TIME - Timing and Sound in Musical Microrhythm

• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2022). The Organic Grid: Sound and Timing in Electronic Dance Music. Music Theory Spectrum. ISSN 0195-6167. 44(1). doi: 10.1093/mts/mtab013.
• Sioros, Georgios & Nymoen, Kristian (2021). Accurate shape and phase averaging of time series through Dynamic Time Warping. arXiv. Show summary

  Time series averaging is a crucial part of series summarization with important applications in data mining, signal noise suppression and information retrieval. Current averaging methods employ dynamic time warping (DTW) to correct for nonlinear phase variation between the sequences. They consider phase differences to be accidental and reduce durational information to sequential. Thus, they introduce time distortion that hinders the accurate estimation of the mean shape of the signals, its distinctive durational features, and the mean location of landmarks, all of which are required in many summarization applications. To address this problem, we propose a novel averaging method which preserves durational information due to a simple conversion of the output of DTW into a time sequence and an innovative iterative averaging process. We show that our method accurately estimates the ground truth mean sequences and mean temporal location of landmarks in synthetic and real-world datasets and outperforms state-of-the-art methods.

• Lartillot, Olivier; Nymoen, Kristian; Câmara, Guilherme Schmidt & Danielsen, Anne (2021). Computational localization of attack regions through a direct observation of the audio waveform. Journal of the Acoustical Society of America. ISSN 0001-4966. 149(1), p. 723–736. doi: 10.1121/10.0003374.
• Haugen, Mari Romarheim (2021). Investigating Music-Dance Relationships. A Case Study of Norwegian Telespringar. Journal of music theory. ISSN 0022-2909. 65(1), p. 17–38. doi: 10.1215/00222909-9124714.
• Danielsen, Anne (2020). Desktop production and groove. In Zagorski-Thomas, Simon & Bourbon, Andrew (Ed.), The Bloomsbury Handbook of Music Production. Bloomsbury Academic. ISSN 9781501334047.
• Haugen, Mari Romarheim & Danielsen, Anne (2020). Effect of tempo on relative note durations in a performed samba groove. Journal of New Music Research. ISSN 0929-8215. doi: 10.1080/09298215.2020.1767655. Full text in Research Archive
• Bruford, Fred & Lartillot, Olivier (2020). Multidimensional similarity modelling of complex drum loops using the GrooveToolbox, Proceedings of the 21st International Society for Music Information Retrieval (ISMIR) Conference. McGill-Queen's University Press. ISSN 978-0-9813537-0-8. p. 263–270. Full text in Research Archive
• Lartillot, Olivier & Bruford, Fred (2020). Bistate reduction and comparison of drum patterns, Proceedings of the 21st International Society for Music Information Retrieval (ISMIR) Conference. McGill-Queen's University Press. ISSN 978-0-9813537-0-8. p. 318–324. Full text in Research Archive
• Danielsen, Anne & Hawkins, Stan (2020). The Quest of Princian Research. Popular music and society. ISSN 0300-7766. 43(3), p. 231–236. doi: 10.1080/03007766.2020.1757811.
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (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. ISSN 0730-7829. 38(1), p. 1–26. doi: 10.1525/mp.2020.38.1.1. Full text in Research Archive
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Effects of instructed timing on electric guitar and bass sound in groove performance. Journal of the Acoustical Society of America. ISSN 0001-4966. 147(2), p. 1028–1041. doi: 10.1121/10.0000724.
• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar Ersland & Aareskjold-Drecker, Jon Marius (2020). Dynamic range processing and its influence on perceived timing in electronic dance music. Music Theory Online. ISSN 1067-3040. 26(2), p. 1–13. doi: 10.30535/MTO.26.2.3. Full text in Research Archive Show summary

  In this article, we explore the extent to which dynamic range processing (such as compression and sidechain compression) influences our perception of a sound signal’s temporal placement in music. Because compression reshapes the sound signal’s envelope, scholars have previously noted that certain uses of sidechain compression can produce peculiar rhythmic effects. In this article, we have tried to interrogate and complicate this notion by linking a description of the workings and effects of dynamic range processing to empirical findings on the interaction between sound and perceived timing, and by analyzing multitracks and DAW project files, as well as released audio files, of selected EDM tracks. The analyses of the different EDM tracks demonstrated that sidechain compression affects the music in many possible ways, depending on the settings of the compressors’ parameters, as well as the rhythmic pattern and the sonic complexity of both the trigger signal and the sidechained signal. Dynamic range processing’s impact on groove and perceived timing indicates, in line with previous findings, that sound and timing interact in fundamental ways. Because of this interaction, then, we cannot limit ourselves to technical terms that describe how particular effects are achieved if we want to fully understand the grooves that are characteristic of EDM or other music. We must also consider how listeners experience these effects.

