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  • 1. Addessi, Anna Rita
    et al.
    Anelli, Filomena
    Benghi, Diber
    Friberg, Anders
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Child-Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children's Musical Improvisation2017Inngår i: Frontiers in Psychology, E-ISSN 1664-1078, Vol. 8, artikkel-id 65Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article childrens musical improvisation is investigated through the reflexive interaction paradigm. We used a particular system, the MIROR-Impro, implemented in the framework of the MIROR project (EC-FP7), which is able to reply to the child playing a keyboard by a reflexive output, mirroring (with repetitions and variations) her/his inputs. The study was conducted in a public primary school, with 47 children, aged 6-7. The experimental design used the convergence procedure, based on three sample groups allowing us to verify if the reflexive interaction using the MIROR-Impro is necessary and/or sufficient to improve the childrens abilities to improvise. The following conditions were used as independent variables: to play only the keyboard, the keyboard with the MIROR-Impro but with not-reflexive reply, the keyboard with the MIROR-Impro with reflexive reply. As dependent variables we estimated the childrens ability to improvise in solos, and in duets. Each child carried out a training program consisting of 5 weekly individual 12 min sessions. The control group played the complete package of independent variables; Experimental Group 1 played the keyboard and the keyboard with the MIROR-Impro with not-reflexive reply; Experimental Group 2 played only the keyboard with the reflexive system. One week after, the children were asked to improvise a musical piece on the keyboard alone (Solo task), and in pairs with a friend (Duet task). Three independent judges assessed the Solo and the Duet tasks by means of a grid based on the TAI-Test for Ability to Improvise rating scale. The EG2, which trained only with the reflexive system, reached the highest average results and the difference with EG1, which did not used the reflexive system, is statistically significant when the children improvise in a duet. The results indicate that in the sample of participants the reflexive interaction alone could be sufficient to increase the improvisational skills, and necessary when they improvise in duets. However, these results are in general not statistically significant. The correlation between Reflexive Interaction and the ability to improvise is statistically significant. The results are discussed on the light of the recent literature in neuroscience and music education.

  • 2.
    Björkner, Eva
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Musical theater and opera singing - Why so different?: A study of subglottal pressure, voice source, and formant frequency characteristics2008Inngår i: Journal of Voice, ISSN 0892-1997, E-ISSN 1873-4588, Vol. 22, nr 5, s. 533-540Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The considerable voice timbre differences between musical theater (MT) and western operatic singers are analyzed with respect to voice source and formant frequencies in five representatives of each singer group. Audio, subglottal pressure (P(sub)), and electroglottograph (EGG) signals were recorded while the subjects sang a sequence of [pae:] syllables starting at maximal vocal loudness and then gradually decreasing vocal loudness. The task was performed at each of two fundamental frequencies (F(0)), approximately one octave apart. Ten equally spaced P(sub) values were then selected for each F(0). The subsequent vowels were analyzed in terms of flow glottograms derived by inverse filtering the audio signal, which also yielded formant frequency data. Period time (T(0)), peak-to-peak pulse amplitude (U(p-t-p)), and maximum flow declination rate (MFDR) were measured from the flow glottograms while closed quotient Q(closed) (T(cl)/T(0)) was determined in combination with the differentiated EGG signal. Also the relationship between the first and the second harmonic in the spectrum (H(1)-H(2)), the amplitude quotient (AQ), that is, the ratio between U(p-t-p) and MFDR, and normalized AQ, that is, AQ normalized with respect to period time was calculated as well as the sound pressure level. The results showed that both the MT and the opera singers varied their P(sub) systematically, approximately doubling P(sub) for a doubling of F(0). For a given value of P(sub), the MT singers produced higher values of MFDR, U(p-t-p), and Q(closed), and lower values of H(1)-H(2), indicating a weaker fundamental. Further, the MT singers showed higher formant frequencies and did not show the opera singers' characteristic clustering of F(3), F(4), and F(5).

  • 3.
    Björkner, Eva
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Why so different? - Aspects of voice characteristics in operatic and musical theatre singing: Aspects of voice characteristics in operatic and musical theatre singing2006Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [en]

    This thesis addresses aspects of voice characteristics in operatic and musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles.

    The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine-tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO.

    The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non-classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper-functional voice production.

    Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed-quotient, peak-to-peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ. Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected.

    Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants.

    Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.

    Fulltekst (pdf)
    FULLTEXT01
  • 4. Bozkurt, Baris
    et al.
    Ayangil, Ruhi
    Holzapfel, André
    Bahçeşehir University, Istanbul, Turkey.
    Computational analysis of makam music in Turkey: review of state-of-the-art and challenges2014Inngår i: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Journal for New Music Research, Vol. 43, nr 1, s. 3-23Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This text targets a review of the computational analysis literature for Turkish makam music, discussing in detail the challenges involved and presenting a perspective for further studies. For that purpose, the basic concepts of Turkish makam music and the description of melodic, rhythmic and timbral aspects are considered in detail. Studies on tuning analysis, automatic transcription, automatic melodic analysis, automatic makam and usul detection are reviewed. Technological and data resource needs for further advancement are discussed and available sources are presented.

    Fulltekst (pdf)
    fulltext
  • 5. Cornelis, Olmo
    et al.
    Six, Joren
    Holzapfel, André
    Bahçeşehir University, Turkey.
    Leman, Marc
    Evaluation and Recommendation of Pulse and Tempo Annotation in Ethnic Music2013Inngår i: Journal for New Music Research, ISSN 0929-8215, Vol. 42, nr 2, s. 131-149Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Large digital archives of ethnic music require automatic tools to provide musical content descriptions. While various automatic approaches are available, they are to a wide extent developed for Western popular music. This paper aims to analyse how automated tempo estimation approaches perform in the context of Central-African music. To this end we collect human beat annotations for a set of musical fragments, and compare them with automatic beat tracking sequences. We first analyse the tempo estimations derived from annotations and beat tracking results. Then we examine an approach, based on mutual agreement between automatic and human annotations, to automate such analysis, which can serve to detect musical fragments with high tempo ambiguity.

