Alexander R Jensenius | University of Oslo (original) (raw)
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Books by Alexander R Jensenius
Denne boken gir en helhetlig presentasjon av hvordan vi kan forstå musikkrelaterte bevegelser. Fo... more Denne boken gir en helhetlig presentasjon av hvordan vi kan forstå musikkrelaterte bevegelser. Forfatteren viser hvordan man kan studere slike bevegelser med utgangspunkt i et tverrfaglig teorigrunnlag. Det gis en innføring både i kvalitative og kvantitative metoder som brukes i forskningen innenfor feltet. Eksempler er tatt fra studier av musikere, dansere og folk som beveger seg til musikk. Boken viser hvordan kropp og bevegelse er en naturlig del av musikkopplevelsen, og det argumenteres for et større fokus på musikkrelaterte bevegelser i forskning og undervisning.
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Papers by Alexander R Jensenius
Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion, 2018
This exploratory study investigates muscular activity characteristics of a group of audience memb... more This exploratory study investigates muscular activity characteristics of a group of audience members during an experimental music performance. The study was designed to be as ecologically valid as possible, collecting data in a concert venue and making use of low-invasive measurement techniques. Muscle activity (EMG) from the forearms of 8 participants revealed that sitting in a group could be an indication of a level of group engagement, while comparatively greater muscular activity from a participant sitting at close distance to the stage suggests performance-induced bodily responses. The self-reported measures rendered little evidence supporting the links between muscular activity and live music exposure, although a larger sample size and a wider range of music styles need to be included in future studies to provide conclusive results.
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In this paper, we present a workshop of physical computing applied to NIME design based on scienc... more In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses
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Empirical Musicology Review, 2021
Music researchers work with increasingly large and complex data sets. There are few established d... more Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music researchers face when working towards Open Research practices: handling (1) (multi)media files, (2) privacy, and (3) copyright issues. These are exemplified through MusicLab, an event series focused on fostering openness in music research. It is argued that the "best practice" suggested by the FAIR principles is too demanding in many cases, but "good enough practice" may be within reach for many. A four-layer data handling "recipe" is suggested as concrete advice for achieving "good enough practice" in empirical music research.
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Proceedings of the SMC Conferences, Jul 6, 2011
ABSTRACT This paper compares the use of two different technologies for controlling sound synthesi... more ABSTRACT This paper compares the use of two different technologies for controlling sound synthesis in real time: the infrared marker-based motion capture system OptiTrack and Xsens MVN, an inertial sensor-based motion capture suit. We present various quantitative ...
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Proceedings of the SMC Conferences, Aug 31, 2016
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Proceedings of the SMC Conferences, Jul 6, 2011
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Proceedings of the SMC Conferences, Jul 11, 2012
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In this paper we present the Dance Jockey System, a system developed for using a full body inerti... more In this paper we present the Dance Jockey System, a system developed for using a full body inertial motion capture suit (Xsens MVN) in music/dance performances. We present different strategies for extracting relevant postures and actions from the continuous data, and how these postures and actions can be used to control sonic and musical features. The system has been used in several public performances, and we believe it has great potential for further exploration. However, to overcome the current practical and technical challenges when working with the system, it is important to further refine tools and software in order to facilitate making of new performance pieces.
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The paper reports on the development of prototypes of glassinstruments. The focus has been on dev... more The paper reports on the development of prototypes of glassinstruments. The focus has been on developing acousticinstruments specifically designed for electronic treatment,and where timbral qualities have had priority over pitch.The paper starts with a brief historical overview of glassinstruments and their artistic use. Then follows an overviewof the glass blowing process. Finally the musical use of theinstruments is discussed.
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The paper presents research about implementing a full body inertial motion capture system, the Xs... more The paper presents research about implementing a full body inertial motion capture system, the Xsens MVN suit, for musical interaction. Three different approaches for stream-ing real time and prerecorded motion capture data with Open Sound Control have been implemented. Furthermore, we present technical performance details and our experience with the motion capture system in realistic practice.
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The paper presents an analysis of the quality of motion data from an iPod Touch (4th gen.). Accel... more The paper presents an analysis of the quality of motion data from an iPod Touch (4th gen.). Acceleration and orientation data derived from internal sensors of an iPod is compared to data from a high end optical infrared marker-based motion capture system (Qualisys) in terms of latency, jitter, accuracy and precision. We identify some rotational drift in the iPod, and some time lag between the two systems. Still, the iPod motion data is quite reliable, especially for describing relative motion over a short period of time.
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In this paper, we present a course of audio programming using web audio technologies addressed to... more In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly novices in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The course promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM) education, team-based learning (TBL) and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (e.g. intensity of the courses, coding in a research-oriented program) and to prior knowledge (e.g. web technologies) should be reconsidered. We co...