• Danielsen, Anne & Hawkins, Edgar Stanley (2020). “The Right Amount of Odd”: Vocal Compulsion, Structure, and Groove in Two Love Songs from Around the World in a Day. Popular music and society. ISSN 0300-7766. 43(3). doi: 10.1080/03007766.2020.1757814. Full text in Research Archive
• Danielsen, Anne (2020). 'Keeping it real', 'Keeping it dandy'? Male blackness and the popular music mainstream. In Hansen, Kai Arne; Jarman, Freya & Askerøi, Eirik (Ed.), Popular Musicology and Identity: Essays in Honour of Stan Hawkins. Routledge. ISSN 9781138322882. Show summary

  Popular Musicology and Identity paves new paths for studying popular music’s entwinement with gender, sexuality, ethnicity, class, locality, and a range of other factors. The book consists of original essays in honour of Stan Hawkins, whose work has been a major influence on the musicological study of gender and identity since the early 1990s. In the new millennium, musicological approaches have proliferated and evolved alongside major shifts in the music industry and popular culture. Reflecting this plurality, the book reaches into a range of musical contexts, eras, and idioms to critically investigate the discursive structures that govern the processes through which music is mobilised as a focal point for negotiating and assessing identity. With contributions from leading scholars in the field, Popular Musicology and Identity accounts for the state of popular musicology at the onset of the 2020s while also offering a platform for the further advancement of the critical study of popular music and identity. This collection of essays thus provides an up-to-date resource for scholars across fields such as popular music studies, musicology, gender studies, and media studies.

• Senn, Olivier; Amadeus Bechtold, Toni; Rose, Dawn; Câmara, Guilherme Schmidt; Du Vel, Nina & Jerjen, Rafael [Show all 10 contributors for this article] (2020). Experience of Groove Questionnaire: Instrument Development and Initial Validation. Music Perception. ISSN 0730-7829. 38(1), p. 46–65. doi: 10.1525/MP.2020.38.1.46.
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation. Applied Sciences. ISSN 2076-3417. 9(23). doi: 10.3390/app9235121. Full text in Research Archive Show summary

  We present a method for tempo estimation from audio recordings based on signal processing and peak tracking, and not depending on training on ground-truth data. First, an accentuation curve, emphasizing the temporal location and accentuation of notes, is based on a detection of bursts of energy localized in time and frequency. This enables the detection of notes in dense polyphonic texture, while ignoring spectral fluctuation produced by vibrato and tremolo. Periodicities in the accentuation curve are detected using an improved version of autocorrelation function. Hierarchical metrical structures, composed of a large set of periodicities in pairwise harmonic relationships, are tracked over time. In this way, the metrical structure can be tracked even if the rhythmical emphasis switches from one metrical level to another. This approach, compared to all the other participants to the Music Information Retrieval Evaluation eXchange (MIREX) Audio Tempo Extraction competition from 2006 to 2018, is the third best one among those that can track tempo variations. While the two best methods are based on machine learning, our method suggests a way to track tempo founded on signal processing and heuristics-based peak tracking. Moreover, the approach offers for the first time a detailed representation of the dynamic evolution of the metrical structure. The method is integrated into MIRtoolbox, a Matlab toolbox freely available.

• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation. In Barbancho, Isabel; Tardón, Lorenzo J.; Peinado, Alberto & Barbancho, Ana M. (Ed.), SMC 2019 Proceedings of the 16th Sound & Music Computing Conference. Society for Sound and Music Computing. ISSN 978-84-09-08518-7. p. 174–181. doi: 10.3390/app9235121. Full text in Research Archive
• Danielsen, Anne (2019). Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation. In Grimshaw, Mark; Walther-Hansen, Mads & Knakkergaard, Martin (Ed.), The Oxford Handbook of Sound and Imagination, Volume 2. Oxford University Press. ISSN 9780190460242. doi: 10.1093/oxfordhb/9780190460242.013.27. Full text in Research Archive
• Skaansar, Jo Fougner; Laeng, Bruno & Danielsen, Anne (2019). Microtiming and Mental Effort. Onset Asynchronies in Musical Rhythm Modulate Pupil Size. Music Perception. ISSN 0730-7829. 37(2), p. 111–133. doi: 10.1525/mp.2019.37.2.111. Full text in Research Archive Show summary

  The present study tested two assumptions concerning the auditory processing of microtiming in musical grooves (i.e., repeating, movement-inducing rhythmic patterns): 1) Microtiming challenges the listener's internal framework of timing regularities, or meter, and demands cognitive effort. 2) Microtiming promotes a “groove” experience—a pleasant sense of wanting to move along with the music. Using professional jazz musicians and nonmusicians as participants, we hypothesized that microtiming asynchronies between bass and drums (varying from −80 to 80 ms) were related to a) an increase in “mental effort” (as indexed by pupillometry), and b) a decrease in the quality of sensorimotor synchronization (as indexed by reduced finger tapping stability). We found bass/drums-microtiming asynchronies to be positively related to pupil dilation and negatively related to tapping stability. In contrast, we found that steady timekeeping (presence of eighth note hi-hat in the grooves) decreased pupil size and increased tapping performance, though there were no conclusive differences in pupil response between musicians and nonmusicians. However, jazz musicians consistently tapped with higher stability than nonmusicians, reflecting an effect of rhythmic expertise. Except for the condition most closely resembling real music, participants preferred the on-the-grid grooves to displacements in microtiming and bass-succeeding-drums-conditions were preferred over the reverse.

• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance. In Flexer, Arthur; Peeters, Geoffroy; Urbano, Julián & Volk, Anja (Ed.), Proceedings of the 20th International Society for Music Information Retrieval Conference, ISMIR 2019. International Society for Music Information Retrieval. ISSN 9781732729919.
• Bromham, Gary; Moffat, David; Barthet, Mathieu; Danielsen, Anne & Fazekas, György (2019). The Impact of Audio Effects Processing on the Perception of Brightness and Warmth, AM'19: Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ. Association for Computing Machinery (ACM). ISSN 9781450372978. p. 183–190. doi: 10.1145/3356590.3356618.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance. In Barbancho, Isabel; Tardón, Lorenzo J.; Peinado, Alberto & Barbancho, Ana M. (Ed.), SMC 2019 Proceedings of the 16th Sound & Music Computing Conference. Society for Sound and Music Computing. ISSN 978-84-09-08518-7. p. 20–25.
• London, Justin; Nymoen, Kristian; Langerød, Martin Torvik; Thompson, Marc Richard; Code, David Løberg & Danielsen, Anne (2019). A comparison of methods for investigating the perceptual center of musical sounds. Attention, Perception & Psychophysics. ISSN 1943-3921. 81(6), p. 2088–2101. doi: 10.3758/s13414-019-01747-y. Full text in Research Archive
• Danielsen, Anne; Nymoen, Kristian; Anderson, Evan; Câmara, Guilherme Schmidt; Langerød, Martin Torvik & Thompson, Marc R. [Show all 7 contributors for this article] (2019). Where is the beat in that note? Effects of attack, duration, and frequency on the perceived timing of musical and quasi-musical sounds. Journal of Experimental Psychology: Human Perception and Performance. ISSN 0096-1523. 45(3), p. 402–418. doi: 10.1037/xhp0000611. Show summary

  The perceptual center (P-center) of a sound is typically understood as the specific moment at which it is perceived to occur. Using matched sets of real and artificial musical sounds as stimuli, we probed the influence of attack (rise time), duration, and frequency (center frequency) on perceived P-center location and P-center variability. Two different methods to determine the P-centers were used: Clicks aligned in-phase with the target sounds via the method of adjustment, and tapping in synchrony with the target sounds. Attack and duration were the primary cues for P-center location and P-center variability; P-center variability was found to be a useful measure of P-center shape. Consistent interactions between attack and duration were also found. Probability density distributions for each stimulus display a systematic pattern of P-center shapes ranging from narrow peaks close to the onset of sounds with fast attack and short duration, to wider and flatter shapes indicating a range synchronization points for sounds with slow attack and long duration. The results support the conception of P-centers as not simple time points, but "beat bins" with characteristic shapes, and the shapes and locations of these beat bins are dependent upon both the stimulus and the synchronization task.

• Câmara, Guilherme Schmidt & Danielsen, Anne (2018). Groove. In Alexander, Rehding & Steven, Rings (Ed.), The Oxford Handbook of Critical Concepts in Music Theory. Oxford University Press. ISSN 9780190454746. doi: 10.1093/oxfordhb/9780190454746.013.17. Full text in Research Archive
• Danielsen, Anne (2018). Music, media and technological creativity in the digital age. Nordisk musikkpedagogisk forskning : Årbok. ISSN 1504-5021. 18, p. 9–22.
• Danielsen, Anne (2018). Time and Time Again: Repetition and Difference in Repetitive Music. In Julien, Olivier & Levaux, Christophe (Ed.), Over and Over. Exploring Repetition in Popular Music. Bloomsbury Academic. ISSN 9781501324888. doi: 10.5040/9781501324871.ch-002. Full text in Research Archive
• Brøvig-Hanssen, Ragnhild (2018). Listening To or Through Technology: Opaque and Transparent Mediation. In Bennett, Samantha & Bates, Eliot (Ed.), Critical Approaches to the Production of Music and Sound. Bloomsbury Academic. ISSN 9781501332. p. 195–210. doi: 10.5040/9781501332074.0021. Full text in Research Archive
• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter . In Volpe, Gualtiero & Camurri, Antonio (Ed.), Proceedings of the 5th International Conference on Movement and Computing. ACM Publications. ISSN 978-1-4503-6504-8. doi: 10.1145/3212721.3212885. Full text in Research Archive
• Danielsen, Anne (2018). Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves. In Scotto, Ciro; Smith, Kenneth M. & Brackett, John (Ed.), The Routledge Companion to Popular Music Analysis: Expanding Approaches. Routledge. ISSN 9781138683112. doi: 10.4324/9781315544700-12. Full text in Research Archive
• Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2017). Music Production: Recording Technology and Acousmatic Listening. In Ashley, Richard D & Timmers, Renee (Ed.), The Routledge Companion to Music Cognition. Routledge. ISSN 9781138721050. Full text in Research Archive
• Haugen, Mari Romarheim (2017). Investigating Musical Meter as Shape: Two Case Studies of Brazilian Samba and Norwegian Telespringar. In Van Dyck, Edith (Eds.), Proceedings of the 25th Anniversary Conference of the European Society for the Cognitive Sciences of Music. IPEM, University of Ghent, Belgium. p. 67–74. doi: 10.18061/emr.v11i3-4.5029. Full text in Research Archive
• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox. In Lokki, Tapio; Pätynen, Jukka & Välimäki, Vesa (Ed.), Proceedings of the 14th Sound and Music Computing Conference 2017. Aalto University. ISSN 978-952-60-3729-5. p. 214–219. Full text in Research Archive
• Danielsen, Anne (2017). Struktur og performativitet: mikrorytmikk i afroamerikansk populærmusikk. Svensk tidskrift för musikforskning. ISSN 2002-021X. 99, p. 3–19. Full text in Research Archive

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• Danielsen, Anne (2021). What is rhythm? What is micro rhythm?
• Sørbø, Solveig Isis & Haugen, Mari Romarheim (2021). Om telespringar, samba, musikkforskning og låtskriving. [Radio]. Solveigs Speisa Musikk, RadiOrakel.
• Ganis, Francesco; Dahl, Sofia; Câmara, Guilherme Schmidt & Danielsen, Anne (2021). Beat precision and perceived danceability in drum grooves. Show summary

  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 Câmara 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. Câmara, 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.