    Fulltekst (pdf)
    fulltext
  • 6.
    Cros Vila, Laura
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH.
    Sturm, Bob
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH.
    Statistical evaluation of abc-formatted music at the levels of items and corpora2023Inngår i: Proc. AI Music Creativity Conference, 2023Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This paper explores three distance measures and three statistical tests for the comparison of music expressed in abc format. We propose a methodology that allows for an analysis at the level of corpora (is the “style” represented in a corpus the same as that in the another corpus?) as well as at the level of item (is the “style” of an item that of the “style” represented in a corpus?). We estimate distributions of distances between item pairs within and between corpora, and test hypotheses that the distributions are identical. We empirically test the impact of distance measure and statistical test using a corpus of Irish traditional dance music and a collection of tunes generated by a machine learning model trained on the same. The proposed methodology has a variety of applications, from computational musicology, to evaluating machine generated music.

    Fulltekst (pdf)
    fulltext
  • 7.
    Dahl, Sofia
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Movements and analysis of drumming2012Inngår i: Music, Motor Control and the Brain, Oxford University Press, 2012Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter analyses the movement strategies used in drumming. These movement strategies can be described as whiplash-like and aim at achieving high stick velocities on impact. Skilled playing of percussion instruments involves adjusting to and utilising the kinesthetic feedback from the instrument in question. The overall patterns of the movement strategies are maintained consistently for different tempi, surfaces and dynamic levels. The height to which the stick is lifted in preparation for a stroke and the vertical velocity of the stick marker at impact are both strongly linked to the dynamic level.

  • 8.
    Dahl, Sofia
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    On the beat: human movement and timing in the production and perception of music2005Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [en]

    This thesis addresses three aspects of movement, performance and perception in music performance. First, the playing of an accent, a simple but much used and practiced element in drumming is studied, second, the perception of gradually changing tempo, and third, the perception and communication of specific emotional intentions through movements during music performance.

    Papers I and II investigated the execution and interpretation of an accent in drumming, performed under different playing conditions. Players' movements, striking velocities and timing patterns were studied for different tempi, dynamic levels and striking surfaces. It was found that the players used differing movement strategies and that interpreted the accent differently, reflected in their movement trajectories. Strokes at higher dynamic levels were played from a greater average height and with higher striking velocities. All players initiated the accented strokes from a greater height, and delivered the accent with increased striking velocity compared to the unaccented strokes. The interval beginning with the accented stroke was also prolonged, generally by delaying the following stroke. Recurrent cyclic patterns were found in the players' timing performances. In a listening test, listeners perceived grouping of the strokes according to the cyclic patterns.

    Paper III concerned the perception of gradual tempo changes in auditory sequences. Using an adaptive test procedure subjects judged stimuli consisting of click sequences with either increasing or decreasing tempo, respectively. Each experiment included three test sessions at different nominal tempi (80, 120, and 180~beats per minute). The results showed that ten of the eleven subjects showed an inherent bias in their perception of tempo drift. The direction and magnitude of the bias was consistent between test sessions but varied between individuals. The just noticeable differences for tempo drift agreed well with the estimated tempo drifts in production data, but were much smaller than earlier reported thresholds for tempo drift.

    Paper IV studied how emotional intent in music performances is conveyed to observers through the movements of the musicians. Three players of marimba, bassoon, and saxophone respectively, were filmed when playing with the expressive intentions Happiness, Sadness, Anger and Fear. Observers rated the emotional content and movement cues in the videos clips shown without sound. The results showed that the observers were able to identify the intentions Sadness, Anger, and Happiness, but not Fear. The rated movement cues showed that an Angry performance was characterized by jerky movements, Happy performances by large, and somewhat fast and jerky movements, and Sad performances by slow, and smooth movements.

    Fulltekst (pdf)
    FULLTEXT01
  • 9.
    Dahl, Sofia
    KTH, Tidigare Institutioner (före 2005), Tal, musik och hörsel.
    Playing the accent: comparing striking velocity and timing in an ostinato rhythm performed by four drummers2004Inngår i: Acta Acoustica united with Acustica, ISSN 1610-1928, E-ISSN 1861-9959, Vol. 90, nr 4, s. 762-776Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Four percussion players’ strategies for performing an accented stroke were studied by capturing movement trajectories.The players played on a force plate with markers on the drumstick, hand, and lower and upper arm. Therhythmic pattern – an ostinato with interleaved accents every fourth stroke – was performed at different dynamiclevels, tempi and on different striking surfaces attached to the force plate. The analysis displayed differencesbetween the movement trajectories for the four players, which were maintained consistently during all playingconditions. The characteristics of the players’ individual movement patterns were observed to correspond wellwith the striking velocities and timing in performance. The most influential parameter on the movement patternswas the dynamic level with increasing preparatory heights and striking velocity for increasing dynamic level. Theinterval beginning with the accented stroke was prolonged, the amount of lengthening decreasing with increasingdynamic level.

  • 10.
    Dahl, Sofia
    KTH, Tidigare Institutioner (före 2005), Tal, musik och hörsel.
    The playing of an accent: Preliminary observations from temporal and kinematic analysis of percussionists2000Inngår i: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 29, nr 3, s. 225-233Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The movements and timing when playing an interleaved accent in drumming were studied for three professionals and one amateur. The movement analysis showed that the subjects prepared for the accented stroke by raising the drumstick up to a greater height. The movement strategies used, however, differed widely in appearance.

