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Mehlum, Lars; Haga, Egil; Mellbye, Alex; Schønning, Thea; Dymbe, Kine Johansen & Siqveland, Johan
(2022).
Predictors of treatment non-response in adolescents receiving DBT-A.
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Mehlum, Lars; Haga, Egil & Dymbe, Kine Johansen
(2021).
Association between insecure attachment and self-harm in adolescents with borderline features – a longitudinal study.
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Mehlum, Lars & Haga, Egil
(2018).
Cost-effectiveness of dialectical behaviour therapy in self- harming adolescents with Borderline Personality Disorder features.
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Mehlum, Lars; Haga, Egil; Thomassen, Hilde & Mork, Erlend
(2018).
Bedre behandling av depresjon i primærhelsetjenesten – et viktig selvmordsforebyggende tiltak.
Utposten.
ISSN 0800-5680.
s. 12–14.
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Thomassen, Hilde; Haga, Egil; Wernø Nilsson, Hanne Sofie & Mork, Erlend
(2017).
iFightDepression – et veiledet selvhjelpsverktøy for behandling av depresjon.
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Mehlum, Lars; Ramberg, Maria; Tørmoen, Anita Johanna; Haga, Egil; Diep, Lien My & Stanley, Barbara
[Vis alle 9 forfattere av denne artikkelen]
(2015).
Dialectical Behavior Therapy Compared With Enhanced Usual Care for Adolescents with Repeated Suicidal and Self-harming Behavior: Outcomes over a 1-year Follow-Up.
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Mehlum, Lars; Ramberg, Maria; Tørmoen, Anita Johanna; Haga, Egil; Diep, Lien My & Stanley, Barbara
[Vis alle 9 forfattere av denne artikkelen]
(2015).
One year follow-up of Dialectical Behavior Therapy vs. Enhanced Usual Care for Self-harming Adolescents.
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Haga, Egil; Tørmoen, Anita Johanna; Aas, Eline; Mehlum, Lars & Grøholt, Berit
(2015).
Cost-effectiveness of Dialectical Behaviour Therapy (DBT) vs Enhanced Usual care in the treatment of adolescents With self-harm.
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Godøy, Rolf Inge; Haga, Egil & Jensenius, Alexander Refsum
(2006).
Exploring Music-Related Gestures by Sound-Tracing - A Preliminary Study.
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Jensenius, Alexander Refsum; Gupta, Ram Eivind; Godøy, Rolf Inge; Haga, Egil; Aksnes, Hallgjerd & Kristoffersen, Kristian Emil
(2005).
Kroppslyd.
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Haga, Egil
(2005).
Correspondences between music and gesture.
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Haga, Egil
(2005).
Analysis of correspondences in music and gesture.
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Godøy, Rolf Inge; Haga, Egil & Jensenius, Alexander Refsum
(2005).
Playing "Air Instruments": Mimicry of Sound-producing Gestures by Novices and Experts.
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Jensenius, Alexander Refsum; Godøy, Rolf Inge; Haga, Egil & Aksnes, Hallgjerd
(2004).
Musical Gestures.
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Haga, Egil
(2004).
Analysis of musical gestures in Edgar Varese's Hyperprism.
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Haga, Egil
(2008).
Correspondences between Music and Body Movement.
Unipub forlag.
ISSN 0806-3222.
Vis sammendrag
This thesis explores the way we perceive correspondences between music and body movement. This is done by analysing similarities between music and movement in terms of specific features in music and movement. The analyses have been performed on recordings where participants were asked to make a movement that they thought matched a short excerpt of musical sound, first in a collection of ‘sound-tracings’ where the participants made a movement on a digital tablet, and second, in a collection of ‘free dance movements’ where the participants were asked to move freely to music. The approach to analysis has been developed on the basis of ecological theory of perception and motor theories of perception that address the perception-movement link. Included in the theoretical framework is also research on multisensory perception.
As a point of departure it is assumed that correspondences is perceived on the basis of similar changes in features in music and movement i.e. that correspondence emerges when music and movement co-evolve and change similarly within the same time window. Changes in features are thus analysed on what we call a chunk level in both music and movement.
The analyses of the ‘sound-tracings’ demonstrate how participants are sensitive to correspondences on the basis of changes in pitch, timbre, mode of production (e.g. sustained vs. iterative) and onset density. The analyses of the ‘free dance-movements’ material show that correspondences emerge when overall activation change similarly in music and movement.
These findings suggest that there is a certain consistency in the way we perceive music-movement correspondences. However, the analyses also clearly demonstrate that correspondences emerge flexibly, i.e. that the same musical excerpt may correspond to different variants of movement. It may therefore be difficult to analyse consistency within a traditional quantitative research paradigm and it is proposed that music-movement relations are best examined by detailed qualitative analysis.