• Câmara, Guilherme Schmidt; Sioros, George & Danielsen, Anne (2021). Mapping timing and intensity strategies in drum-kit performance via hierarchical clustering and phylogenetic visualizations . Show summary

  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 (Câmara 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 (Câmara 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 (Câmara 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: Câmara, 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. Câmara, 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.

• Haugen, Mari Romarheim (2021). Asymmetrical Meter and Periodic Body Motion in Norwegian Telespringar Performance.
• Haugen, Mari Romarheim (2021). Investigating the Effect of Tempo on Non-Isochronous Subdivisions in Brazilian Samba.
• Haugen, Mari Romarheim & Danielsen, Anne (2021). Influence of tempo on non-isochronous note duration pattern in a performed samba groove.
• Oddekalv, Kjell Andreas (2021). Solveigs Speisa Musikk - med Kjell Andreas Oddekalv. [Radio]. RadiOrakel.
• Oddekalv, Kjell Andreas (2021). Solveigs Speisa Musikk - Kjell Andreas Oddekalv igjen. [Radio]. RadiOrakel.
• Danielsen, Anne; Langerød, Martin Torvik; Nymoen, Kristian & London, Justin (2021). Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
• Danielsen, Anne; Langerød, Martin Torvik; Nymoen, Kristian & London, Justin (2021). Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
• Danielsen, Anne (2021). Shaping rhythm: Timing and sound in EDM.
• Danielsen, Anne (2021). Rhythm and Groove in Contemporary African American Popular Music.
• Danielsen, Anne (2021). Rhythm and Meter.
• Danielsen, Anne (2021). Time and time again: repetition and difference in grooves. Show summary

  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.

• Danielsen, Anne (2021). Opening remarks, presentation of RITMO.
• Johansson, Mats Sigvard (2021). Representing meter in traditional fiddle music: Accounting for variability and ambiguities.
• Lartillot, Olivier & Johansson, Mats Sigvard (2021). Tracking beats in Hardanger fiddle tunes .
• Câmara, Guilherme Schmidt (2021). Trial Lecture for Ph.D. disputation: "How far can we predict aesthetic effects from physical properties within and beyond groove music, and what can different microrhythmic feels communicate to listeners?".
• 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.
• Câmara, Guilherme Schmidt (2021). Presentation and Summary of Ph.D. Project: "Timing Is Everything . . . Or Is It? Investigating Timing and Sound Interactions in the Performance of Groove-Based Microrhythm".
• Câmara, Guilherme Schmidt & Pileberg, Silje (2021). New research could inspire experimental musicians. Show summary

  https://www.uio.no/ritmo/aktuelt/aktuelle-saker/2021/forskning-tips-musikere.html

• Brøvig-Hanssen, Ragnhild (2021). Rhythm, Repetition, and Expectations.
• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar & Aareskjold-Drecker, Jon Marius (2021). Slow Attacks, Peculiar Accents, and Pumping Grooves: Perceptual Interaction between Timing and Intensity in Music Production.
• Sioros, George (2021). Groove, meter and syncopation: a cognitive perspective. .
• Oddekalv, Kjell Andreas (2021). Verses in verses - convergent and divergent metrical structure in rap flows.
• Lartillot, Olivier & Johansson, Mats Sigvard (2021). Automated beat tracking of Norwegian Hardanger fiddle music. Show summary

  Norwegian Hardanger fiddle music is typically played by a solo fiddler, without rhythmic accompaniment except for the musician’s discreet foot stomping. Some of its repertoire features an asymmetrical ternary meter, with an uneven proportion of durations between the three beats of each bar, and with varying degrees of fluctuation of those proportions throughout each piece. In addition, there is often no clear audible onset corresponding to the beat position. As a result, many listeners find it difficult to hear the beats without experience from playing or dancing, and the beat onsets cannot be properly tracked by state-of-the-art beat trackers. The aim of this study is to develop a computational model of beat tracking of Hardanger fiddle music. Due to the rhythmic irregularity of the music, computational approaches relying on the detection of regular periodicities cannot be used. The proposed strategy adopts a cognitive perspective, modeling processes that progressively infer beats while scanning the music sequence chronologically. To each successive note is associated a tentative metrical position, which is determined based on a set of rules, using various input data such as (1) the ratio of the inter-onset interval (IOI) from the previous beat onset to the current note onset and the preceding inter-beat-onset interval and (2) the ratio of the IOI from the bar onset to the current note onset and the preceding inter-bar-onset interval. Successive repetition of eighth notes (as well as of eighth-note triplets) induce specific states that also guide the subsequent extension of the sequence. Multiple beat tracking scenarios can coexist at particular moments in the tune for very short periods. In particular, the very first notes at the beginning of the tune may initially imply conflicting metrical structures and tempi. The conflicting parallel beat tracking scenarios are progressively extended note after note in parallel. A scenario ends whenever it reaches a dead-end situation where the music is in total contradiction. Multiple scenarios are fused when they are continued exactly the same way, and only the scenario deemed the most congruent is retained. One particularity of Hardanger fiddle music is that beat onsets are not precise points in time but rather diffuse temporal extension, closely related to the notion of beat bin (Danielsen, 2010). Sometimes, multiple successive notes can all be considered as possible onsets for a given beat (Johansson, 2010; Stover et al., 2021). This multiplicity of beat onsets has been integrated into the model. Most of the analysis can be carried out using solely note onset time as input data, although more challenging cases occasionally require taking into account note duration or higher structure such as motivic repetition. This indicates that a proper beat tracker needs to be integrated as a module within a comprehensive music analysis framework, with bidirectional dependencies with the other modules of the framework. The model has so far been tuned and tested on a couple of tunes only. Its application to the automated analysis of a larger corpus is under investigation. Danielsen, Anne (2010). “Here, there, and everywhere. Three accounts of pulse in D'Angelo's 'Left and Right’.” In A. Danielsen (Ed.), Musical Rhythm in the Age of Digital Reproduction. Farnham: Ashgate/Routledge, UK. Johansson, Mats (2010). “The Concept of Rhythmic Tolerance – Examining Flexible Grooves in Scandinavian Folk-fiddling.” In A. Danielsen (Ed.), Musical Rhythm in the Age of Digital Reproduction. Farnham: Ashgate/Routledge, UK. Stover, Chris; Danielsen, Anne & Johansson, Mats (2021). “Bins, Spans, Tolerance: Three Theories of Microtiming Behavior.” [under review in Music Theory Spectrum].

