| 1. |
- Bresin, Roberto, et al.
(author)
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The Radio Baton as configurable musical instrument and controller
- 2003
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In: Proc. Stockholm Music Acoustics Conference. ; , s. 689-691
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Conference paper (peer-reviewed)abstract
- The Max Mathews radio baton (RB) has been produced in about 40 pieces until today. It has usually been applied as an orchestra conducting system, as interactive music composition controller using typical percussionist gestures, and as a controller for sound synthesis models. In the framework of the Sounding Object EU founded project, the RB has found new applications scenarios. Three applications were based on this controller. This was achieved by changing the gesture controls. Instead of the default batons, a new radio sender that fits the fingertips was developed. This new radio sender allows musicians’ interaction based on hand gestures and it can also fit different devices. A Pd model of DJ scratching techniques (submitted to SMAC03) was controlled with the RB and the fingertip radio sender. This controller allows DJs a direct control of sampled sounds maintaining hand gestures similar to those used on vinyl. The sound model of a bodhran (submitted to SMAC03) was controlled with a traditional playing approach. The RB was controlled with a traditional bodhran double beater with one fingertip radio sender at each end. This allowed detection of the beater position on the RB surface, the surfaced corresponding to the membrane in the sound model. In a third application the fingertip controller was used to move a virtual ball rolling along the elastic surface of a box placed over the surface of the RB. The DJ console and the virtual bodhran were played in concerts.
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| 2. |
- Bresin, Roberto, et al.
(author)
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Toward a new model for sound control
- 2001
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In: Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-01), Limerick, Ireland, December 6-8, 200. ; , s. 45-49
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Conference paper (peer-reviewed)abstract
- The control of sound synthesis is a well-known problem. This is particularly true if the sounds are generated with physical modeling techniques that typically need specification of numerous control parameters. In the present work outcomes from studies on automatic music performance are used for tackling this problem.
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| 3. |
- Dahl, Sofia, et al.
(author)
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Aquatic foodweb modelling of Lake Vättern, Sweden
- 2004
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Other publication (other academic/artistic)abstract
- The potential of ancient DNA research is far reaching in evolutionary studies and offers many opportunities, several of which have been little explored in plant palaeoecology. Recent genetic studies of fossil pollen of Scots pine retrieved from postglacial lake sediments in Sweden showed that chloroplast DNA can be recovered and used from remains as old as 10 ka. By sequencing and comparing short, yet very informative, chloroplast DNA regions from fossil and modern specimens we can now read the evolutionary message inscribed in this genome and learn how specific regions have evolved after the last glaciation. Can this approach be used also to study the evolutionary changes occurred both in time and space in plant populations during the last glaciation?
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| 4. |
- Dahl, Sofia, et al.
(author)
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Expressiveness of a marimba player’s body movements
- 2004
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In: TMH-QPSR. - 1104-5787. ; 46:1, s. 075-086
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Journal article (other academic/artistic)abstract
- Musicians often make gestures and move their bodies expressing their musical intention. This visual information provides a separate channel of communication to the listener. In order to explore to what extent emotional intentions can be conveyed through musicians’ movements, video recordings were made of a marimba player performing the same piece with four different intentions, Happy, Sad, Angry and Fearful. Twenty subjects were asked to rate the silent video clips with respect to perceived emotional content and movement qualities. The video clips were presented in different viewing conditions, showing different parts of the player. The results showed that the intentions Happiness, Sadness and Anger were well communicated, while Fear was not. The identification of the intended emotion was only slightly influenced by viewing condition. The movement ratings indicated that there were cues that the observers used to distinguish between intentions, similar to cues found for audio signals in music performance.
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| 5. |
- Dahl, Sofia, et al.
(author)
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Expressiveness of musician's body movements in performances on marimba
- 2004
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In: Gesture-Based Communication in Human-Computer Interaction. - Genoa : Springer Verlag. ; , s. 479-486
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Conference paper (peer-reviewed)abstract
- To explore to what extent emotional intentions can be conveyed through musicians’ movements, video recordings were made of amarimba player performing the same piece with the intentions Happy, Sad, Angry and Fearful. 20 subjects were presented video clips, without sound, and asked to rate both the perceived emotional content as well as the movement qualities. The video clips were presented in different conditions, showing the player to different extent. The observers’ ratings forthe intended emotions confirmed that the intentions Happiness, Sadness and Anger were well communicated, while Fear was not. Identification of the intended emotion was only slightly influenced by the viewing condition. The movement ratings indicated that there were cues that the observers used to distinguish between intentions, similar to cues found for audio signals in music performance.