    The timing analysis showed two basic features, a slow change in tempo over a longer time span ("drift"), and a short ter variation between adjacent intervals ("flutter"). Cyclic patterns, with every fourth interval prolonged, could be seen in the flutter. The lengthening of the interval, beginning with the accented stroke, seems to be a common way for the player to give the accent more emphasis. A listening test was performed to investigate if these cyclic patterns conveyed information to a listener about the grouping of the strokes. Listeners identified sequences where the magnitude of the inter-onset interval fluctuations were large during the cyclic patterns.

  • 11.
    Dahl, Sofia
    et al.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Friberg, Anders
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Visual perception of expressiveness in musicians' body movements2007Inngår i: Music perception, ISSN 0730-7829, E-ISSN 1533-8312, Vol. 24, nr 5, s. 433-454Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    MUSICIANS OFTEN MAKE GESTURES and move their bodies expressing a musical intention. In order to explore to what extent emotional intentions can be conveyed through musicians' movements, participants watched and rated silent video clips of musicians performing the emotional intentions Happy, Sad, Angry, and Fearful. In the first experiment participants rated emotional expression and movement character of marimba performances. The results showed that the intentions Happiness, Sadness, and Anger were well communicated, whereas Fear was not. Showing selected parts of the player only slightly influenced the identification of the intended emotion. In the second experiment participants rated the same emotional intentions and movement character for performances on bassoon and soprano saxophone. The ratings from the second experiment confirmed that Fear was not communicated whereas Happiness, Sadness, and Anger were recognized. The rated movement cues were similar in the two experiments and were analogous to their audio counterpart in music performance.

  • 12.
    Dahl, Sofia
    et al.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Granqvist, Svante
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Ability to determine continuous drift in auditory sequences: Evidence for bias in listeners' perception of tempo2005Inngår i: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524Artikkel i tidsskrift (Annet vitenskapelig)
  • 13.
    D'Amario, Sara
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH, Musikakustik. RITMO, University of Oslo.
    Ternström, StenKTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH, Musikakustik.Friberg, AndersKTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH, Musikakustik.
    SMAC 2023: Proceedings of the Stockholm Music Acoustics Conference 20232023Konferanseproceedings (Annet vitenskapelig)
    Abstract [en]

    This volume presents the proceedings of the fifth Stockholm Music Acoustics Conference 2023 (SMAC), which took place on 14–15 June 2023 in Stockholm, Sweden. SMAC was premiered at KTH in 1983, and has been organized every tenth year since then. This conference is intended for academics, music performers and instructors interested in the field of Music Acoustics. It brings together experts from different disciplines, to exchange and share their recent works on many aspects of Music Acoustics, including instrument acoustics, singing voice acoustics, acoustics-based synthesis models, music performance, and music acoustics in teaching and pedagogy.

    This time, our multidisciplinary conference was organized on a smaller scale than earlier, as a track within the 2023 Sound and Music Computing Conference, at KMH Royal College of Music and KTH Royal Institute of Technology. Our warm thanks are due to the SMC Network for hosting SMAC in the framework of SMC, as are many thanks to all presenters and co-authors for participating. We hope that you will enjoy learning of the new science presented here.

    Sara D’Amario, Sten Ternström and Anders Friberg

    Track chairs, Editors

    Fulltekst (pdf)
    fulltext
  • 14.
    D'Amario, Sara
    et al.
    Department of Music Acoustics, mdw – University of Music and Performing Arts Vienna, Vienna, Austria; RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway; Department of Musicology, University of Oslo, Oslo, Norway.
    Ternström, Sten
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH, Musikakustik.
    Goebl, Werner
    Department of Music Acoustics, mdw – University of Music and Performing Arts Vienna, Vienna, Austria.
    Bishop, Laura
    RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway; Department of Musicology, University of Oslo, Oslo, Norway.
    Body motion of choral singers2023Inngår i: Frontiers in Psychology, E-ISSN 1664-1078, Vol. 14Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Recent investigations on music performances have shown the relevance of singers’ body motion for pedagogical as well as performance purposes. However, little is known about how the perception of voice-matching or task complexity affects choristers’ body motion during ensemble singing. This study focussed on the body motion of choral singers who perform in duo along with a pre-recorded tune presented over a loudspeaker. Specifically, we examined the effects of the perception of voice-matching, operationalized in terms of sound spectral envelope, and task complexity on choristers’ body motion. Fifteen singers with advanced choral experience first manipulated the spectral components of a pre-recorded short tune composed for the study, by choosing the settings they felt most and least together with. Then, they performed the tune in unison (i.e., singing the same melody simultaneously) and in canon (i.e., singing the same melody but at a temporal delay) with the chosen filter settings. Motion data of the choristers’ upper body and audio of the repeated performances were collected and analyzed. Results show that the settings perceived as least together relate to extreme differences between the spectral components of the sound. The singers’ wrists and torso motion was more periodic, their upper body posture was more open, and their bodies were more distant from the music stand when singing in unison than in canon. These findings suggest that unison singing promotes an expressive-periodic motion of the upper body.

  • 15. de Valk, Reinier
    et al.
    Volk, Anja
    Utrecht University.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Pikrakis, Aggelos
    Kroher, Nadine
    Six, Joren
    MIRchiving: Challenges and opportunities of connecting MIR research and digital music archives2017Inngår i: DLfM '17 Proceedings of the 4th International Workshop on Digital Libraries for Musicology, ACM Digital Library, 2017Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This study is a call for action for the music information retrieval (MIR) community to pay more attention to collaboration with digital music archives. The study, which resulted from an interdisciplinary workshop and subsequent discussion, matches the demand for MIR technologies from various archives with what is already supplied by the MIR community. We conclude that the expressed demands can only be served sustainably through closer collaborations. Whereas MIR systems are described in scientific publications, usable implementations are often absent. If there is a runnable system, user documentation is often sparse---posing a huge hurdle for archivists to employ it. This study sheds light on the current limitations and opportunities of MIR research in the context of music archives by means of examples, and highlights available tools. As a basic guideline for collaboration, we propose to interpret MIR research as part of a value chain. We identify the following benefits of collaboration between MIR researchers and music archives: new perspectives for content access in archives, more diverse evaluation data and methods, and a more application-oriented MIR research workflow.