• Solbakk, Anne-Kristin; Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anais & Funderud, Ingrid [Show all 13 contributors for this article] (2021). Auditory prediction and prediction error in self-generated tones.
• Câmara, Guilherme Schmidt & Lokna, Maria (2021). Intervju i Morgenbladet - "Kan man forske på hva som er groovy?". [Newspaper]. Morgenbladet.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar Ersland (2020). Timing in Electronic Dance Music.
• Brøvig-Hanssen, Ragnhild (2020). A Doubled Now: Parody Theories.
• Bruford, Fred & Lartillot, Olivier (2020). Multidimensional similarity modelling of complex drum loops using the GrooveToolbox. Show summary

  The GrooveToolbox is a new Python toolbox implementing various algorithms, new and pre-existing, for the analysis and comparison of symbolic drum loops, including rhythm features, similarity metrics and microtiming features. As part of the GrooveToolbox we introduce two new metrics of rhythm similarity and four features for describing the significant properties of microtiming deviations in drum loops. Based on a two-part perceptual evaluation, we show these four new microtiming features can each correlate to similarity perception, and be used with rhythm similarity metrics to improve personalized similarity models for drum loops. A new measure of structural rhythmic similarity is also shown to correlate more strongly to similarity perception of drum loops than the more com- monly used Hamming distance. These results point to the potential application of the GrooveToolbox and its new features in drum loop analysis for intelligent music production tools. The GrooveToolbox may be found at: https://github.com/fredbru/GrooveToolbox

• Lartillot, Olivier & Toiviainen, Petri (2020). Read about the Matlab MIRtoolbox. Young Acousticians Network (YAN) Newsletter. p. 4–10. Show summary

  MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyväskylä, Finland) You can also check out the MIRtoolbox website at: shorturl.at/oA038

• Lartillot, Olivier & Bruford, Fred (2020). Bistate reduction and comparison of drum patterns.
• Oddekalv, Kjell Andreas (2020). Food & Paper: Metre-on-metre interactions – analysing the rhythms of rap flows.
• Haugen, Mari Romarheim (2020). "Brain in Research(ers)" Panel.
• Haugen, Mari Romarheim (2020). Musical performance.
• Jemterud, Torkild; Danielsen, Anne; Brodal, Per; Løvvik, Ole Martin; Goodwin, Morten & Knudsen, Pål Moddi (2020). Abels tårn: En følsom AI tester visesang.
• Haugen, Mari Romarheim & Kleppe, Synnøve Sudbø (2020). Bortebuaren. [Newspaper]. Bø Blad.
• Danielsen, Anne (2020). Exploring the Hu/Machine: Shaping beats in contemporary African-American popular music .
• Oddekalv, Kjell Andreas (2020). Brakkeskole: Kjell Andreas Oddekalv forskar på rapflow.
• Oddekalv, Kjell Andreas (2020). IMV PhD Midway Assessment for Kjell Andreas Oddekalv.
• Oddekalv, Kjell Andreas (2020). METRE MEETS METRE – HOW DO WE HEAR, ANALYSE AND LISTEN TO RAP FLOWS?
• Danielsen, Anne (2020). Musical listening, micro-time .
• Danielsen, Anne (2020). Does genre expertise modulate micro level synchronisation to musical sounds? Show summary

  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.

• Oddekalv, Kjell Andreas (2020). When Metre meets Metre: Rhythmic Ambiguity and Flexibility in Rap Flows .
• Oddekalv, Kjell Andreas (2020). Food & Paper: Metre on metre - a theoretical framework for rap analysis.
• Brøvig-Hanssen, Ragnhild (2020). Playful Rhythms and Mosaic Flow. Show summary

  Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.

• Danielsen, Anne (2020). Groove studies.
• Danielsen, Anne (2020). Interdisciplinary music research. Show summary

  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.

