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Hübenette, Saira Jameela; Solbakk, Anne-Kristin; Danielsen, Anne; Endestad, Tor & Blenkmann, Alejandro Omar
(2025).
Hearing in motion: Spatial and temporal processing of auditory stimuli.
doi:
https:/www.dropbox.com/scl/fi/ijya3kj1w1dl2e7vyjo5y/ICAC25-poster.pdf?rlkey=2516eohjz9vyx3g7qj7rjsedc&st=wm335i35&dl=0.
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Tracking a moving sound in space requires continuous prediction of its next location. This implies that we must combine information about the time and location of the sound, to accurately predict its trajectory. Using EEG, auditory motion processing has previously been found in frontal, central, and parietal areas of the brain. Prior studies have suggested that space and time for auditory stimuli are processed separately in the brain. Despite the seemingly distinct processing pathways of spatial and temporal sound information, they must integrate at some stage to enable the prediction of movement. It remains unknown if these processes are initially working in parallel and then converging at some point, or if there are several instances of convergence throughout.
The goal of this study was to delineate the neural correlates of spatial and temporal processing of moving sounds, and to assess how and when they converge to aid in the tracking of the sound movement.
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Danielsen, Anne
(2025).
Intervju om "Take on Me".
[Radio].
NRK-P2.
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Danielsen, Anne; Langer?d, Martin Torvik & London, Justin
(2025).
Where is the Beat in that Complex Note? Effects of Instrument Asynchrony and Attack on the Perceived Timing of Compound Musical Sounds.
doi:
https:/www.jyu.fi/en/file/rppw20programmeandabstracts-5pdf.
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In musical ensembles most notes/chords are sounded by more than one instrument at
the same time, and we hear them as simultaneous, even when their onsets are not
precisely simultaneous. Here we obtain estimates for the perceptual centers of such
compound sounds when there are microtiming asynchronies between the instruments.
In Exp1 three combinations of fast-attack instruments (acoustic kick drum/synthetic
kick, kick/hi-hat, kick/bass) were presented with five levels of instrument asynchrony
relative to the kick (-40, -20, 0, 20, and 40 ms); the ISI was 600ms (100 bpm) and the
task was to align a click with the compound sound. An RMANOVA shows main effects
(p<.001) of Asynchrony and Instrument combination, and a U-shaped relationship
between Asynchrony and P-center, such that asynchrony in both directions relative to
the kick (kick early and kick late) delays the P-center for the compound sound. In Exp2
we used combinations of fast and slow attack instruments. Ten combinations (three
fast-attack–fast-attack, three slow-attack–slow-attack, four fast-attack–slow-attack)
were presented with seven levels of instrument asynchrony: -80, -40, -20, 0, 20, 40, 80.
RMANOVAs of the results revealed different relationships between asynchrony and
P-center (p<.001): Fast/fast attack combinations replicated the U-shape of experiment
1. In fast/slow combinations, the P-center followed the fast-attack instrument linearly,
and in the slow/slow combinations, P-centers followed the higher-pitched instrument. P-
centers of compound sounds depend on both the asynchrony between the instruments
and the shape of their attacks. Combinations of fast-attack instruments with extreme
asynchrony produce bimodal distributions, indicating perceptual segregation of the
two sounds. The findings align with studies showing that sharp sounds are used as
landmarks for segmentation and timing in speech and music.
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London, Justin; Paulsrud, Thea S?rli & Danielsen, Anne
(2025).
Musical expertise affects the rhythmic perception of sung and spoken speech syllables: The effect of top-down motor representations.
doi:
https:/www.jyu.fi/en/file/rppw20programmeandabstracts-5pdf.
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Previous research (Danielsen et al. 2022) has shown that musical expertise affects
the perception of the temporal location (i.e., P-center) of an instrumental sound. Here
we extend this research to the context of vocal music. In two experiments expert
singers in jazz and classical genres were presented with a range of stimuli, including
neutral Stimuli (e.g., noise bursts, clicks), vowel sounds sung by jazz and classical
singers, and spoken versions of the vowel sounds. As with our previous study, neutral
stimuli produce largely the same responses in both participant groups, while a linear
mixed model showed that jazz participants placed their p-centers earlier (22 ms;
p=.044) and with lower variability (21 ms; p = .025) than classical participants. Contra
our hypothesis, the between-group differences for P-center location and variability
persisted in the context of spoken sounds. Why should this be so? Expert musicians
develop highly specific motor representations of their own actions and use them when
singing and playing. For singers, these these models overlap with speech production
more generally. This could explain the carry-over to speech stimuli. Likewise, the
vocal stimuli presented our participants with not only acoustic cues for the P-center
location of the sounds themselves, but also cues for synchronizing individual actions
in performance (coordinating the behaviors that produce the sounds with others). This
indicates that the vestiges of joint action that remained in our experimental context
were enough to engage their top-down sensorimotor models, as would be used in an
actual singing or speaking context.
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Danielsen, Anne
(2025).
Rytme og kognisjon - sansning, struktur og samspill.
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Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Lubell, Jamie; Llorens, Ana?s; Larsson, P?l Gunnar & Funderud, Ingrid
[Vis alle 12 forfattere av denne artikkelen]
(2025).
INTRACRANIAL CORRELATES OF ACTION-BASED AUDITORY PREDICTION ERRORS IN HUMANS.
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Danielsen, Anne
(2025).
RITMO. Forhistorien, idéen og prosessen.