    Fulltekst (pdf)
    fulltext
  • 16. Echternach, Matthias
    et al.
    Burk, Fabian
    Koeberlein, Marie
    Selamtzis, Andreas
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Doellinger, Michael
    Burdumy, Michael
    Richter, Bernhard
    Herbst, Christian Thomas
    Laryngeal evidence for the first and second passaggio in professionally trained sopranos2017Inngår i: PLOS ONE, E-ISSN 1932-6203, Vol. 12, nr 5, artikkel-id e0175865Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Introduction Due to a lack of empirical data, the current understanding of the laryngeal mechanics in the passaggio regions (i.e., the fundamental frequency ranges where vocal registration events usually occur) of the female singing voice is still limited. Material and methods In this study the first and second passaggio regions of 10 professionally trained female classical soprano singers were analyzed. The sopranos performed pitch glides from A3 (f(o) = 220 Hz) to A4 (f(o) = 440 Hz) and from A4 (f(o) = 440 Hz) to A5 (f(o) = 880 Hz) on the vowel [i:]. Vocal fold vibration was assessed with trans-nasal high speed videoendoscopy at 20,000 fps, complemented by simultaneous electroglottographic (EGG) and acoustic recordings. Register breaks were perceptually rated by 12 voice experts. Voice stability was documented with the EGG-based sample entropy. Glottal opening and closing patterns during the passaggi were analyzed, supplemented with open quotient data extracted from the glottal area waveform. Results In both the first and the second passaggio, variations of vocal fold vibration patterns were found. Four distinct patterns emerged: smooth transitions with either increasing or decreasing durations of glottal closure, abrupt register transitions, and intermediate loss of vocal fold contact. Audible register transitions (in both the first and second passaggi) generally coincided with higher sample entropy values and higher open quotient variance through the respective passaggi. Conclusions Noteworthy vocal fold oscillatory registration events occur in both the first and the second passaggio even in professional sopranos. The respective transitions are hypothesized to be caused by either (a) a change of laryngeal biomechanical properties; or by (b) vocal tract resonance effects, constituting level 2 source-filter interactions.

  • 17. Echternach, Matthias
    et al.
    Sundberg, Johan
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Arndt, Susan
    Breyer, Tobias
    Markl, Michael
    Schumacher, Martin
    Richter, Bernhard
    Vocal tract and register changes analysed by real-time MRI in male professional singers - a pilot study2008Inngår i: Logopedics, Phoniatrics, Vocology, ISSN 1401-5439, E-ISSN 1651-2022, Vol. 33, nr 2, s. 67-73Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Changes of vocal tract shape accompanying changes of vocal register and pitch in singing have remained an unclear field. Dynamic real-time magnetic resonance imaging (MRI) was applied to two professional classical singers (a tenor and a baritone) in this pilot study. The singers sang ascending scales from B3 to G#4 on the vowel /a/, keeping the modal register throughout or shifting to falsetto register for the highest pitches. The results show that these singers made few and minor modifications of vocal tract shape when they changed from modal to falsetto and some clear modifications when they kept the register. In this case the baritone increased his tongue dorsum height, widened his jaw opening, and decreased his jaw protrusion, while the tenor merely lifted his uvula. The method used seems promising and should be applied to a greater number of singer subjects in the future.

  • 18. Echternach, Matthias
    et al.
    Sundberg, Johan
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Arndt, Susan
    Markl, Michael
    Schumacher, Martin
    Richter, Bernhard
    Vocal Tract in Female Registers: A Dynamic Real-Time MRI Study2010Inngår i: Journal of Voice, ISSN 0892-1997, E-ISSN 1873-4588, Vol. 24, nr 2, s. 133-139Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The area of vocal registers is still unclarified. In a previous investigation, dynamic real-time magnetic resonance imaging (MRI), which is able to produce up to 10 frames per second, was successfully applied for examinations of vocal tract modifications in register transitions in male singers. In the present study, the same MRI technique was used to study vocal tract shapes during four professional young sopranos' lower and upper register transitions. The subjects were asked to sing a scale on the vowel /a/ across their transitions. The transitions were acoustically identified by four raters. In neither of these transitions, clear vocal tract changes could be ascertained. However, substantial changes, that is, widening of the lips, opening of the jaw, elevation of the tongue dorsum, and continuous widening of the pharynx, were observed when the singers reached fundamental frequencies that were close to the frequency of the first formant of the vowel sung. These findings suggest that in these subjects register transition was not primarily the result of modifications of the vocal tract.

  • 19. Echternach, Matthias
    et al.
    Sundberg, Johan
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Baumann, Tobias
    Markl, Michael
    Richter, Bernhard
    Vocal tract area functions and formant frequencies in opera tenors' modal and falsetto registers2011Inngår i: Journal of the Acoustical Society of America, ISSN 0001-4966, E-ISSN 1520-8524, Vol. 129, nr 6, s. 3955-3963Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    According to recent model investigations, vocal tract resonance is relevant to vocal registers. However, no experimental corroboration of this claim has been published so far. In the present investigation, ten professional tenors' vocal tract configurations were analyzed using MRI volumetry. All subjects produced a sustained tone on the pitch F4 (349 Hz) on the vowel /a/(1) in modal and (2) in falsetto register. The area functions were estimated from the MRI data and their associated formant frequencies were calculated. In a second condition the same subjects repeated the same tasks in a sound treated room and their formant frequencies were estimated by means of inverse filtering. In both recordings similar formant frequencies were observed. Vocal tract shapes differed between modal and falsetto register. In modal as compared to falsetto the lip opening and the oral cavity were wider and the first formant frequency was higher. In this sense the presented results are in agreement with the claim that the formant frequencies differ between registers.