• Oddekalv, Kjell Andreas (2020). Metre-on-metre interactions – analysing the rhythms of rap flows.
• Lilleslåtten, Mari; Câmara, Guilherme Schmidt & Danielsen, Anne (2020). Hva du synes er bra musikk avgjøres på noen tusendels sekunder. [Internet]. Forskning.no.
• Sioros, George (2020). Comparing the timing of repetitive human movements.
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation.
• Haugen, Mari Romarheim; Johansson, Mats Sigvard & Lartillot, Olivier (2019). Investigating rhythm production and perception in traditional scandinavian dance music in non-isochronous meter: A case study of norwegian telespringar.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Rapkjefta - episode 1. [Radio]. Ordentlig Radio.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and its Aesthetics.
• Brøvig-Hanssen, Ragnhild; Théberge, Paul; Lefford, Nyssim; Provenzano, Catherine & Williams, Alan (2019). Methodology Panel. Show summary

  Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.

• Oddekalv, Kjell Andreas (2019). Surrender to the flow – rhyme as the defining structural element in rap.
• Oddekalv, Kjell Andreas (2019). The urge to «clean up» the rap: rhythm and plasticity in rap music.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Parkour.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance.
• Cederkvist, Vibeke & Brøvig-Hanssen, Ragnhild (2019). Musikkverdenen voksne ikke forstår. [Internet]. NRK.no. Show summary

  Bedroom pop: En undergrunnskultur.

• Oddekalv, Kjell Andreas (2019). Rap Flows PhD Thesis.
• Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid & Foldal, Maja Dyhre [Show all 13 contributors for this article] (2019). Action-based auditory predictions. Show summary

  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.

• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance.
• Lartillot, Olivier (2019). A comprehensive framework for computational music analysis. Show summary

  During this presentation, Dr. Olivier Lartillot will give an overview of MIRtoolbox - a Matlab application enabling the extraction of a large range of audio and musical descriptions from recordings. MIRtoolbox is designed to be easy to use both for teaching at any level and for advanced research in musicology, signal analysis and music cognition. One initial aim of MIRtoolbox was to study the relationship between musical features and emotions evoked by music. MIRtoolbox focuses on signal-processing-based approaches that offer limited understanding of music. Lartillot is also developing computational methods for the analysis of notated music, starting from motivic analysis and aiming at building a comprehensive framework where audio and score are combined together.

• Oddekalv, Kjell Andreas (2019). Likeins, likeins, men annleis – ulike språk/rytme-interaksjonar i rap.
• Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid & Foldal, Maja Dyhre [Show all 13 contributors for this article] (2019). Auditory prediction and prediction error in self-generated tones.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Walderhaug, Bendik & Sørli, Anders Ruud (2019). Rapkjefta - Episode 3. [Radio]. Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2019). Rapkjefta - Episode 4. [Radio]. Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus & Hole, Erik (2019). Rapkjefta - Episode 5. [Radio]. Ordentlig Radio.
• Danielsen, Anne (2019). Glitched and Warped: Shaping the “Beat Bin” in Contemporary African-American Popular Music.
• Danielsen, Anne (2019). Classic Album Sundays: Aretha Franklin (paneldeltakelse).
• Lartillot, Olivier (2019). Computational analysis of tempo and metre: from signal processing to cognitive musicology. Show summary

  Computational models for the analysis of tempo, metre and the tracking of beats have made significant progress during the last decades. I first present a synthetic overview of the state of the art. Up to recently, classical approaches were based on signal processing, with the integration of heuristics based on assumptions related to music perception and cognition. The standard approach is to first detect percussive events through the establishment of an accentuation curve, followed by periodicity detection, and the construction and tracking of meter. Because rhythmic emphasis can develop on various metrical levels across time, it is necessary to track the metrical structure on multiple levels. I show the benefit of such detailed analysis with the use of a model I have developed, and which obtained one of the highest grades in the MIREX tempo estimation competition. New approaches based on deep learning have achieved impressive progress and have largely surpassed signal-processing-based approached (including mine) in the recent yearly editions of MIREX. One limitation of these approaches, at least in their current stages, is that they appear as black boxes able to imitate a particular behaviour for which they were trained on particular examples. As such, they hardly offer insight on the cognitive mechanisms underlying the perception of metre. I will discuss the limitations of signal processing approaches and highlight the complexity of the musical structure. Pulsation in music is not always expressed through a periodic repetition of percussive events, but may emerge from a subtle propagation of motivic or harmonic structures. I present an approach under development that models the different components of music analysis and combine them altogether, extending further Lerdahl and Jackendoff’s vision. Motivic repetition, which plays a core role, is also one of the dimensions that is the most difficult to model and automate.

• Danielsen, Anne (2019). Hvor er egentlig beatet? Rytme og timing i rytmisk musikk.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal chops and Rhythm.
• Brøvig-Hanssen, Ragnhild (2019). Presentation of MASHED; TIME; and MusFrag.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Dual-Planed Temporality.
• Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, György (2019). Digital Warmth: The Retro in Digital.
• Hagen, Maren Kvamme & Danielsen, Anne (2019). Ein hest og ei landeplage. [Internet]. nrk.no.
• 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.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019). Rapkjefta - episode 2. [Radio]. Ordentlig Radio.
• Haugen, Mari Romarheim & Habbestad, Ida (2019). Å studere dei små detaljane. Kva kan teknologi for rørslesporing bidra med i skildring av folkedansen? [Journal]. Folkemusikk. Magasinet for folkemusikk og folkedans.
• Danielsen, Anne & Nymoen, Kristian (2019). Where is the beat in that note?
• Danielsen, Anne (2019). The impact of digitization on rhythm and groove in African-American popular music. Show summary

  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.

