Kjell Andreas Oddekalv

• Danielsen, Anne; Brøvig, Ragnhild; Bøhler, Kjetil Klette; Câmara, Guilherme Schmidt; Haugen, Mari Romarheim & Jacobsen, Eirik [Show all 13 contributors for this article] (2024). There’s More to Timing than Time: Investigating Musical Microrhythm Across Disciplines and Cultures. Music Perception. ISSN 0730-7829. 41(3), p. 176–198. doi: 10.1525/mp.2024.41.3.176. Full text in Research Archive Show summary

  The TIME project: Timing and Sound in Musical Microrhythm (2017–2022) studied microrhythm; that is, how dynamic envelope, timbre, and center frequency, as well as the microtiming of a variety of sounds, affect their perceived rhythmic properties. The project involved theoretical work regarding the basic aspects of microrhythm; experimental studies of microrhythm perception, exploring both stimulus features and the participants’ enculturated expertise; observational studies of how musicians produce particular microrhythms; and ethnographic studies of musicians’ descriptions of microrhythm. Collectively, we show that: (a) altering the microstructure of a sound (“what” the sound is) changes its perceived temporal location (“when” it occurs), (b) there are systematic effects of core acoustic factors (duration, attack) on microrhythmic perception, (c) microrhythmic features in longer and more complex sounds can give rise to different perceptions of the same sound, and (d) musicians are highly aware of microrhythms and have developed vocabularies for describing them. In addition, our results shed light on conflicting results regarding the effect of microtiming on the “grooviness” of a rhythm. Our use of multiple, interdisciplinary methodologies enabled us to uncover the complexity of microrhythm perception and production in both laboratory and real-world musical contexts.

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• Upham, Finn & Oddekalv, Kjell Andreas (2023). Fingers and Tongues: Appreciating Rap Flows through Proprioceptive Interaction in Rhythm Hive. Show summary

  Rhythm games have been studied for their potential to develop interest in music making (Cassidy and Paisley, 2013) and transferable musicianship skills (Richardson and Kim, 2011), but how might they influence players appreciation for specific musical works? Proprioceptive interaction, a concept by game designer Matt Bloch (Miller, 2017), refers to changes in a game player's perception of music as they practice specific movements to it. By drawing attention to coincidental sounds, players can develop their hearing and appreciation for nuances of production and performance. Many fans of rap enjoy performances in languages they do not speak themselves. Without specific language skills, expertise in rap performance, and/or time to learn lyrics phonetically, their experience of a rap flow is hampered by an inability to imitate and imagine the generative action of performance. Rhythm Hive is a mobile rhythm game based on the music of BTS, Enhyphen, and TXT, Kpop groups with substantial followings outside of Korea. Game play presents players with finger choreographies to these groups’ hit songs, tapping sequences to the vocal performances across four to seven positions in a line. For these groups’ many non-rapping and non- Korean-speaking fans, playing Rhythm Hive may offer deeper understanding of performances by rappers like RM, Suga, and J-Hope. Through expert analysis of rap performance, transcriptions of game play, and reflections on the experience of playing Rhythm Hive, we consider shared structure between the prescribed finger choreographies and the rap flows they accompany. We studied rap verses from four BTS songs along side their Easy and Hard level tapping sequences (vocal versions only) to identify parallels in rhythm, segmentation, repetition, and accents. Easy mode choreographies tend to mark their relationship to rap vocals by hitting the start of lines and then articulating structure with repeated contours tapped on quarter and eighth notes. Hard mode choreographies tend to hit every rapped syllable and incorporate more gestural flourishes to mark pitch changes, ending and internal rhymes, and interesting breaks from a steady 16th note flow. Both Easy and Hard tappings sequences consistently follow the rap track when it deviates from a quantized beat. The finger choreographies of Rhythm Hive illuminate rap performances by directing and rewarding players’ attention to details of flows that may otherwise be missed. Game feedback pushes players to replicate delivery microtiming, while spatial patterns underline linguistic and rhythmic structure. Hard mode tapping sequences articulate distinguishing characteristics of specific rap styles, given players tangible sensitivity to degrees of technicality and nuances of genre. While fans may be motivated to play rhythm games like Rhythm Hive out of a preexisting love of the music and bands, tapping along offers them a chance to attend to, appreciate, and even rehearse key aspects of these rappers’ expert performance choices, regardless of how well they might follow by ear.

• Oddekalv, Kjell Andreas; Sørli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Nova nedstrippa - Sinsenfist. [Radio]. Radio Nova.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Sørli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist på Strynefestivalen.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Sørli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist på Stødt.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Sørli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist på Parkteateret - med Horny Horns og Fister Sisters - Support louilexus & Åse.
• Câmara, Guilherme Schmidt; Danielsen, Anne & Oddekalv, Kjell Andreas (2023). Funky rhythms – broken beats! Kulturelle og estetiske perspektiver på groove-basert musikk.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Sørli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik [Show all 8 contributors for this article] (2023). Sommeren for ti år sia : "Strekker meg, "Hvite sneakers", "Storeslem".
• Oddekalv, Kjell Andreas (2023). Project: Chimera Postdoctoral project – overview, examples, loose thoughts. HHRIG meeting presentation .
• Oddekalv, Kjell Andreas (2023). Weak Alternatives …and their presence making shit dope.

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