music. We have also collected ground-truth data, and are conceiving a computational model.
The next step consists in carrying out detailed music analysis of the transcriptions, in order to reveal in particular intertextuality within the corpus. A last direction of research is aimed at designing tools to visualise each tune and the whole catalogue, both for musicologists and general public.
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Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik
(2022).
Self-made man.
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Akca, Merve
(2022).
Trial Lecture for Ph.D. disputation: Attention to sounds – theoretical frameworks and applied perspectives in music psychology?.
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Akca, Merve; Bishop, Laura; Vuoskoski, Jonna Katariina & Laeng, Bruno
(2022).
Tracing the Temporal Limits of Auditory Information Processing with Pupillometry.
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Akca, Merve
(2022).
Presentation and Summary of Ph.D. Project: Attending to Sounds in the Blink of an Eye.
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Akca, Merve
(2022).
The Limits of Auditory Perception and Cognition in Humans: Detecting and Attending to Sounds
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Lindblom, Diana Saplacan; T?rresen, Jim & Hakimi, Nina
(2024).
Dynamic Dimensions of Safety -
How robot height and velocity affect human-robot interaction: An explorative study on the concept of perceived safety.
University of Oslo.
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Noori, Farzan Majeed; T?rresen, Jim; Uddin, Md Zia & Riegler, Michael A.
(2023).
Multimodal Deep Learning Approaches for Human Activity recognition.
Universitetet i Oslo.
ISSN 1501-7710.
Full text in Research Archive
Show summary
Smart homes may be beneficial for people of all ages, but this is especially true for those with care needs, such as the elderly. To assist, monitor for emergencies, and provide companionship for the elderly, a substantial amount of research on human activity recognition systems has been conducted. Several algorithms for activity recognition and prediction of future events have been reported in the scientific literature. However, the majority of published research does not address privacy concerns or employ a variety of ambient sensors.
The objective of this thesis is to contribute to the progress in research relevant to activity recognition systems that use sensors that collect less privacy-related information. The following tasks are included in the work: assessment of sensors while keeping privacy concerns in mind, selection of cutting-edge classification methods, and how to fuse the data from multiple sensors. This thesis contributes to making progress on systems for analyzing human activity and state—or vital signs—for application in a mobile robot.
This dissertation examines two topics. First, it examines the privacy concerns associated with having a robot in the home. On a robot, an ultra-wideband (UWB) radar-based sensor and an RGB camera (for ground truth) were installed. An actigraphy device was also worn by the users for heart rate monitoring. The UWB sensor was selected to maintain privacy while monitoring human activities. Considering different ways to represent data from a single sensor is the second topic under investigation. That is, how data from multiple representations can be combined. For this purpose, we investigate various data representations from a single sensor’s data and analysis using cutting-edge deep learning algorithms.
The contributions provide considerations for equipping a mobile home robot with activity recognition abilities while reducing the amount of privacy-sensitive sensor data. The work also concerns examining the potential privacy restrictions that must be established for the analyzing systems. The thesis contains new methods for combining data from multiple information sources. To achieve our objective, convolutional neural networks and recurrent neural networks were applied and validated using conventional methods.
The conclusion of the thesis is that we can achieve good accuracy with limited sensors while maintaining privacy. It is, however, likely adequate for assisting healthcare personnel and caregivers in their work by indicating current activity status and measuring activity levels, providing alerts about abnormal activities. The results can hopefully contribute to older people being able to live alone in their homes with a larger chance of any unwanted events being quickly detected and notified to the caregivers and providers.
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Taye, Eyosiyas Bisrat & Ellefsen, Kai Olav
(2023).
Accountability Module: Increasing Trust in Reinforcement Learning Agents.
Universitetet i Oslo.
Show summary
Artificial Intelligence requires trust to be fully utilised by users and for them to feel safe while using them. Trust, and indirectly, a sense of safety, has been overlooked in the pursuit of more accurate or better-performing black box models. The field of Explainable Artificial Intelligence and the current recommendations and regulations around Artificial Intelligence require more transparency and accountability from governmental and private institutes. Creating a self-explainable AI that can be used to solve a problem while explaining its reasoning is challenging to develop. Still, it would be unable to explain all the other AIs without self-explainable abilities. It would likely not function for different problem domains and tasks without extensive knowledge about the model. The solution proposed in this thesis is the Accountability Module. It is meant to function as an external explanatory module, which would be able to function with different AI models in different problem domains. The prototype was inspired by accident investigations regarding autonomous vehicles but was created and implemented for a simplified simulation of vehicles driving on a highway. The prototype's goal was to attempt to assist an investigator in understanding why the vehicle crashed. The Accountability Module found the main factors in the decision that resulted in an accident. It was also able to facilitate the answering of whether the outcome was avoidable and if there were inconsistencies with the agent's logic by examining different cases against each other. The prototype managed to provide useful explanations and assist investigators in understanding and troubleshooting agents. The thesis and the Accountability Module indicate that a similar explanatory module is a robust direction to explore further. The chosen explainability methods and techniques were highly connected to the problem domain and limited by the scope of the thesis. Therefore, a more extensive test of the prototype with different problems needs to be performed to check the system's rigidity and versatility as well as the significance of the results. Nevertheless, in a collaboration between an Accountability Module expert and a domain expert, I expect a modular explainability solution to create more insight into an AI model and its significant incidents.
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Kocan, Danielius & Ellefsen, Kai Olav
(2023).
Attention-Guided Explainable Reinforcement Learning: Key State Memorization and Experience-Based Prediction.
Universitetet i Oslo.
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Wallace, Benedikte
(2023).
AI-generated Dance and The Subjectivity Challenge.
Universitetet i Oslo.
ISSN 1501-7710.
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Akca, Merve
(2022).
Attending to Sounds in the Blink of an Eye.
Universitetet i Oslo.
Show summary
When we attend to something within a rapid sequence, the ‘eyes of attention’
appear to shut for a short period of time, limiting our information processing
ability. This thesis details an investigation into the factors that could potentially
modulate the limits of perception and attention to brief sounds over time. Due to
a scarcity of research and unresolved debates, the temporal limits of perception
and attentional selection in the auditory modality are not sufficiently understood.
In a series of empirical studies, we tested whether these temporal limits can
be modulated through various experimental manipulations and/or individual
differences. These studies yielded a complex pattern of results which suggests
that human voices can effectively overcome these limits. This is in line with
the evolutionary and neuroscientific perspectives highlighting the importance of
human voice perception for humans. However, this modulatory effect of sound
category appears to vary depending on the duration that the sounds are presented
for. The investigations of factors related to individual differences (i.e., musicality,
working memory, and impulsivity) were not conclusive, at least within the
paradigms employed here. In addition to the behavioural findings, pupillometry
data shed light into the amount of mental effort linked with attending to brief
sounds in time. The current work has contributed to, and is in line with, the
recent direction of the empirical findings and theoretical accounts of temporal
selective attention. It has also offered several directions for future research with
important theoretical and societal implications.
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Christodoulou, Anna-Maria; Anagnostopoulou, Christina & Lartillot, Olivier
(2022).
Computational Analysis of Greek folk music of the Aegean islands.
National and Kapodistrian University of Athens.