• Danielsen, Anne (2019). Workshop on microrhythmic analysis and groove.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and it's aesthetics.
• Danielsen, Anne (2019). The Expanding Present (panel member).
• Kverndokk, Kristin; Danielsen, Anne; Hellstenius, Jon Henrik & Orning, Tanja (2019). Om språk og musikk. Spillerom søndag (NRK). [Radio]. NRK P2.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Walderhaug, Bendik; Hole, Erik; Sørli, Anders Ruud & Ugstad, Magnus [Show all 7 contributors for this article] (2019). Vet du aller helst.
• Câmara, 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.
• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). The relation between groove and syncopation is intricate – not any pattern will do. Show summary

  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.

• Sioros, George; Câmara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian (2019). Timing and drummers’ movement: A novel methodology for performance analysis . Show summary

  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 Röder 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.

• Sioros, George & Danielsen, Anne (2019). How do Rhythmic Features Affect our Movement?
• Câmara, 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.
• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). Does moderate syncopation increase groove? The answer depends on the syncopation pattern. Show summary

  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.

• Danielsen, Anne & Jensenius, Alexander Refsum (2018). UiOs innovasjonspris til RITMO ved Anne Danielsen og Alexander Refsum Jensenius. [Business/trade/industry journal]. Ballade. Show summary

  Får prisen for tverrfaglig, banebrytende og innovativt arbeid.

• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter. Show summary

  Head movements of groups of participants moving to music allowing for both duple and triple subdivisions were analysed using Recurrence Quantification Analysis. As expected the maximum recurrence rate varied between participant, position in the music, and between groups. The lags of maximum recurrence were only partly corresponding to the metrical levels of the music and syncopated sections confused participants so that they moved to 4/4 rather than 6/8.

• Haugen, Mari Romarheim (2018). Meter i Skandinavisk folkemusikk.
• Sioros, Georgios (2018). What we do when we move to music v.2.
• Jensenius, Alexander Refsum (2018). Sophus Bugges Salong: Rytmer og følelser. Show summary

  Hvorfor opplever vi rytmer og tid slik vi gjør? "RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse" vil gi oss svaret.

• Haugen, Mari Romarheim (2018). The Effect of Tempo on Non-Isochronous Subdivisions in Performed Samba Groove. Show summary

  Several empirical studies have investigated the role of tempo on the characteristic non-isochronous long–short duration pattern on eight note level in jazz. Friberg and Sundström (1997) found an approximately linear decrease of swing ratio with increasing tempo and suggest a lower limit to the duration of the short second eight note around 100 ms. Honing and Haas (2008) found that the swing ratio is adapted to the overall tempo, but did not find that it scaled linearly with tempo. Non-isochronous subdivision patterns have also been found in samba groove (e.g., Gerischer, 2006; Haugen, 2016; Naveda, 2011)–that is, at the level of sixteenth notes. In samba groove the fourth sixteenth note seems to be longer in duration than the others. The aim of this study is to investigate the influence of tempo on the duration pattern on sixteenth note level in a performed samba groove. Two professional samba performers, a percussionist and a dancer, participated in the study. The analysis in present paper is based on the recorded sound. The percussionist played a samba groove at three different tempi: 133, 100, and 69 BPM. Since all the sixteenth notes are played in this recording, their temporal position could be detected using onset detection. Subsequently, the inter-onset-intervals (IOIs) between the sixteenth notes were calculated and converted into percent values according to their percentage of the beat. The analysis showed significant differences between all the sixteenth note durations in all three tempi–that is, a medium/long–short–medium/short–long duration pattern on sixteenth note level were found at all tempi. In addition, a significant interaction between sixteenth note type and tempo were found. The analysis showed that as the tempo increases the short second sixteenth note became shorter and the long fourth sixteenth note became longer. In the fastest tempo, the short second sixteenth note’s mean duration is only 68 ms, something that is much shorter than 100 ms that has previous been suggested to be the shortest interval that we can hear and perform. The results suggest that the non-isochronous duration pattern on sixteenth note level in samba becomes even more non-isochronous with increasing tempo. In addition, the results indicate that the lower limit for IOIs in samba groove is below 100 ms. REFERENCES: Friberg & Sundström. (1997). Preferred swing ratio in jazz as a function of tempo. Speech, Music, and Hearing: Quarterly Status and Progress Report (TMH-QSPR), 4, 19–27. Gerischer (2006). O suingue baiano: Rhythmic feeling and microrhythmic phenomena in Brazilian percussion. Ethnomusicology, 50(1), 99–119. Haugen (2016). Music–Dance. Investigating Rhythm Structures in Brazilian Samba and Norwegian Telespringar Performance. (Ph.D. Thesis), University of Oslo, Oslo. Honing & Haas (2008). Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming. Music Perception: An Interdisciplinary Journal, 25(5), 471–476. doi:10.1525/mp.2008.25.5.471 Naveda (2011). Gesture in Samba: A cross-modal analysis of dance and music from the Afro-Brazilian culture. (Ph.D. thesis), Faculty of Arts and Philosophy, Ghent University, Belgium, Ghent, Belgium.