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Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Doelling, Keith & Solbakk, Anne-Kristin
[Vis alle 7 forfattere av denne artikkelen]
(2024).
Rhythm-based temporal expectations: Unique contributions of predictability and periodicity.
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Flexibly adapting to our dynamic surroundings requires anticipating upcoming events and focusing
our attention accordingly. Rhythmic patterns of sensory input offer valuable cues for these temporal
expectations and facilitate perceptual processing. However, a gap in understanding persists regarding
how rhythms outside of periodic structures influence perception.
Our study aimed to delineate the distinct roles of predictability and periodicity in rhythm-based
expectations. Participants completed a pitch-identification task preceded by different rhythm types:
periodic predictable, aperiodic predictable, and aperiodic unpredictable. By manipulating the timing
of the target sound, we observed how auditory sensitivity was modulated by the target position in the
different rhythm conditions.
The results revealed a clear behavioral benefit of predictable rhythms, regardless of their periodicity.
Interestingly, we also observed an additional effect of periodicity. While both periodic and aperiodic
predictable rhythms improved overall sensitivity, only the periodic rhythm seemed to induce an
entrained sensitivity pattern, wherein sensitivity peaked in synchrony with the expected continuation
of the rhythm.
The recorded event-related brain potentials further supported these findings. The target-evoked P3b,
possibly a neural marker of attention allocation, mirrored the sensitivity patterns. This supports our
hypothesis that perceptual sensitivity is modulated by temporal attention guided by rhythm-based
expectations. Furthermore, the effect of rhythm predictability seems to operate through climbing
neural activity (similar to the CNV), reflecting preparation for the target. The effect of periodicity is
likely related to more precise temporal expectations and could possibly involve neural entrainment.
Our findings suggest that predictability and periodicity influence perception via distinct mechanisms.
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Danielsen, Anne
(2024).
Interdisciplinary music research: gains and challenges.
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Interdisciplinary music research: gains and challenges
Recent years have seen a steady increase in calls for interdisciplinary approaches to research from politicians, university administrators, and public and private funding agencies alike. Interdisciplinary research is needed, it is claimed, to solve many of the foundational crises faced by societies today. While interdisciplinary research holds great promise for large-scale problem-solving, it is also bedeviled by obstacles at the institutional and individual level that monodisciplinary research does not face to the same extent, such as insufficient infrastructure, organizational barriers, lower employability, and few well- established publication channels. Sometimes even more challenging, however, are the different research traditions of the disciplines involved, which might adhere to profoundly different methodological traditions, lack shared criteria for quality assessment, and even disagree regarding what counts as science.
In this talk, I will address the gains and challenges of working across radically different disciplines in music research, sharing my experience from three highly interdisciplinary projects: the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion; the MusicLab Copenhagen research concert; and the TIME project on musical microrhythm.
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Danielsen, Anne; Syvertsen, Tuva; Holm, Askil & Austlid, Alexander
(2024).
Trenger vi utdanning i l?tskriving og musikkproduksjon?
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Jensenius, Alexander Refsum & Danielsen, Anne
(2024).
Tverrfaglighet: 40-grupper til besv?r.
Vis sammendrag
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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Solli, Sandra; Danielsen, Anne; Leske, Sabine Liliana; Blenkmann, Alejandro Omar; Doelling, Keith & Solbakk, Anne-Kristin
[Vis alle 7 forfattere av denne artikkelen]
(2024).
Rhythm-based temporal expectations: Unique contributions of predictability and periodicity.
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Jensenius, Alexander Refsum; Danielsen, Anne; Kvammen, Daniel & Tollefsb?l, Sofie
(2024).
Musikksnakk: Musikk i urolige tider.
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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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Leske, Sabine Liliana; Endestad, Tor; Volehaugen, Vegard Akselsson; Foldal, Maja Dyhre; Blenkmann, Alejandro Omar & Solbakk, Anne-Kristin
[Vis alle 7 forfattere av denne artikkelen]
(2024).
Predicting the Beat Bin: Beta Oscillations Predict
the Envelope Sharpness in a Rhythmic Sequence.
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Danielsen, Anne
(2024).
There’s more to timing than time: P-centers, beat bins and groove in musical microrhythm.
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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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Danielsen, Anne
(2024).
Musikalsk rytme, rytmeforskning og hva den kan brukes til.
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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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Danielsen, Anne
(2023).
Ain’t that a groove! Musicological, philosophical and psychological perspectives on groove (keynote).
Vis sammendrag
The notion of groove is key to both musicians’ and academics’ discourses on musical rhythm. In this keynote, I will present groove’s historical grounding in African American musical practices and explore its current implications by addressing three distinct understandings of groove: as pattern and performance; as pleasure and “wanting to move”; and as a state of being. I will point out some musical features that seem to be shared among a wide range of groove-based styles, including syncopation and counterrhythm, swing and subdivision, and microrhythmic qualities. Ultimately, I will look at the ways in which the groove experience has been approached in different disciplines, drawing on examples from musicology / ethnomusicology, philosophy, psychology and neuroscience.
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Danielsen, Anne
(2023).
Decolonizing groove (panel discussion).
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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.