  • 20. Echternach, Matthias
    et al.
    Sundberg, Johan
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Markl, Michael
    Richter, Bernhard
    Professional Opera Tenors' Vocal Tract Configurations in Registers2010Inngår i: Folia Phoniatrica et Logopaedica, ISSN 1021-7762, E-ISSN 1421-9972, Vol. 62, nr 6, s. 278-287Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Objective: Tenor singers may reach their top pitch range either by shifting from modal to falsetto register or by using their so-called 'voix mixte'. Material and Methods: In this study, dynamic real-time MRI of 8 frames per second was used to analyze the vocal tract profile in 10 professional opera tenors, who sang an ascending scale from C4 (262 Hz) to A4 (440 Hz) on the vowel /a/. The scale included their register transition and the singers applied both register techniques in different takes. Results: Modal to falsetto register changes were associated with only minor vocal tract modifications, including elevation and tilting of the larynx and a lifted tongue dorsum. Transitions to voix mixte, by contrast, were associated with major vocal tract modifications. Under these conditions, the subjects widened their pharynges, their lip and jaw openings, and increased their jaw protrusion. These modifications were stronger in more 'heavy' tenors than in more 'light' tenors. The acoustic consequences of these articulatory changes are discussed.

  • 21.
    Elblaus, Ludvig
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Eckel, Gerhard
    University of Music and Performing Arts Graz, Graz, Austria.
    Acoustic modelling as a strategy for composing site-specific music2020Inngår i: ACM International Conference Proceeding Series: Proceedings of the 15th International Conference on Audio Mostly, Association for Computing Machinery , 2020, s. 69-76Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This paper describes two site-specific musical compositions, focusing on how modelling was used in their respective composition processes. Primarily, the acoustics of the sites were modelled to aid in the preparation and composition of the pieces. From this we propose the general use of modelling as a way to work with the concept of site. But the idea of formulating a model is also applicable more widely in the work described and this is discussed with the two pieces as starting points. Both pieces use acoustic room scale feedback as their only source of sound, so the impact of the room, speakers and microphones used is immense. The first piece, Rundgång, is a commission for the GRM Acousmonium. The second piece, Clockwork, is a public installation that will also be the site of a performance, combining the installation with live interventions. Clockwork will also employ modelling as a component of the piece itself, and include a remote performer and a remote audience. We suggest that there are possibilities to employ compositional strategies to embrace these kinds of hybrid presence situations by composing for many vantage points.

  • 22.
    Elblaus, Ludvig
    et al.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Unander-Scharin, Carl
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Unander-Scharin, Åsa
    Singing Interaction: Embodied Instruments for Musical Expression in Opera2014Inngår i: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 24, s. 7-12Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performances, rooted in operatic praxis, allowing for heightened expressivity and emergent scenic subjects.

  • 23. Eyben, Florian
    et al.
    Salomão, Gláucia Laís
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH. Institutionen för Lingvistik, Stockholm Universitet / Department of Linguistics, Stockhom University.
    Sundberg, Johan
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH.
    Scherer, Klaus R.
    Schuller, Bjorn W.
    Emotion in the singing voice-a deeper look at acoustic features in the light of automatic classification2015Inngår i: EURASIP Journal on Audio, Speech, and Music Processing, ISSN 1687-4714, E-ISSN 1687-4722, ISSN 1687-4714, Vol. 2015, nr 1, artikkel-id 19Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    We investigate the automatic recognition of emotions in the singing voice and study the worth and role of a variety of relevant acoustic parameters. The data set contains phrases and vocalises sung by eight renowned professional opera singers in ten different emotions and a neutral state. The states are mapped to ternary arousal and valence labels. We propose a small set of relevant acoustic features basing on our previous findings on the same data and compare it with a large-scale state-of-the-art feature set for paralinguistics recognition, the baseline feature set of the Interspeech 2013 Computational Paralinguistics ChallengE (ComParE). A feature importance analysis with respect to classification accuracy and correlation of features with the targets is provided in the paper. Results show that the classification performance with both feature sets is similar for arousal, while the ComParE set is superior for valence. Intra singer feature ranking criteria further improve the classification accuracy in a leave-one-singer-out cross validation significantly.

  • 24. Fossum, Dave
    et al.
    Holzapfel, André
    Bogazici University, Istanbul.
    Exploring the Music of Two Masters of the Turkmen Dutar Through Timing Analysis2014Inngår i: Proceedings of the 4th Workshop on Folk Music Analysis, Bogaziçi University , 2014, s. 52-56Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, we analyze onset characteristics to try to identify important differences between two famous Turkmen dutar performers in terms of patterns of timing. We first analyzed annotated onset data for equivalent excerpts from recordings by these two musicians. We then analyzed unannotated onset data for a larger set of entire recordings. These analyses showed several conclusions. First, during introductory strumming outside the context of a composed melody, the two have different timing habits. Mylly aga is more consistent and Purli aga more varied ¨ in terms of recurring inter-onset-intervals (IOIs). Second, during through-composed melodies, the timing profiles of the two musicians are very similar. This perhaps reflects the traditional Turkmen emphasis on preserving the form of traditional compositions in great detail and the attention paid to strumming technique. Finally, we found that automatically derived representations of rhythmic patterns, referred to as pulsation matrices, could be useful for identifying departures from typical timing patterns, which we could then analyze in order to understand such variations and their possible significance

    Fulltekst (pdf)
    fulltext
  • 25.
    Friberg, Anders
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Intelligenta system, Tal, musik och hörsel, TMH.
    Commentary on Polak How short is the shortest metric subdivision?2017Inngår i: Empirical Musicology Review, E-ISSN 1559-5749, Vol. 12, nr 3-4, s. 227-228Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    This commentary relates to the target paper by Polak on the shortest metric subdivision by presenting measurements on West-African drum music. It provides new evidence that the perceptual lower limit of tone duration is within the range 80-100 ms. Using fairly basic measurement techniques in combination with a musical analysis of the content, the original results in this study represents a valuable addition to the literature. Considering the relevance for music listening, further research would be valuable for determining and understanding the nature of this perceptual limit.

