| 1. |
- Misgeld, Olof, 1973-
(musiker, creator_code:cre_t, kompositör)
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Dancing Dots - the exhibition
- 2022
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Konstnärligt arbete (film/video)abstract
- The performance Dancing Dots - the exhibition (Misgeld, 2022) aims to explore new artistic expression in Swedish folk music by combining live performing (playing and dancing) with auditory and visual displays of motion capture recorded movement. The performance was constructed using optical motion capture recordings (MoCap) captured in a collaborative process with one musician and two dancers. This collaborative process included rehearsals, recordings, and evaluations of performances with optical Mocap as a tool for exploring the interactions between sound and movements in our joint performance. Movements recorded from selected markers on the dancers and the players bodies were used to generate synchronized light and sound loops: marker movements were displayed as moving lights in pixeled tubes, and the sound design was created by mapping synthesized sounds to parameters of movements in selected body parts. The research question for the performance was to enquire into the artistic and expressive possibilities of combining sonified and visualized movements with live folk music and dance. The motivation for this was three-fold: to explore new ways of artistic expressions by expanding and amplifying the movements into an auditory space in order to allow sonic interactions with traditional dance and fiddle playing; to challenge the dancers and players traditional roles by adding the possibility of interacting (playing/dancing with) with pre-recorded movements; and to bridge across performance contexts by offering possibility for audience to participate by exploring the augmented music/dance by watching, listening and also moving/dancing in the visual/sonic space. Thus, the overarching aim is to explore methods for an open-ended development of artistic expression with traditional practice both as a departure point and a primary source of inspiration.
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| 2. |
- Misgeld, Olof, 1973-, et al.
(författare)
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Exploring beat connections in Swedish Folk music and dance.
- 2020
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Konferensbidrag (refereegranskat)abstract
- The link between musicians and dancers is generally described as strong in many traditional musics and this holds also for Scandinavian Folk Music - spelmansmusik. Understanding this interaction has potential for developing theories on performance strategies that can be useful for artistic and pedagogical purposes. This serves the aim of the ongoing doctoral project “Oral Music Theory – music theoretical tools for performance expression within folk music” conducted in collaboration between KMH Royal College of Music and KTH Royal Institute of Technology. Motion capture data of live performances of three fiddlers and two dancers were recorded, as well as dancing of the same dancers to recordings by an influential player. A first paper incorporated measurements and visualizations of performance data, contextualized by interviews with the performers. A second study further investigated the link between dancer and musician by having the same musicians perform to animations generated from the motion capture recordings of the dancers. The different stimuli focused on motions of selected body parts with the aim to understand how different movements can provide reliable cues for musicians. Results illustrate a reliable alignment to renderings showing full skeletons of dancers, and an advantage of focused displays of movements in the upper back of the dancer. Based on these results, we currently explore how asymmetric beat patterns relate to melodic rhythmic surface structures in Swedish local polska traditions. Our paper will summarize our previous results, introduce the collected data, and provide first results from this current work. Examples of results include the relation of onset frequency and rhythmic gestalt to relative beat duration.
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| 3. |
- Misgeld, Olof, 1973-, et al.
(författare)
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Exploring sonification as a tool for folk music-dance interactions.
- 2022
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Ingår i: Proceedings of the Second Symposium of the ICTM Study Group on Sound, Movement, and the Sciences (SoMoS).