Vis sammendrag
There is currently a gap in rhythm and timing research regarding how we perceive complex acoustic stimuli in musical contexts. Many studies have investigated timing acuity in non-musical contexts involving simple rhythmic sequences comprised of clicks or sine waves. However, the extent to which these results transfer to our perception of microrhythmic nuances in multilayered musical contexts rife with complex instrumental sounds remains poorly understood. In this talk we will present an overview of a planned series of just-noticeable difference (JND) experiments that will generate ecologically valid perceptual heuristics regarding timing discrimination thresholds. The aim is to investigate the extent to which microrhythmic timing and sonic nuances are perceived in groove-based music and connect these heuristics to the pleasurable urge to move in groove-based contexts, as well as acoustic (e.g., intensity, duration, frequency) and musical features (e.g., tempo, genre), and listener factors (e.g. musical training, stylistic familiarity). Overall, we expect timing thresholds to be higher for polyphonic/musical than for monotonic/non-musical stimuli/contexts and higher for pulse attribution (whether one can perceive a “beat”; Madison & Merker 2002, Psychol Res) than for simple detection of asynchrony and anisochrony (whether one can perceive “rhythmic irregularities”). Thresholds will likely be modulated by intensity (Goebl & Parncutt 2002, ICMPC7), tempo (Friberg & Sundberg 1995, J Acous Soc Am), instrumentation (Danielsen et al. 2019, J Exp Psychol), and genre/stylistic conventions (C?mara & Danielsen 2019, Oxford). Musically trained/stylistically familiar listeners may also display style-typical sensitivity to microrhythmic manipulations (Danielsen et al. 2021 Atten Percept Psychophys; Jakubowski et al. 2022; Cogn). In terms of subjective experience, we expect that onset asynchrony exaggerations will likely elicit lower pleasure and movement ratings compared to performances with idiomatic timing profiles (Senn et al. 2018, PLoS One). Higher ratings should also be biased in favor of familiar styles (Senn et al. 2021) and rhythmic patterns that do not engender excessive metrical ambiguity are likely to elicit higher ratings (Spiech et al. 2022, preprint; Witek et al. 2014, PLoS One).
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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.
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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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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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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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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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Swarbrick, Dana; Danielsen, Anne; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina
(2023).
The Effects of “Feeling Moved” and “Groove” On Standstill.
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Jensenius, Alexander Refsum; Danielsen, Anne & S?ndergaard, Pia
(2023).
Hvor blir det av UiOs alumni-satsing?
Vis sammendrag
Det snakkes i festlige lag om at v?re alumni er en ressurs. Dessverre viser praksis at man ikke bare ignorerer tidligere ansatte, men aktivt fors?ker ? fjerne alle spor av at de har forsket ved institusjonen.
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Danielsen, Anne
(2023).
Beat bins, asynchronies and muddy sounds: Shaping micro-time in grooves.
Vis sammendrag
In musical genres such as neo-soul and hip-hop, beats often have a temporal shape that makes their placement in time difficult to locate relative to a single point in time. This is often due to ?muddy?, processed sounds or asynchronies between events at beat-related metric positions. The beat bin theory suggests that the perceptual counterpart to such beat asynchronies or muddy beat shapes in a sounding groove is an internal (perceptual) reference structure of beat bins of considerable ‘width’ and a distinctive ‘shape’. I will start by pre- senting the theory and then focus on how various acoustic factors influence the beat bin, using examples from computer-based musical grooves. Ultimately, I argue that micro-level perception of, and synchronization to, sound is opti- mized for the task at hand, in line with the flexibility and dynamic nature of the human apparatus in perceiving, predicting, and processing rhythm.
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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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Spiech, Connor; Hope, Mikael; C?mara, Guilherme Schmidt; Sioros, Georgios; Endestad, Tor & Laeng, Bruno
[Vis alle 7 forfattere av denne artikkelen]
(2022).
PredicTAPbility: Sensorimotor Synchronization Increases Groove.
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Br?vig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bj?rnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne
(2022).
Musical rhythm. Qualitative investigations.
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Danielsen, Anne
(2022).
RITMO: 澳门皇冠体育,皇冠足球比分 og infrastruktur.
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Danielsen, Anne
(2022).
Rhythm, Time, and Presence.
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Kwak, Dongho; Krzyzaniak, Michael Joseph; Danielsen, Anne & Jensenius, Alexander Refsum
(2022).
A mini acoustic chamber for small-scale sound experiments.
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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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Danielsen, Anne
(2022).
Bidrag til enquete om rock.
I Karlsen, Ole & Markussen, Bjarne (Red.),
Sanglyrikk. Teori - Metode - Sjangrer.
Scandinavian Academic Press.
ISSN 9788230403426.
Vis sammendrag
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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Danielsen, Anne
(2022).
Utvikling og ledelse av tverrfaglige forskningssentre - erfaringer fra RITMO SFF.
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Danielsen, Anne
(2022).
Rytme, groove og digitale signaturer.
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Danielsen, Anne & Leske, Sabine Liliana
(2022).
How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives.
Vis sammendrag
The internal beat or pulse in the listener is not a single point in time, but has a shape and a width and can be described via a probability distribution. This phenomenon has been conceptualized in the beat bin thoery (Danielsen 2010). The internal beat bin of the listener varies systematically with the precision needed in the given musical or sonic context. Anne and Sabine will present behavioral evidence for this phenomenon and a first attempt to reveal the underlying neural mechanism behind the flexible adaptation to the precision of the current beat bin context. They will present effects of acoustic factors on the perceptual center and the beat bin, as well as preliminary results on how neural oscillatory activity might represent a neural mechanism behind this phenomenon.
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Danielsen, Anne; Paulsrud, Thea S?rli & London, Justin
(2022).
Where is the beat in that (sung) note?
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Danielsen, Anne & Mokkelbost, Erlend
(2021).