  • 26.
    Friberg, Anders
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Home conducting: Control the overall musical expression with gestures2005Inngår i: Proceedings of the 2005 International Computer Music Conference, San Francisco: International Computer Music Association , 2005, s. 479-482Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In previous computer systems for "conductingOa score, the control is usually limited to tempo and overall dynamics. We suggest a home conducting system allowing an indirect control of the expressive musical details on the note level. In this system, the expressive content of human gestures is mapped into semantic expressive descriptions. These descriptions are then mapped to performance rule parameters using a real time version of the KTH rule system for music performance. The resulting system is intuitive and easy to use also for people lacking formal musical education, making it a tool for the listener rather than the professional performer.

  • 27.
    Friberg, Anders
    et al.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Choi, K.
    Schön, Ragnar
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Downie, J. S.
    Elowsson, Anders
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Cross-cultural aspects of perceptual features in K-pop: A pilot study comparing Chinese and Swedish listeners2017Inngår i: 2017 ICMC/EMW - 43rd International Computer Music Conference and the 6th International Electronic Music Week, Shanghai Conservatory of Music , 2017, s. 291-296Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In previous studies it has been shown that perceptual features can be used as an intermediate representation in music processing to model higher-level semantic descriptions. In this pilot study, we focused on the cross-cultural aspect of such perceptual features, by asking both Chinese and Swedish listeners to rate a set of K-Pop samples using a web-based questionnaire. The music samples were selected from a larger set, previously rated in terms of different emotion labels. The selection procedure of the subset was carefully designed to maximize both the variation of emotion and genre. The listeners rated eight perceptual features: dissonance, speed, rhythmic complexity, rhythmic clarity, articulation, harmonic complexity, modality, and pitch. The results indicated a small but significant difference in the two groups, regarding the average speed and rhythmic complexity. In particular the perceived speed of hip hop was different for the two groups. We discuss the overall consistency of the ratings using this methodology in relation to the interface, selection and number of subjects.

  • 28.
    Frid, Emma
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Sonification of women in sound and music computing - The sound of female authorship in ICMC, SMC and NIME proceedings2017Inngår i: 2017 ICMC/EMW - 43rd International Computer Music Conference and the 6th International Electronic Music Week, Shanghai Conservatory of Music , 2017, s. 233-238Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The primary goal of this study was to approximate the number of female authors in the academic field of Sound and Music Computing. This was done through gender prediction from author names for proceedings from the ICMC, SMC and NIME conferences, and by sonifying these results. Although gender classification by first name can only serve as an estimation of the actual number of female authors in the field, some conclusions could be drawn. The total percentage of author names classified as female was 10.3% for ICMC, 11.9% for SMC and 11.9% for NIME. When merging data from all three conferences for years 2004-2016, it could be concluded that names classified as female ranged from 9.5 to 14.3%. Changes in the ratio of female vs. male authors over time were further illustrated by sonifications, allowing the reader to explore, compare and reflect upon the results by listening to sonic representations of the data. The conclusion that can be drawn from this study is that the field of Sound and Music Computing is still far from being gender-balanced.

  • 29.
    Gedik, Ali Cenk
    et al.
    Department of Musicology, Dokuz Eylül University.
    Holzapfel, André
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    The Meaning of Music in Ethnomusicology and Music Information Retrieval: Obstacles Against Computational Ethnomusicology2018Konferansepaper (Fagfellevurdert)
    Fulltekst (pdf)
    fulltext
  • 30. Gren, P.
    et al.
    Tatar, K.
    Granström, J.
    Molin, N. E.
    Jansson, Erik V.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Laser vibrometry measurements of vibration and sound fields of a bowed violin2006Inngår i: Measurement science and technology, ISSN 0957-0233, E-ISSN 1361-6501, Vol. 17, nr 4, s. 635-644Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Laser vibrometry measurements on a bowed violin are performed. A rotating disc apparatus, acting as a violin bow, is developed. It produces a continuous, long, repeatable, multi-frequency sound from the instrument that imitates the real bow-string interaction for a 'very long bow'. What mainly differs is that the back and forward motion of the real bow is replaced by the rotating motion with constant velocity of the disc and constant bowing force (bowing pressure). This procedure is repeatable. It is long lasting and allows laser vibrometry techniques to be used, which measure forced vibrations by bowing at all excited frequencies simultaneously. A chain of interacting parts of the played violin is studied: the string, the bridge and the plates as well as the emitted sound field. A description of the mechanics and the sound production of the bowed violin is given, i.e. the production chain from the bowed string to the produced tone.

  • 31. Hagleitner, Michael
    et al.
    Holzapfel, AndréKTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Music on Crete: Traditions of a Mediterranean Island2017Collection/Antologi (Annet vitenskapelig)
  • 32. Hallqvist, Hanna
    et al.
    La, Filipa M. B.
    Sundberg, Johan
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH.
    Soul and Musical Theater: A Comparison of Two Vocal Styles2017Inngår i: Journal of Voice, ISSN 0892-1997, E-ISSN 1873-4588, Vol. 31, nr 2, s. 229-235Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The phonatory and resonatory characteristics of nonclassical styles of singing have been rarely analyzed in voice research. Six professional singers volunteered to sing excerpts from two songs pertaining to the musical theater and to the soul styles of singing. Voice source parameters and formant frequencies were analyzed by inverse filtering tones, sung at the same fundamental frequencies in both excerpts. As compared with musical theater, the soul style was characterized by significantly higher subglottal pressure and maximum flow declination rate. Yet sound pressure level was lower, suggesting higher glottal resistance. The differences would be the effects of firmer glottal adduction and a greater frequency separation between the first formant and its closest spectrum partial in soul than in musical theater.