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Journal of The Audio Engineering Society, 2020
In this article, we discuss the challenges and opportunities provided by teaching programming usi... more In this article, we discuss the challenges and opportunities provided by teaching programming using web audio technologies and adopting a team-based learning (TBL) approach among a mix of co-located and remote students, mostly novices in programming. The course has been designed for cross-campus teaching and teamwork, in alignment with the two-city master’s programme in which it has been delivered. We present the results and findings from: (1) students’ feedback; (2) software complexity metrics; (3) students’ blog posts; and (4) teacher’s reflections. We found that the nature of web audio as a browser-based environment, coupled with the collaborative nature of the course, were suitable for improving the students’ level of confidence about their ability in programming. This approach promoted the creation of group course projects of a certain level of complexity, based on the students’ interests and programming levels. We discuss the challenges of this approach, such as supporting smo...
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![Research paper thumbnail of “Ellos no están entendiendo nada” [“They are not understanding anything”]: embodied remembering as complex narrative in a Telematic Sonic Improvisation](https://attachments.academia-assets.com/89022580/thumbnails/1.jpg)
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Journal of New Music Research, 2016
People tend to perceive many and also salient similarities between musical sound and body motion ... more People tend to perceive many and also salient similarities between musical sound and body motion in musical experience, as can be seen in countless situations of music performance or listening to music, and as has been documented by a number of studies in the past couple of decades. The so-called motor theory of perception has claimed that these similarity relationships are deeply rooted in human cognitive faculties, and that people perceive and make sense of what they hear by mentally simulating the body motion thought to be involved in the making of sound. In this paper, we survey some basic theories of sound-motion similarity in music, and in particular the motor theory perspective. We also present findings regarding sound-motion similarity in musical performance, in dance, in so-called sound-tracing (the spontaneous body motions people produce in tandem with musical sound), and in sonification, all in view of providing a broad basis for understanding sound-motion similarity in music.
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Denne boken gir en helhetlig presentasjon av hvordan vi kan forstå musikkrelaterte bevegelser. Fo... more Denne boken gir en helhetlig presentasjon av hvordan vi kan forstå musikkrelaterte bevegelser. Forfatteren viser hvordan man kan studere slike bevegelser med utgangspunkt i et tverrfaglig teorigrunnlag. Det gis en innføring både i kvalitative og kvantitative metoder som brukes i forskningen innenfor feltet. Eksempler er tatt fra studier av musikere, dansere og folk som beveger seg til musikk. Boken viser hvordan kropp og bevegelse er en naturlig del av musikkopplevelsen, og det argumenteres for et større fokus på musikkrelaterte bevegelser i forskning og undervisning.
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Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion, 2018
This exploratory study investigates muscular activity characteristics of a group of audience memb... more This exploratory study investigates muscular activity characteristics of a group of audience members during an experimental music performance. The study was designed to be as ecologically valid as possible, collecting data in a concert venue and making use of low-invasive measurement techniques. Muscle activity (EMG) from the forearms of 8 participants revealed that sitting in a group could be an indication of a level of group engagement, while comparatively greater muscular activity from a participant sitting at close distance to the stage suggests performance-induced bodily responses. The self-reported measures rendered little evidence supporting the links between muscular activity and live music exposure, although a larger sample size and a wider range of music styles need to be included in future studies to provide conclusive results.
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In this paper, we present a workshop of physical computing applied to NIME design based on scienc... more In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses
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Empirical Musicology Review, 2021
Music researchers work with increasingly large and complex data sets. There are few established d... more Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music researchers face when working towards Open Research practices: handling (1) (multi)media files, (2) privacy, and (3) copyright issues. These are exemplified through MusicLab, an event series focused on fostering openness in music research. It is argued that the "best practice" suggested by the FAIR principles is too demanding in many cases, but "good enough practice" may be within reach for many. A four-layer data handling "recipe" is suggested as concrete advice for achieving "good enough practice" in empirical music research.
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Proceedings of the SMC Conferences, Jul 6, 2011
ABSTRACT This paper compares the use of two different technologies for controlling sound synthesi... more ABSTRACT This paper compares the use of two different technologies for controlling sound synthesis in real time: the infrared marker-based motion capture system OptiTrack and Xsens MVN, an inertial sensor-based motion capture suit. We present various quantitative ...
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Proceedings of the SMC Conferences, Aug 31, 2016
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Proceedings of the SMC Conferences, Jul 6, 2011
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Proceedings of the SMC Conferences, Jul 11, 2012
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In this paper we present the Dance Jockey System, a system developed for using a full body inerti... more In this paper we present the Dance Jockey System, a system developed for using a full body inertial motion capture suit (Xsens MVN) in music/dance performances. We present different strategies for extracting relevant postures and actions from the continuous data, and how these postures and actions can be used to control sonic and musical features. The system has been used in several public performances, and we believe it has great potential for further exploration. However, to overcome the current practical and technical challenges when working with the system, it is important to further refine tools and software in order to facilitate making of new performance pieces.