Intervju om soulmusikk til ?yapodcast.
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Funderud, Ingrid; Danielsen, Anne; Endestad, Tor; Jensenius, Alexander Refsum; Leske, Sabine Liliana & Solbakk, Anne-Kristin
(2021).
Improving working memory in patents with epilepsy by rhythmic sounds.
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Danielsen, Anne; Jemterud, Torkild & Brodal, Per
(2021).
Abels t?rn.
[Radio].
NRK P2.
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Danielsen, Anne
(2021).
Groove.
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C?mara, Guilherme Schmidt; Sioros, George & Danielsen, Anne
(2021).
Mapping timing and intensity strategies in drum-kit performance via hierarchical clustering and phylogenetic visualizations.
Vis sammendrag
Background and Aim:
Findings from performance timing experiments have shown that drummers are able to systematically play stroke onsets significantly earlier and later than an instructed on-the-beat performance (C?mara et al., 2020; Danielsen et al., 2015), and purportedly able to further control the degree of onset asynchrony between the various constituent instruments of the drum-kit (C?mara and Danielsen, 2019). Previous investigations have focused on comparing average statistical trends of onset timing between timing styles across entire groups of drummers. In this study, we map performance strategies present at the individual participant level and categorize the different archetypical ways in which drummers express different timing styles. We focus on the onset asynchrony and intensity of strokes between drum-kit instruments, and in relation to a metrical grid, and hypothesize that drummers employ consistent strategies to achieve different desired timing styles, choosing different instruments (snare/kick/hi-hat) in the rhythmic pattern to generate in-sync, late, and early timing performances.
Methods:
In a previous experiment (C?mara et al., 2020), twenty-two drummers were instructed to play a basic “back-beat” pattern along to a metronome and a pre-recorded instrumental track in three different timing conditions: laid-back, on-the-beat, and pushed. Here, we conduct a hierarchical cluster analysis of various onset and intensity features in this data set, combined with phylogenetic tree visualizations to provide an overview of the strategies used by the drummers to distinguish laid-back/pushed from on-the-beat performances. Furthermore, we encode the features of the onset or intensity clusters into microtiming archetypes that visually summarize the general characteristics of the drummers’ strategy in each cluster.
Results:
Overall, three overarching onset strategies were used to distinguish pushed/laid-back from on-the-beat performances: (1) strong “general earliness/lateness” strategies: most instruments are consistently played earlier/later in time relative to the grid; (2) subtler “early/late flam” strategies: most instruments are played synchronously with the grid but at least one instrument is played distinctively early/late ; and (3) even subtler “ambiguously early/late compound sound” strategies: two instruments are played synchronously in relation to each other as a compound sound, but one instrument is played synchronous with the grid and the other is played early/late. While no clear intensity manipulation patterns emerged to exclusively distinguish laid-back/pushed timing, they serve as a means of enhancing or diminishing the effect of intentionally produced asynchronies.
Conclusion:
Results indicate that performers utilize a range of inter-instrument onset timing and intensity relationships to express microrhythmic feel in groove performance, that is, different drummers use different means to achieve the same desired feel.
Implications:
The novel methods developed in this study may be applied to analysis of commercial recordings to provide insight into the idiomatic timing–sound strategies of influential performers and/or genres/styles more generally.
References:
C?mara, G. S., & Danielsen, A. (2019). Groove. In A. Rehding & S. Rings (Eds.), The Oxford handbook of critical concepts in music theory (pp. 271–294). Oxford University Press.
C?mara, G. S., Nymoen, K., Lartillot, O., & Danielsen, A. (2020). Timing Is Everything . . . or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance. Music Perception, 38(1), 1–26.
Danielsen, A., Waadeland, C. H., Sundt, H. G., & Witek, M. A. G. (2015). Effects of instructed timing and tempo on snare drum sound in drum kit performance. Journal of the Acoustical Society of America, 138(4), 2301–2316.
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Ganis, Francesco; Dahl, Sofia; C?mara, Guilherme Schmidt & Danielsen, Anne
(2021).
Beat precision and perceived danceability in drum grooves.
Vis sammendrag
Musicians can place the time-position of events with high precision and according to personal preference, genre and tempo [1]. For instance, the swing ratio is not kept constant, but it is systematically adapted to a global tempo [2]. In contemporary music, drummers can achieve a specific feel by manipulating the timing of rhythms in different ways and placing event onsets earlier or later compared to the time reference [1]. These small adjustments in time are also referred to as micro-timing variations. The aim of this study was to investigate the influence of micro-timing variations in live-played rhythms on the perceived danceability and timing precision. The stimuli were chosen from C?mara et al. [1] where drummers were playing two different patterns with different timing styles (laid-back, pushed, on-beat). Two drummers’ performances were selected based on their reported average systematic timing. These 12 recordings were mixed with the instrumental backing track (bass and guitar) heard by the drummers to form the stimuli. Forty participants (M = 28.23 years, SD = 11.80), 28 males and 12 females, with varying musical background were recruited via social media (Facebook pages, groups and direct messages to chat groups). Participants were sent a link to the online listening test using Google Forms with modifications that presented the stimuli as embedded videos. Each video started with a prompt to wear headphones followed by 4 bars of groove for a total of 11 seconds (with a static image). For each page, the participant was presented with a reference track (on-beat timing) and a “beat” track (laid-back or pushed timing) and asked to rate the perceived danceability from 1 (not danceable at all) to 5 (very danceable). Additionally, listeners were asked to compare the beat with the reference track and indicate whether this was pushed (ahead), laid-back (behind) or on-beat (synced with) the reference in terms of timing. Preliminary results indicate that micro-timing variations affect the perceived danceability. On-beat patterns were rated with the highest danceability, followed by laid-back and pushed styles. The drummer that obtained the highest danceability rating for the laid-back performance is also the one that was mainly recognized as on-beat performer. As expected, identification of timing (ahead, behind or on) proved to be difficult. Using the instrumental backing track as a time reference could possibly have made the task even harder for untrained listeners. Future research could address this by comparing danceability ratings for the grooves mixed with different backing tracks. References [1] G. S. C?mara, K. Nymoen, O. Lartillot, and A. Danielsen, “Timing Is Everything…Or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance,” Music Percept., vol. 38, no. 1, pp. 1–26, Sep. 2020, doi: 10.1525/mp.2020.38.1.1. [2] H. Honing and W. B. de Haas, “Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming,” Music Percept., vol. 25, no. 5, pp. 471–476, Jun. 2008, doi: 10.1525/mp.2008.25.5.471.