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Konferensbidrag (refereegranskat)abstract
- In this paper we present ongoing work on the sonification of movements by dancers and players in Swedish folk music, with the aim to develop oral music theory tools for artistic and pedagogical purposes.An advantage of using sonification in the exploration of dance and music interaction is that it places dance movements within the same sensory domain as music - sound. In general, human beings are more accurate in perceiving time differences with auditory than visual stimuli, and the ability to listen to the dance movements can facilitate a more precise understanding of the complex temporal relations between movements and music. Sonifying dance movements extend traditional music and dance practices into an artificially created sonic world. With sounding dance movements, the roles in the interaction of dancers and musicians become entangled, which can allow new ways of artistic expression.This work aims at sonifying movement patterns in the dance in ways that 1) correspond to the embodied experience of the performers, 2) make the experience of how rhythms and meter interact in dancing and playing more tangible and, 3) allow for artistic explorations of performing with sonifications of dance.As a first step we explore sonifying motion capture data of dancers and musicians performing together and sonify movements that are relevant to the rhythmic and metrical patterns of the music and dance forms. This initial focus on recorded data facilitates a sound design that involves first-person perspectives. To this end, we invite expert dancers and musicians to contribute to the design process. We sonify using WebaudioXML to facilitate accessible interactions in this process, through a web interface, and we will present the insights from our ongoing design process. In future extensions we aim to explore using real-time sensors to allow live interactions between sonified dancers and musicians.
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| 4. |
- Misgeld, Olof, 1973-
(musiker, creator_code:cre_t)
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Fri Form Folk : Sven Ahlbäck, Petter Berndalen och Olof Misgeld spelar låtar efter Gustaf Jernberg
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- Den skatt av låtar och sätt att spela som förmedlats till modern tid genom spelmannen Gustaf Jernberg som kom från byn Sikvik i Gästrikland, har inspirerat och följt oss länge. Sven Ahlbäck blev en del av denna tradition genom att gå i lära hos Gustafs son Anton Jernberg och senare har Jernbergslåtarna också blivit en del av Olof Misgelds och Petter Berndalens musikaliska uttryck. Vi har spelat de här låtarna så mycket att de har blivit en del av vårt språk, på slagverk så väl som fiol,och här närmar vi oss låtarna genom att prata språket, men formulerar oss på vårt eget sätt, i stunden, i fri form. Låtarna är på denna skiva startpunkten för vårt samspel, var det slutar vet vi inte.Sven Ahlbäck – fiol Olof Misgeld – fiol Petter Berndalen – trummorInspelad & mixad av Petter Berndalen, Playing With Music Recording Studio Mastrad av Classe Persson, CRP RecordingsLayout: Holger Thorsin Distribuerad av Border Music AB www.playingwithmusic.se www.border.seSpårlista:Polska efter Anders Gustaf JernbergPolska efter Karl LindbladPolska efter Karl Lindblad och O. WallinderVals efter J.O. ÖstlundVals efter Karl Lindblad ”Vallpigan"Polska efter Karl Lindblad IIPolska efter A.G. Jernberg ”Sikvikspolskan"Polska efter Karl Lindblad och G. Lång ”Rikorpilåten"Polska efter Karl Lindblad och O. Wallinder ”Bancolåten"Gånglåt efter Karl LindbladPolska efter A.G. Jernberg
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| 5. |
- Misgeld, Olof, 1973-, et al.
(författare)
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Interdisciplinary Music Research - a Stockholm example
- 2020
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Collaborations between universities and institutions are a part of the commitment of higher education. However, finding relevant and practical openings can be challenging.A collaboration between KMH Royal College of Music and KTH Royal Institute of Technology Institute in Stockholm has provided for teachers at KMH to participate in Ph.D. training programs within the field of Sound and Music Computing at KTH. Currently, four teachers from Jazz, Folk Music, Composition and Music and Media departments are enrolled at KTH as part of their employment at KMH. This interdisciplinary collaboration aims at enhancing the research environment at KMH and also contribute towards establishing the third-cycle level at KMH, which is currently not available. Another goal is to promote collaborations between students of the two schools, on, for example, master's thesis, course projects, etc.The nature of the collaboration between music teachers and researchers within technology and design carries unique possibilities for developing interdisciplinary research that influences teaching practice and the academic environment of the two institutions.We present two ongoing doctoral projects within the field of jazz and folk music, their methodologies, and the preliminary outcomes. These projects approach artistic practice with experimental methods and performance analysis using methods from Motion Capture, computational sound analysis, and Music Information Retrieval. The Folk Music project focuses on the interaction between players and dancers aiming towards developing oral music theory. The Jazz project concerns method development for identifying jazz improvisation strategies.