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The paper reports on the development of prototypes of glassinstruments. The focus has been on dev... more The paper reports on the development of prototypes of glassinstruments. The focus has been on developing acousticinstruments specifically designed for electronic treatment,and where timbral qualities have had priority over pitch.The paper starts with a brief historical overview of glassinstruments and their artistic use. Then follows an overviewof the glass blowing process. Finally the musical use of theinstruments is discussed.
Bookmarks Related papers MentionsView impact
The paper presents research about implementing a full body inertial motion capture system, the Xs... more The paper presents research about implementing a full body inertial motion capture system, the Xsens MVN suit, for musical interaction. Three different approaches for stream-ing real time and prerecorded motion capture data with Open Sound Control have been implemented. Furthermore, we present technical performance details and our experience with the motion capture system in realistic practice.
Bookmarks Related papers MentionsView impact
The paper presents an analysis of the quality of motion data from an iPod Touch (4th gen.). Accel... more The paper presents an analysis of the quality of motion data from an iPod Touch (4th gen.). Acceleration and orientation data derived from internal sensors of an iPod is compared to data from a high end optical infrared marker-based motion capture system (Qualisys) in terms of latency, jitter, accuracy and precision. We identify some rotational drift in the iPod, and some time lag between the two systems. Still, the iPod motion data is quite reliable, especially for describing relative motion over a short period of time.
Bookmarks Related papers MentionsView impact
In this paper, we present a course of audio programming using web audio technologies addressed to... more In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly novices in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The course promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM) education, team-based learning (TBL) and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (e.g. intensity of the courses, coding in a research-oriented program) and to prior knowledge (e.g. web technologies) should be reconsidered. We co...
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Journal of The Audio Engineering Society, 2020
In this article, we discuss the challenges and opportunities provided by teaching programming usi... more In this article, we discuss the challenges and opportunities provided by teaching programming using web audio technologies and adopting a team-based learning (TBL) approach among a mix of co-located and remote students, mostly novices in programming. The course has been designed for cross-campus teaching and teamwork, in alignment with the two-city master’s programme in which it has been delivered. We present the results and findings from: (1) students’ feedback; (2) software complexity metrics; (3) students’ blog posts; and (4) teacher’s reflections. We found that the nature of web audio as a browser-based environment, coupled with the collaborative nature of the course, were suitable for improving the students’ level of confidence about their ability in programming. This approach promoted the creation of group course projects of a certain level of complexity, based on the students’ interests and programming levels. We discuss the challenges of this approach, such as supporting smo...
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Bookmarks Related papers MentionsView impact
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Journal of New Music Research, 2016
People tend to perceive many and also salient similarities between musical sound and body motion ... more People tend to perceive many and also salient similarities between musical sound and body motion in musical experience, as can be seen in countless situations of music performance or listening to music, and as has been documented by a number of studies in the past couple of decades. The so-called motor theory of perception has claimed that these similarity relationships are deeply rooted in human cognitive faculties, and that people perceive and make sense of what they hear by mentally simulating the body motion thought to be involved in the making of sound. In this paper, we survey some basic theories of sound-motion similarity in music, and in particular the motor theory perspective. We also present findings regarding sound-motion similarity in musical performance, in dance, in so-called sound-tracing (the spontaneous body motions people produce in tandem with musical sound), and in sonification, all in view of providing a broad basis for understanding sound-motion similarity in music.
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8 th International Conference on New Interfaces for Musical Expression NIME08, Jun 4, 2008
Jamoma1 is an open-source project for developing a structured and modularized approach to program... more Jamoma1 is an open-source project for developing a structured and modularized approach to programming in Max/MSP and Jitter. The main idea of Jamoma is the module, which is built up of a separate algorithm patcher and a patcher containing the graphical user interface. Figure 1 shows examples of the three main types of modules: control, audio and video.
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Pulse is a fundamental reference for the production and perception of rhythm. In this paper, we s... more Pulse is a fundamental reference for the production and perception of rhythm. In this paper, we study entrainment to changes in the micro-rhythmic design of the basic pulse of the groove in ‘Left & Right’ by D’Angelo. In part 1 of the groove the beats have one specific position; in part 2, on the other hand, the different rhythmic layers specify two simultaneous but alternative beat positions that are approximately 50-80 ms apart. We first anticipate listeners’ perceptual response using the theories of entrainment and dynamic attending as points of departure. We then report on a motion capture experiment aimed at engaging listeners’ motion patterns in response to the two parts of the tune. The results show that when multiple onsets are introduced in part 2, the half note becomes a significant additional level of entrainment and the temporal locations of the perceived beats are drawn towards the added onsets.
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