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Solbakk, Anne-Kristin; Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anais & Funderud, Ingrid
[Vis alle 13 forfattere av denne artikkelen]
(2021).
Auditory prediction and prediction error in self-generated tones.
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Kwak, Dongho; Danielsen, Anne & Jensenius, Alexander Refsum
(2021).
Music for cells: The human body as a rhythm machine.
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Spiech, Connor; Laeng, Bruno; Sioros, George; Danielsen, Anne & Endestad, Tor
(2021).
More Than Meter’s The Eye: Divergent Roles of Pickups and Syncopation in Groove.
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Danielsen, Anne
(2021).
Shaping rhythm: Timing and sound in EDM.
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Danielsen, Anne; Langer?d, Martin Torvik; Nymoen, Kristian & London, Justin
(2021).
Genre expertise modulates timing perception and micro-level
synchronization to auditory stimuli.
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Danielsen, Anne
(2021).
Rhythm and Meter.
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Danielsen, Anne; Langer?d, Martin Torvik; Nymoen, Kristian & London, Justin
(2021).
Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
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Danielsen, Anne
(2021).
Time and time again: repetition and difference in grooves.
Vis sammendrag
The focus of the paper will be analytical and experiential aspects of repetition and difference in grooves. Inspired by the philosophy of Gilles Deleuze, I will discuss the difference between static and dynamic repetition and develop the idea of repetition as production, which will then be applied to various musical examples of African-American groove-based music.
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Jemterud, Torkild; Danielsen, Anne; Brodal, Per; L?vvik, Ole Martin; Goodwin, Morten & Knudsen, P?l Moddi
(2020).
Abels t?rn: En f?lsom AI tester visesang.
Vis sammendrag
Kan en AI lage bedre tekster enn en visesanger? Og bedre drinker enn en bartender? Vi tester begge deler. Pr?vekanin er P?l Moddi Knudsen. En AI har tygd seg gjennom de gamle tekstene hans, og spytta ut en splitter ny. Dessuten - Hvorfor h?rer man bare bassen fra festen ved siden av? - Konsentrer man seg bedre med musikk? - L?per man raskere med musikk? - Hvorfor har vi s? ulik musikksmak? - Hvorfor er Moddis gitar alltid sur? - Hvor varmt blir det i en peisovn? I panelet Visesanger P?l Moddi Knudsen Datalog Morten Goodwin Musikkviter Anne Danielsen Fysiker Ole Martin L?vvik Hjerneforsker Per Brodal
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Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter
(2020).
Vi trenger kort og godt mer automagi i Cristin.
Vis sammendrag
Forskerne bruker utallige arbeidstimer p? ? legge inn informasjonen. Det er p? tide ? f? den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.
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Danielsen, Anne
(2020).
Interdisciplinary music research.
Vis sammendrag
In this keynote I will discuss interdisciplinarity as a methodological approach in music studies. I begin by outlining different forms of collaboration across disciplines. Then I will share my experiences with designing and leading the project TIME: Timing and Sound in Musical Microrhythm, funded by the NFR-TOPPFORSK scheme. The project draws on a wide variety of disciplines that have been central to the study of rhythm in music and explores a broad methodological palette: from musical analysis and aesthetic interpretation, to qualitative interviews, controlled experiments and cross-cultural comparative approaches. I will focus on how different methods can be combined to provide richer answers to the same research questions, and how to organize research to achieve collaboration across traditions. The challenges facing interdisciplinary research will also be addressed. In the last part of the lecture, the focus will be on interdisciplinarity across disciplines based on our experiences of running the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo, where music scholars collaborate with researchers from other fields, such as informatics and cognitive psychology.
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Jensenius, Alexander Refsum & Danielsen, Anne
(2020).
UiOs nettsider er en viktig forskningsinfrastruktur.
Vis sammendrag
Det er underlig at UiO s? aktivt g?r inn for ? slette tilgjengelig informasjon om v?r egen kultur og historie. Vi er enig i at det er behov for ? rydde opp i nettsidene, men mener at fokuset b?r ligge p? rydding og kvalitetssikring fremfor sletting, skriver Alexander Refsum Jensenius og Anne Danielsen i RITMO.
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Danielsen, Anne
(2020).
Does genre expertise modulate micro level synchronisation to musical sounds?