  • 33.
    Han, Xu
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Bresin, Roberto
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Performance of piano trills: effects of hands, fingers, notes and emotions2019Inngår i: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019, Stockholm, 2019, s. 9-15Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Trill is a type of musical ornament. In automatic playback of piano music scores, trills are usually synthesised as a sequence of repeated notes with equal duration and dynamic level. This is not how trills are performed by pianists. In this study, trills were performed by three pianists on a Yamaha Disklavier and recorded as both audio and MIDI files. Then note duration, inter-onset interval (IOI) and key velocity for each note were extracted from MIDI files and analyzed in relation to hands, notes and emotions. Four significant effects were found; 1) hand effect: trills on right hand were in average performed with a faster rate, shorter note duration, longer off duration and faster key velocity, 2) finger effect: within the two notes forming a trill, notes with lower fingering number were performed with shorter off duration, while keeping note duration and key velocity close, 3) emotion effect: emotion mainly contributed to dynamic level, 4) crescendo effect: when crescendo happened, note duration and off duration compensated with each other and kept IOI at a almost constant value.

  • 34.
    Handberg, Leif
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Elblaus, Ludvig
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Chafe, C.
    Canfield-Dafilou, E. K.
    Op 1254: Music for neutrons, networks and solenoids using a restored organ in a nuclear reactor2018Inngår i: TEI 2018 - Proceedings of the 12th International Conference on Tangible, Embedded, and Embodied Interaction, Association for Computing Machinery (ACM), 2018, s. 537-541Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, an installation is presented that connects Stanford and Stockholm through a one-of-a-kind combination of instrument and venue: the Skandia Wurlitzer theatre organ (Wurlitzer serial no. 1254) situated in the KTH R1 Experimental Performance Space, a disused nuclear reactor. A continuous stream of musical data, audio, and video between the two places explored the capabilities of the digital to play with the concepts of presence and embodiment, virtuality and the physical. In the installation, a series of performances presented new pieces written especially for this setting. The pieces were performed by musicians in Stanford, mediated in real-time, allowing them to play together with the theatre organ in Stockholm, temporarily fusing the two venues to create one ensemble, one audience, in one space.

  • 35.
    Hansen, Kjetil Falkenberg
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID. KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Music Besides Grooves2002Inngår i: Pitch - Mutating Turntables: Argos Festival Catalogue 2002 / [ed] Depraetere, Frie; Willemsen, Paul, Argos Editions , 2002, s. 136-146Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 36.
    Hansen, Kjetil Falkenberg
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID. KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Playing the turntable: An introduction to scratching2001Inngår i: KTH Speech, Music and Hearing Quarterly Progress and Status Report, Vol. 42, s. 69-79Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article deals with the popular and rarely studied art form of manipulating a vinyl record by rhythmically dragging and pushing it, commonly labelled “scratching”. With sufficient practise, a Disc Jockey (DJ) can have great control over the sounds and treat the turntable as an expressive musical instrument. Even though a digital-based model of scratching might seem preferable to the vulnerable vinyl record, the acoustical behaviour of the scratch has not been formally studied until now. To gain information of this behaviour a DJ was asked to perform some typical scratching patterns. These common playing techniques and the corresponding sounds have been analysed. Since the focus of the article is on the basics of how the instrument works, an overview on standardized equipment and alternative equipment is given.

  • 37.
    Hansen, Kjetil Falkenberg
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID. KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Turntable Music2000Inngår i: Musikklidenskapelig Årbok 2000 / [ed] Jonsson, Leif; Oversand, Kjell; Breivik, Magnar, Department of Music, Norwegian University of Science and Technology , 2000, s. 145-160Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 38.
    Hansen, Kjetil Falkenberg
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Bresin, Roberto
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Holzapfel, Andre
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Pauletto, Sandra
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Gulz, Torbjörn
    KMH Royal College of Music in Stockholm.
    Lindetorp, Hans
    KMH Royal College of Music in Stockholm.
    Misgeld, Olof
    KMH Royal College of Music in Stockholm.
    Mattias, Sköld
    KMH Royal College of Music in Stockholm.
    Student involvement in sound and music computing research: Current practices at KTH and KMH2019Inngår i: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019, Stockholm, 2019, s. 36-42Konferansepaper (Fagfellevurdert)
    Abstract [en]

    To engage students in and beyond course activities has been a working practice both at KTH Sound and Music Computing group and at KMH Royal College of Music since many years. This paper collects experiences of involving students in research conducted within the two institutions. 

    We describe how students attending our courses are given the possibility to be involved in our research activities, and we argue that their involvement both contributes to develop new research and benefits the students in the short and long term.  Among the assignments, activities, and tasks we offer in our education programs are pilot experiments, prototype development, public exhibitions, performing, composing, data collection, analysis challenges, and bachelor and master thesis projects that lead to academic publications.

  • 39.
    Holmstedt, Janna
    KTH, Skolan för arkitektur och samhällsbyggnad (ABE), Filosofi och historia, Historiska studier av teknik, vetenskap och miljö. KTH Royal Inst Technol, Div Hist Sci Technol & Environm, Stockholm, Sweden..
    Interspecies Bodies and Watery Sonospheres: Listening in the Lab, the Archives and the Field2020Inngår i: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 30, s. 95-98Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this text, the author brings together scientific interspecies communication experiments, artistic practice and feminist posthumanities to inquire into the transformative role of sound and listening. Departing from an archive with recordings of human-dolphin language experiments, this research attends to sound as evidence and listening as a situated knowledge practice, with ethico-political implications that trouble Western, visually oriented knowledge systems. By imploding interfaces into situations of shared surfaces, the author directs attention to the logics of the skin to bring forth matters of care and suggest how listening might contribute to more careful and attentive modes of knowing.