• Jære, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum (2018). På sporet av rytmen. [Internet]. Uniforum. Show summary

  Hvorfor får vi lyst til å bevege oss når vi hører musikk? Vinnerne av UiOs innovasjonspris, Anne Danielsen og Alexander Refsum Jensenius, finner forhåpentligvis svaret når de fordyper seg i mennesket og rytmens mysterier.

• Danielsen, Anne (2018). Intervju om Aretha Franklin i Dagsnytt, NRK 2 .
• Danielsen, Anne (2018). Intervju om Aretha Franklin til NTB.
• Danielsen, Anne (2018). Microrhythms and Microsounds: The impact of digitization on African-American popular music.
• Danielsen, Anne (2018). Hva er en sommerhit? [Radio]. NRK P2, Studio 2.
• Danielsen, Anne (2018). Analysing Popular Music in the Digital Age. Show summary

  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.

• Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim (2018). Presentasjon av TIME-prosjektet.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). The Norwegian Centre of Excellence RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
• 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.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). Rytme i tid og rom.
• Câmara, Guilherme Schmidt (2018). Presentation of preliminary findings: Effects of Instructed Timing on Guitar and Bass Sound in Groove Performance.
• Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Rytmen er en danser. [Business/trade/industry journal]. Ballade.
• Jensenius, Alexander Refsum; Danielsen, Anne; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Intellectual warm-up: "Rhythm".
• Oddekalv, Kjell Andreas (2018). Masteroppgåva: Kjell Andreas Oddekalv Betre flows enn Akerselva. Mål og makt. ISSN 0332-7744. 48(1), p. 33–41.
• Câmara, Guilherme Schmidt (2018). Presentation of Mocap Component of Performance Experiments from the Timing and Sound in Musical Microrhythm (TIME) project .
• Haugen, Mari Romarheim (2018). Investigating Rhythm Structures in Music and Dance Using Motion Capture.
• Brøvig-Hanssen, Ragnhild; Aareskjold, Jon Marius & Sandvik, Bjørnar (2018). EDM Producers' Reflections on Groove.
• Danielsen, Anne (2017). Rhythm and Groove in African-American Popular Music.
• Danielsen, Anne (2017). Populærmusikk og mediering i den digitale tidsalder.
• 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.
• 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.
• 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.
• Haugen, Mari Romarheim (2017). Investigating Musical Meter as Shape: Two Case Studies of Brazilian Samba and Norwegian Telespringar. Show summary

  The perception of musical meter is fundamental for rhythm production and perception in much music. Underlying structures such as pulse, meter, and metrical subdivisions are often described as successive mental beats. This paper investigates whether experienced musical meter may not only include such mental points in time, but also trajectories between the points–that is, metrical shapes. Previous studies have pointed out that there seems to be a relationship between musical meter and periodic body motions like foot tapping, head nodding and dancing. This paper investigates whether metrical shapes might also be present in performers’ periodic body motions. Two motion capture studies form the empirical basis of this paper; first, a percussionist and a dancer performing Brazilian samba; second, a fiddler and two dancers performing Norwegian telespringar. Motion analysis of the samba performers’ periodic body motion revealed similar periodic shapes in both percussionist and dancer foot motion on sixteenth note level. In telespringar there seemed to be a relationship between the beat durations indicated by the fiddler’s periodic foot stamping and the shape of the dancers’ vertical body motion. The results support the view that there is a close relationship between musical meter and performers’ periodic body motion. The analysis of the performers’ periodic body motions revealed periodic motion shapes on beat level in telespringar and on sixteenth note level in samba. This suggest that the underlying meter may not only include metrical points in time, but that each metrical beat/subdivision duration has a corresponding metrical trajectory with a certain shape. If this is the case, then perceivers’ and performers’ implicit knowledge of the underlying reference structure in samba and telespringar might incorporate knowledge about the underlying metrical shape.

• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox. Show summary

  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.

• Danielsen, Anne (2017). Kvalitet i rytmisk musikk.
• Danielsen, Anne (2017). Experimental hip-hop and the meanings of glitched grooves . Show summary

  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.

• Danielsen, Anne (2017). Digital Signatures. The Impact of Digitization on Popular Music Sound.
• Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & Câmara, Guilherme Schmidt (2017). Project presentation: Timing and Sound in Musical Microrhythm (TIME).
• Sioros, George (2017). What we do when we move to music.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Processing’s Influence on Perceived Timing.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Compression’s Influence on Perceived Timing.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Does Compression Influence Timing? A Case Study in EDM Music.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Compression’s Influence on Perceived Timing in EDM Music.
• Danielsen, Anne (2017). Timing and Sound in Musical Microrhythm: Theoretical, Aesthetic and Empirical Aspects.
• 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.
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikklære på Nasjonalbiblioteket, tema "Rytme".
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikklære på Nasjonalbiblioteket, tema "Låten".
• Danielsen, Anne (2017). Methodologies in Record Production Research (Panel).
• Danielsen, Anne (2017). P-centres and beat bins - an introduction to the TIME project.
• Danielsen, Anne (2017). The perception, aesthetics, and cultural values of 'glitched' grooves.
• Danielsen, Anne (2016). Investigating the perception of sound-timing relationships in recorded (real) music.
• Câmara, 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. Full text in Research Archive Show summary

  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.

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