Vis sammendrag
Musical synchronization may be achieved with greater or lesser precision. Previous research has shown that acoustic factors systematically influence where a musician places one sound in relation to another in order to hear them as perfectly synchronized. However, it remains unclear how synchrony is affected by musical enculturation. In this talk, Anne Danielsen will present results from a comparative study where expert musicians and producers from jazz, folk music, and EDM/hip-hop did click alignment and tapping to different musical and quasi-musical sounds.
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Danielsen, Anne
(2020).
Musical listening, micro-time.
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Danielsen, Anne; Nymoen, Kristian & London, Justin
(2019).
Noise in the click or click in the noise: Investigating probe-stimulus order in
P-center estimation tasks.
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Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, Gyo?rgy
(2019).
Digital Warmth: The Retro in Digital.
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Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre
[Vis alle 13 forfattere av denne artikkelen]
(2019).
Action-based auditory predictions.
Vis sammendrag
Sensory consequences of actions are predicted by the brain via an internal forward model to prepare sensory cortical areas, referred to as motor prediction. In a similar vein, the predictive coding framework suggests that perception is based on internal models making predictions about sensory events, based on statistical probabilities of the stimuli.
In the current study we investigated action-based sensory predictions. We used a self-paced, two-choice random generation task, infrequently inducing deviant outcomes of voluntary action. Participants repeatedly pressed a right and a left button normatively associated with a 70 ms long 1 kHz and 2 kHz tone, respectively. Occasional deviants occurred, inverting the learned button-tone association. Participants were instructed that their button presses should be random, at a regular but self-paced tempo of one press per 1-2 s, and that they should press both buttons with equal probability. They were informed that the tones are task-irrelevant.
We used intracranial EEG (iEEG) data recorded from 10 adult patients with electrodes localized in frontal and temporal lobes. The patients had drug resistant epilepsy and were undergoing presurgical monitoring via implanted stereotactic electrodes. Electrode coordinates and anatomical labels were obtained from coregistered MRI and CT images using iElectrodes toolbox. Initial results indicate that violations of action intentions modulated high frequency band activity (HFA, 75-145 Hz) in distributed brain regions including temporal and prefrontal cortices.
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Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Ana?s; Funderud, Ingrid & Foldal, Maja Dyhre
[Vis alle 13 forfattere av denne artikkelen]
(2019).
Auditory prediction and prediction error in self-generated tones.
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Danielsen, Anne
(2019).
The impact of digitization on rhythm and groove in African-American popular music.
Vis sammendrag
Rhythm and groove are at the heart of many African-American musical traditions. In this lecture, I will discuss the ways in which creative use of new digital technology has changed how music sounds. As my examples I will use contemporary African-American popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon how sound processing can be used to alter the perceived timing of rhythmic events.
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Danielsen, Anne
(2019).
Workshop on microrhythmic analysis and groove.
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Sioros, George; C?mara, Guilherme Schmidt & Danielsen, Anne
(2019).
Mapping Timing Strategies in Drum Performance.
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Danielsen, Anne
(2019).
Erfaringer fra SFF IV.
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Danielsen, Anne
(2019).
Glitched and Warped: Shaping the “Beat Bin” in Contemporary African-American Popular Music.
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Danielsen, Anne
(2019).
Classic Album Sundays: Aretha Franklin (paneldeltakelse).
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Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien
(2019).
Does moderate syncopation increase groove? The answer depends on the syncopation pattern.
Vis sammendrag
Recent research points towards a relation between syncopation and groove (Witek et al., 2014; Madison and Sioros, 2014), i.e. the pleasurable sensation of wanting to move to music (Janata et al., 2012). We aimed at confirming the inverted-U shape relation found in previous research, using more controlled music examples (MEs). To this end, we asked twenty-seven participants to listen to and rate variations of MEs that only differ in their syncopation. Ten short funk and rock loops consisting of drums, bass and keyboards were algorithmically transformed (Sioros and Guedes, 2014) to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 25% (roughly equal amount to the original), 50%, and 70%. The MEs were produced using professional sound samples. The participants rated the groove of the original versions higher than all the transformed versions, including the version with a similar amount of algorithmic syncopation, while the 50% and 70% versions had the lowest scores. Statistically significant differences were observed between 1) the original and the rest, and 2) the 25% and the 50% and 70%, but not between the 25% and the deadpan. To understand this result, we compared the original and algorithmic syncopation. Our findings include: 1) The algorithmic syncopation is relatively uniformly distributed. In contrast, the original versions have less syncopated drums with almost no syncopated hi-hats. Certain metrical positions in the drums are never syncopated, e.g. the back-beat snare. 2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style (Danielsen, 2006). 3) The micro-timing alignment of sounds differs between versions. This experiment concludes that groove is increased by syncopation, however, not every pattern will do. Our analysis calls attention to the complex nature of syncopation and its possible dependence on structural factors.
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Sioros, George; C?mara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian
(2019).
Timing and drummers’ movement: A novel methodology for performance analysis.
Vis sammendrag
Timing is an important aspect of groove music. The relationship between musicians’ body motion in
performance and timing is, however, as yet not well understood
Timing and drummers’ movement: A
novel methodology for performance analysis
. In the present study we recorded movement of 20
drummers performing the same rhythmic pattern under four different timing instructions: natural, on-
the-beat, laid-back and pushed. Motion capture data synchronized to audio recordings of their
performances were collected as part of a larger experimental project. This presentation focuses on our
method for analyzing motion capture data. The aim of the analysis is a) to identify common movement
strategies for sub-groups of drummers, and b) to identify strategies for achieving the four different
timing conditions across drummers.