  • 40.
    Holzapfel, Andre
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    From Dusk till dawn: An analysis of Cretan music festivities2022Inngår i: Trends in World Music Analysis: New Directions in World Music Analysis / [ed] Lawrence Beaumont Shuster, Somangshu Mukherji and Noé Dinnerstein, Routledge, 2022Kapittel i bok, del av antologi (Fagfellevurdert)
  • 41.
    Holzapfel, Andre
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Benetos, Emmanouil
    School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK.
    Killick, Andrew
    Department of Music, University of Sheffield, Sheffield, UK.
    Widdess, Richard
    Department of Music, SOAS University of London, UK.
    Humanities and engineering perspectives on music transcription2021Inngår i: Digital Scholarship in the Humanities, ISSN 2055-7671, E-ISSN 2055-768XArtikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Music transcription is a process of creating a notation of musical sounds. It has been used as a basis for the analysis of music from a wide variety of cultures. Recent decades have seen an increasing amount of engineering research within the field of Music Information Retrieval that aims at automatically obtaining music transcriptions in Western staff notation. However, such approaches are not widely applied in research in ethnomusicology. This article aims to bridge interdisciplinary gaps by identifying aspects of proximity and divergence between the two fields. As part of our study, we collected manual transcriptions of traditional dance tune recordings by eighteen transcribers. Our method employs a combination of expert and computational evaluation of these transcriptions. This enables us to investigate the limitations of automatic music transcription (AMT) methods and computational transcription metrics that have been proposed for their evaluation. Based on these findings, we discuss promising avenues to make AMT more useful for studies in the Humanities. These are, first, assessing the quality of a transcription based on an analytic purpose; secondly, developing AMT approaches that are able to learn conventions concerning the transcription of a specific style; thirdly, a focus on novice transcribers as users of AMT systems; and, finally, considering target notation systems different from Western staff notation.

  • 42.
    Holzapfel, Andre
    et al.
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    Hagleitner, Michael
    Stella, Pashalidou
    Diversity of Traditional Dance Expression in Crete: Data Collection, Research Questions, and Method Development2020Konferansepaper (Fagfellevurdert)
  • 43.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    A case study of ethnography and computational analysis as complementary tools for analyzing dance tunes2018Konferansepaper (Fagfellevurdert)
    Fulltekst (pdf)
    fulltext
  • 44.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Computational Analysis of Melodic Motives in Cretan Leaping Dances: Motivations, Perspectives, and Limitations2015Konferansepaper (Annet vitenskapelig)
  • 45.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Die ersten Schritte: Interviews mit kretischen Tanzlehrern2017Inngår i: Music on Crete: Traditions of a Mediterranean island / [ed] Michael Hagleitner and Andre Holzapfel, Vienna: Institut fuer Musikwissenschaft, Universität Wien , 2017, s. 303-330Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 46.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Leaping dances in Crete: Tradition in motion2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Throughout the last decades a new enthusiasm for local music and an increasing trend towards rediscovering old local dances and tunes gained momentum in the island of Crete. In the presented analysis I combine an ethnographic with a comparative approach, driven by audio signal analysis tools, in order to address the question of how far tunes that serve to define local and micro-local identities differ in certain aspects with regard to the sound of performances. For this I investigate three sound aspects of Cretan leaping dance performances: tempo, rhythmic stress patterns, and contained melodic patterns. I accompany the analytical results with information obtained from my interviews with dancing teachers and musicians. My results depict small but significant differences depending on the dance, but also underline the great homogeneity of the repertoire. The results imply that all three aspects contribute to the fine differences between the dance tunes, with a clear emphasis on the melodic phrases. Therefore, this study with its findings and its computational tools paves the way towards the establishment of dictionaries of characteristic melodic phrases of Cretan dance repertoire, as well as of dance tunes with similar morphology.

    Fulltekst (pdf)
    fulltext
  • 47.
    Holzapfel, André
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.
    Rhythmic and melodic aspects of Cretan Leaping dances2017Inngår i: Music on Crete: Traditions of a Mediterranean island / [ed] Michael Hagleitner and Andre Holzapfel, Vienna: Institut fuer Musikwissenschaft, Universität Wien , 2017, s. 281-302Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 48.
    Holzapfel, André
    Istanbul Technical University.
    STRUCTURE AND INTERACTION IN CRETAN LEAPING DANCES: CONNECTING ETHNOGRAPHY AND COMPUTATIONAL ANALYSIS2018Doktoravhandling, monografi (Annet vitenskapelig)
    Fulltekst (pdf)
    Second_PhD_thesis_Holzapfel
  • 49.
    Jerkert, Jesper
    KTH, Skolan för arkitektur och samhällsbyggnad (ABE), Filosofi och historia, Filosofi.
    Albinonis adagio?2021Inngår i: Tidig musik, ISSN 1400-5123, nr 1, s. 24-25Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    En diskussion av de uppgifter som på senare tid framkommit om ursprunget till det musikstycke som kallas "Albinonis adagio", och som utgavs av Remo Giazotto år 1958.

  • 50.
    Jerkert, Jesper
    KTH, Skolan för arkitektur och samhällsbyggnad (ABE), Filosofi och teknikhistoria, Filosofi.
    Review of Enharmonic Instruments and Music 1470–1900 by Patrizio Barbieri2010Inngår i: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 92, s. 121-123Artikkel, omtale (Annet vitenskapelig)
12 1 - 50 of 93
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