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| 6. |
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| 7. |
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| 8. |
- Misgeld, Olof, 1973-
(författare)
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Spel i rörelse, rörelse i spel
- 2023
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- En presentation ur Olof Misgeld doktorandprojekt där dansens och spelets gemensamma språk är i fokus. Hur kan traditionella samspelsformer i folkmusik utforskas, utmanas och utvidgas genom ljudande och visuell mediering av dansrörelse.
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| 9. |
- Misgeld, Olof, 1973-
(författare)
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The melodic beat - asymmetric variations in polska performances.
- 2019
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Konferensbidrag (refereegranskat)abstract
- Abstract: The melodic beat - asymmetric variations in polska performances Triple-beat forms in Scandinavian Folk Music and Dance traditions sometimes have asymmetrical beat, and this is true for local styles of the Swedish polska. How musical metrical structures are mirrored in Norwegian folk dance forms has been described by Blom (1993) and in Motion Capture studies (Haugen, 2016). In these traditions beat patterns are often varied within performances, shifting between more or less asymmetric measures. Folk music theorists have related these asymmetric beat variations to melodic surface structures (Ahlbäck, 2003). The aim of this study is a deeper understanding of these musical structures and towards exploring how performers’ expressional variations of asymmetric beat patterns correspond to subtle variations in style-specific dance movements. Can the interaction between musician and dancer be traced through this shaping of beat structures? Asymmetric beat patterns are here studied from recordings of different versions of the same musical pieces: polska in a local tradition. The data includes historical archive recordings and recent recordings of fiddlers playing for dancers, recorded with sound and Motion Capture. Recordings were annotated both manually and using an auto-notation algorithm (Ahlbäck, et al 2019). Beat patterns were compared to aspects of melodic phrase structures, such as melodic form and the effect of the frequency of note onsets on the relative length of a beat. The results show that asymmetric beat patterns were related to the specific melodic contour and to some extent to the number of onsets within a beat and to certain melodic rhythms. The results also show that within recurring rhythms in a performance the degree of asymmetry can be varied. The beat patterns were found to be more consistent in different recordings with the same players than when compared between players. The findings point towards how and where the beat is placed within a melodic framework can be regarded as an important part of the expression in these music and dance forms. This study marks a first step in exploring how melodic rhythm and metrical beat asymmetry unfold over the course of these performances. Finding and exploring these patterns will facilitate studies of rhythmical and metrical variation as a means of interaction between dancers and players. Ahlbäck, S. (2003). About Asymmetrical Beat in the Polska. In M. Ramsten (Ed.), The Polish Dance in Scandinavia and Poland (pp. 165–80). Stockholm: Svenskt visarkiv.Ahlbäck, S., Emtell, S., Ronström, E., & et al at DoReMir. (2019). ScoreCloud Studio 4.2. Stockholm: DoReMIR Music research AB.Blom, J.-P. (1993). Rytme og frasering-forholdet til dansen. Fanitullen. Innføring i Norsk Og Samisk Folkemusikk, 161–184.Haugen, M. R. (2016). Music–Dance Investigating Rhythm Structures in Brazilian Samba and Norwegian Telespringar Performance. Universitetet i Oslo.
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| 10. |
- Misgeld, Olof, 1973-
(författare)
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The melodic beat - digging into music-dance relations in Swedish Folk.
- 2019
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- With this presentation my intention is to give some short introductory notes on parts of the world of Swedish folk music and dance where I have been lucky to be involved - as musician, teacher of folk music and researcher working with folk music and dance. As a folk musician playing the fiddle, I often find myself in collaborations with folk dancers and pedagogues, in pedagogical and artistic contexts, working with amateurs and professionals, performing in stage performance or as a traditional dance musician. I teach Folk Music Theory at the Royal College of Music (KMH) in Stockholm and I am in the early stage of pursuing a PhD in mediated communication at Royal technical Institute KTH in Stockholm focusing on Folk music theory and the interaction between music and dance. First some information on the higher educations in folk music and folk dance and in particular on the Royal College of Music in Stockholm. Then some reference to my own dance-music research and finally some notes on folk dance on stage in Sweden.
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