In this presentation we focus on the movement of the left arm, and particularly on the preparation and
rebound phase of the snare strokes. To explore and analyze the data without statistically testing a
priori hypotheses about specific performance techniques, we combined existing practices from
different disciplines into a novel methodology. First, we reduce the data into motion templates (Müller
and R?der 2006). We design a set of 22 binary features to describe the movement of the arm. Second,
we perform a phylogenetic analysis of the motion templates, in which we identify clusters within each
timing condition. A comparison between clusters reveals differences in the coordination of the
participants’ movements that correspond to the different performance strategies. Preliminary analysis
has shown distinct clusters within all timing conditions that differ in specific features. For instance, we
observe three groups of participants within the “natural” condition that differ in the flexion of the
wrist and elbow.
Besides our findings we will present the details of the methodology, which can be applied in the study
of music-related movements beyond the scope of this project.
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Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien
(2019).
The relation between groove and syncopation is intricate – not any pattern will do.
Vis sammendrag
Groove is the pleasurable sensation of wanting to move to music. A series of studies has attempted to
understand the function of this phenomenon by examining its relation to physical properties in the sound
signal and found, among other things, that groove increases at optimal levels of syncopation. Here, we
tested if the amount of syncopation is the critical factor, rather than the specific pattern of notes that are
syncopated. To this end, our algorithm transformed ten short funk and rock loops consisting of drums, bass
and keyboards to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation:
0%, 25% (similar amount to the original), 50%, and 70%. All the examples were produced using profes-
sional sound samples and were rated by 27 listeners. The ratings were highest for the original versions,
next highest for the 0 and 25% versions, and lowest for 50% and 70% versions, with statistically significant
differences between the original and the rest, and the 25% and the 50% and 70%, but not between the 0%
and 25%. Apparently, our algorithm failed to recreate the groove of the original music. Comparing the origi-
nal and algorithmic syncopation we found: (1) The algorithmic syncopation is relatively uniformly distributed
across the instruments, while the original versions have less syncopated drums with almost no syncopated
hi-hats, and the back-beat snare never syncopated. (2) The original syncopation forms more and longer
cross-rhythmic or metrically shifted patterns, as often encountered in the funk style. (3) Differences in the
micro-timing alignment of sounds. In conclusion, groove is greatly increased by syncopation; although, not
necessarily by syncopation per se, as the results point to several structural factors that may be important and
can be further tested and add to our understanding of the functional properties that underlie the sensation
of groove.
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C?mara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne
(2019).
Timing is Everything... Or is it? Part I: Effects of Instructed Timing and Reference on Guitar and Bass Sound in Groove Performance.
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C?mara, Guilherme Schmidt; Nymoen, Kristian & Danielsen, Anne
(2019).
Timing is Everything... Or is it? Part II: Effects of Instructed Timing Style and Timing Reference on Drum-Kit Sound in Groove Performance.
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Sioros, George & Danielsen, Anne
(2019).
How do Rhythmic Features Affect our
Movement?
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Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne
(2018).
Prediction of P-centers from audio recordings.
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London, Justin; Danielsen, Anne & Nymoen, Kristian
(2018).
Where is the beat in that note? Effects of attack, frequency, and duration on the p-centers of musical and quasi-musical sounds.
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Danielsen, Anne
(2018).
RITMO - a center for interdisciplinary research into rhythm, time and motion.
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Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim
(2018).
Presentasjon av TIME-prosjektet.
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Danielsen, Anne
(2018).
Analysing Popular Music in the Digital Age.
Vis sammendrag
Creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. In this keynote, I will analyse some examples of new sonic expressions within the field of popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon new patterns of personalised use and the so-called “prosumption” practices that have arised in the digital era in the form of remix, sample and mashup.
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Danielsen, Anne
(2018).
Intervju om Aretha Franklin til NTB.
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Danielsen, Anne
(2018).
Microrhythms and Microsounds: The impact of digitization on African-American popular music.
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Danielsen, Anne
(2018).
Intervju om Aretha Franklin i Dagsnytt, NRK 2.
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Danielsen, Anne
(2018).
Hva er en sommerhit?
[Radio].
NRK P2, Studio 2.
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Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip
(2018).
Rytmen er en danser.
[Journal].
Ballade.
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Danielsen, Anne
(2018).
Hvordan legge til rette for nytt tverrfaglig 澳门皇冠体育,皇冠足球比分 mellom institutter og fakulteter? RITMO Senter for tverrfaglig forskning p? rytme, tid og bevegelse.
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J?re, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum
(2018).
P? sporet av rytmen.
[Internet].
Uniforum.
Vis sammendrag
Hvorfor f?r vi lyst til ? bevege oss n?r vi h?rer musikk? Vinnerne av UiOs innovasjonspris, Anne Danielsen og Alexander Refsum Jensenius, finner forh?pentligvis svaret n?r de fordyper seg i mennesket og rytmens mysterier.
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London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne
(2017).
Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
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Danielsen, Anne; London, Justin & Nymoen, Kristian
(2017).
Mapping the beat bin: Effects of rise time, duration and frequency range on the perceived timing (P-center) of musical sounds.
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Danielsen, Anne
(2017).
Popul?rmusikk og mediering i den digitale tidsalder.
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Danielsen, Anne
(2017).
Methodologies in Record Production Research (Panel).
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Danielsen, Anne
(2017).
The perception, aesthetics, and cultural values of 'glitched' grooves.