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| 6. |
- Dahl, Sofia
(author)
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Playing the accent : comparing striking velocity and timing in an ostinato rhythm performed by four drummers
- 2004
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In: Acta Acoustica united with Acustica. - 1610-1928 .- 1861-9959. ; 90:4, s. 762-776
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Journal article (peer-reviewed)abstract
- Four percussion players’ strategies for performing an accented stroke were studied by capturing movement trajectories.The players played on a force plate with markers on the drumstick, hand, and lower and upper arm. Therhythmic pattern – an ostinato with interleaved accents every fourth stroke – was performed at different dynamiclevels, tempi and on different striking surfaces attached to the force plate. The analysis displayed differencesbetween the movement trajectories for the four players, which were maintained consistently during all playingconditions. The characteristics of the players’ individual movement patterns were observed to correspond wellwith the striking velocities and timing in performance. The most influential parameter on the movement patternswas the dynamic level with increasing preparatory heights and striking velocity for increasing dynamic level. Theinterval beginning with the accented stroke was prolonged, the amount of lengthening decreasing with increasingdynamic level.
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| 7. |
- Dahl, Sofia
(author)
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Striking movements : movement strategies and expression in percussive playing
- 2003
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Licentiate thesis (other academic/artistic)abstract
- This thesis concerns two aspects of movement and performancein percussion playing, First, the playing of an accent, asimple but much used and practised element in drumming, andsecond; the perception and communication of specific emotionalintentions through movements during performances onmarimba.Papers I and II investigated the execution andinterpretation of an accent performed for different playingconditions. Players' movements, striking velocities and timingpatterns were studied for different tempi, dynamic levels andstriking surfaces. It was found that the players used differingmovement strategies when playing and that they interpreted theaccent differently, something that was reflected in theirmovement trajectories. Strokes at greater dynamic levels wereplayed from a greater height and with higher strikingvelocities. All players initiated the accented strokes from agreater height, and delivered the accent with increasedstriking velocity compared to unaccented strokes. The intervalbeginning with the accented stroke was also prolonged,generally by delaying the following stroke. Recurrent cyclicpatterns were found in the players' timing performances. In alistening test listeners perceived the strokes groupedaccording to the cyclic patterns.Paper III studied how emotional intent was conveyed toobservers through the movements of a marimba player. Apercussionist was filmed when playing a piece with theexpressive intentions Happiness, Sadness, Anger and Fear onmarimba. Observers rated the emotional content and movementcues in the videos clips shown without sound. Results showedthat the observers were able to identify the intentionsSadness, Anger, and Happiness, but not Fear. The rated movementcues showed that an Angry performance was characterized bylarge, fast, uneven and jerky movements, Happy performances bylarge, somewhat fast movements, and Sad performances by small,slow, even, and smooth movements.Keywords:drumming, percussion, movement strategies,instrument interaction, timing, accent, movement cues emotionalexpression, gesture.
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| 8. |
- Dahl, Sofia
(author)
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The playing of an accent : Preliminary observations from temporal and kinematic analysis of percussionists
- 2000
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In: Journal of New Music Research. - : Informa UK Limited. - 0929-8215 .- 1744-5027. ; 29:3, s. 225-233
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Journal article (peer-reviewed)abstract
- The movements and timing when playing an interleaved accent in drumming were studied for three professionals and one amateur. The movement analysis showed that the subjects prepared for the accented stroke by raising the drumstick up to a greater height. The movement strategies used, however, differed widely in appearance. The timing analysis showed two basic features, a slow change in tempo over a longer time span ("drift"), and a short ter variation between adjacent intervals ("flutter"). Cyclic patterns, with every fourth interval prolonged, could be seen in the flutter. The lengthening of the interval, beginning with the accented stroke, seems to be a common way for the player to give the accent more emphasis. A listening test was performed to investigate if these cyclic patterns conveyed information to a listener about the grouping of the strokes. Listeners identified sequences where the magnitude of the inter-onset interval fluctuations were large during the cyclic patterns.
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| 9. |
- Rinman, Marie Louise, et al.
(author)
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Ghost in the Cave : an interactive collaborative game using non-verbal communication
- 2004
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In: GESTURE-BASED COMMUNICATION IN HUMAN-COMPUTER INTERACTION. - Berlin : Springer Verlag. ; , s. 549-556
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Conference paper (peer-reviewed)abstract
- The interactive game environment, Ghost in the Cave, presented in this short paper, is a work still in progress. The game involves participants in an activity using non-verbal emotional expressions. Two teams use expressive gestures in either voice or body movements to compete. Each team has an avatar controlled either by singing into a microphone or by moving in front of a video camera. Participants/players control their avatars by using acoustical or motion cues. The avatar is navigated in a 3D distributed virtual environment using the Octagon server and player system. The voice input is processed using a musical cue analysis module yielding performance variables such as tempo, sound level and articulation as well as an emotional prediction. Similarly, movements captured from a video camera are analyzed in terms of different movement cues. The target group is young teenagers and the main purpose to encourage creative expressions through new forms of collaboration.
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