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Danielsen, Anne
(2017).
P-centres and beat bins - an introduction to the TIME project.
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Danielsen, Anne
(2017).
Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "L?ten".
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London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne
(2017).
Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
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Danielsen, Anne
(2017).
Kvalitet i rytmisk musikk.
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Danielsen, Anne
(2017).
Timing and Sound in Musical Microrhythm: Theoretical, Aesthetic and Empirical Aspects.
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Danielsen, Anne; London, Justin & Nymoen, Kristian
(2017).
Mapping the Beat Bin: The Effects of Rise Time, Duration, and Frequency
Range on the Perceived Timing of Musical Sounds.
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Danielsen, Anne
(2017).
Paneldeltakelse i serien Musikkl?re p? Nasjonalbiblioteket, tema "Rytme".
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Nymoen, Kristian; Danielsen, Anne & London, Justin
(2017).
Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox.
Vis sammendrag
The attack phase of sound events plays an important role in how sounds and music are perceived. Several approaches have been suggested for locating salient time points and critical time spans within the attack portion of a sound, and some have been made widely accessible to the research community in toolboxes for Matlab. While some work exists where proposed audio descriptors are grounded in listening tests, the approaches used in two of the most popular toolboxes for musical analysis have not been thoroughly compared against perceptual results. This article evaluates the calculation of attack phase descriptors in the Timbre toolbox and the MIRtoolbox by comparing their predictions to empirical results from a listening test. The results show that the default parameters in both toolboxes give inaccurate predictions for the sound stimuli in our experiment. We apply a grid search algorithm to obtain alternative parameter settings for these toolboxes that align their estimations with our empirical results.
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Danielsen, Anne
(2017).
Music production research in Norway.
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Danielsen, Anne
(2017).
Rhythm and Groove in African-American Popular Music.
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Danielsen, Anne
(2017).
Experimental hip-hop and the meanings of glitched grooves.
Vis sammendrag
Digital music technology has brought about unforeseen possibilities for manipulating sound, and, as a consequence, entirely new forms of musical expression have emerged. Among them are new rhythmic feels produced by either inserting glitches into the post-production of a played groove or by warping samples. Such rhythmic feels have been a striking aspect of African-American popular music styles such as, hip-hip, neo-soul, and contemporary R&B from the turn of the millennium onward. In this paper I present an analysis of the song ‘1000 Deaths’ from the album Black Messiah (2014) by D’Angelo. The analysis draws on previous work on D’Angelo’s microrhythms by Danielsen (2010). I will, first, map the micro-rhythmic relationship of the groove, and, secondly, relate its microrhythmic design to examples of similar past and present practices. The aim is to explore the wide array of musical and cultural meanings that such microrhythmic practices have taken on, from an experimental attitude (D’Errico) or political activism to black badness (West) or overtly sexual activities. The paper aims at bridging the gap between analysis of ‘the music itself’ and interpretations of its cultural and contextual meanings, demonstrating the ways in which they can be brought in touch with each other and mutually enhancing.
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Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & C?mara, Guilherme Schmidt
(2017).
Project presentation: Timing and Sound in Musical Microrhythm (TIME).
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Kwak, Dongho; Jensenius, Alexander Refsum; Danielsen, Anne; Scholz, Hanne & Olsen, Petter Angell
(2023).
Music for cells? Rhythmic mechanical stimulations of cell cultures.
Universitetet i Oslo.
Fulltekst i vitenarkiv
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Danielsen, Anne; Stover, Chris & Oddekalv, Kjell Andreas
(2022).
What Makes the Shit Dope? The Techniques and Analysis of Rap Flows.
Universitetet i Oslo.
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C?mara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian
(2021).
Timing Is Everything . . . Or Is It? Investigating Timing and Sound Interactions in the Performance of Groove-Based Microrhythm.
Universitetet i Oslo.
Fulltekst i vitenarkiv
Vis sammendrag
This thesis investigates the expressive means through which musicians well versed in groove-based music shape the timing of a rhythmic event, with a focus on the interaction between produced timing and sound features. In three performance experiments with guitarists, bassists, and drummers, I tested whether musicians systematically manipulate acoustic factors such as duration, intensity, and volume when they want to play with a specific microrhythmic style (pushed, on-the-beat, or laid-back).
The results show that all three groups of instrumentalists indeed played pushed, on-the-beat, or laid-back relative to the reference pulse and in line with the instructed microrhythmic styles, and that there were systematic and consequential sound differences. Guitarists played backbeats with a longer duration and darker sound in relation to pushed and laid-back strokes. Bassists played pushed beats with higher intensity than on-the-beat and laid-back strokes. For the drummers, we uncovered different timing–sound combinations, including the use of longer duration (snare drum) and higher intensity (snare drum and hi-hat), to distinguish both laid-back and pushed from on-the-beat strokes. The metronome as a reference pulse led to less marked timing profiles than the use of instruments as a reference, and it led in general to earlier onset positions as well, which can perhaps be related to the phenomenon of “negative mean asynchrony.” We also conducted an in-depth study of the individual drummers’ onset and intensity profiles using hierarchical cluster analyses and phylogenetic tree visualizations and uncovered a diverse range of strategies.
The results support the research hypothesis that both temporal and sound-related properties contribute to how we perceive the location of a rhythmic event in time. I discuss these results in light of theories and findings from other studies of the perception and performance of groove, as well as research into rhythm and microrhythmic phenomena such as perceptual centers and onset asynchrony/anisochrony.
