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  • 1.
    Ahlbäck, Sven
    Kungl. Musikhögskolan, Institutionen för folkmusik. Kungliga Musikhögskolan, Stockholm.
    Den nordiska vallåtens tonspråk2019Inngår i: Fäbodlandskap och vallmusik / [ed] Jennie Tiderman-Österberg, Falun: Dalarnas Fornminnes och Hembygdsförbund , 2019, 1, s. 115-119Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Artikeln presenterar musikaliska egenskaper i traditionell fäbodmusikens i Sverige, med fokus på vallmusikens tonalitét, melodik och form. Artikeln sammanfattar ny forskning i fäbodmusikens tonspråk på ett enkelt sätt och nya rön baserade på unika  korpusstudier med metoder hämtade från modern kognitiv musikforskning ställs i relation till tidiga musikvetenskapliga studier av ämnet.

  • 2.
    Ahlbäck, Sven
    Kungl. Musikhögskolan, Institutionen för folkmusik. Kungliga Musikhögskolan, Stockholm.
    Melody Beyond Notes: A Study of Melody Cognition2004Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Abstract Melody beyond notes - a study of melody cognition Keywords: Melody, Cognition, Melodic segmentation, Melodic Parallelism, Pitch Structure,

    Meter, Rhythm, Grouping, Swedish Folk Music, Music Theory, Computer-aided analysis This thesis is a music theoretical approach to cognition of surface structure in monophonic melodies. It can briefly be described as a study into what extent we may acquire a common experience of melodic structure, such as phrase structure, only from listening to a melody. More precisely, this work concerns the question as to whether a cognitively based method of analysis can provide analyses of melodic surface structures in different styles that

    will concur with listeners’ conceptions better than chance. In order to investigate this question a general model of melody cognition was

    developed, relying primarily on a few general cognitive principles. The model was designed to be general in the sense that it should apply to any style for which the concept of melody is relevant. This model provided the framework for a computer-aided method of analysis, which performs analysis of different aspects of melodic surface structure based on information of relative pitch and temporal information only. These aspects involve: Categorical perception of pitch and duration at basic levels, such as context-sensitive quantization and melodic pitch categorization; Analysis of metrical and non-metrical temporal structures, e,g. heterometric structures; phrase and section structure, including analysis of structural implications of melodic similarity, structural hierarchy and symmetry. This development has required new theoretical concepts and methods to be created, e.g. regarding the relationship between rhythm and meter, some of which are presented for the first time is this thesis.

    In order to evaluate the performance of the model a series of listener tests were performed, which together with corpuses of musical notations from different styles, constituted the reference material of the study. This material has included Scandinavian folk music styles and Western classical music, but also examples of Eastern European folk music, Middle East and Indian Classical music, Jazz and Western popular song.

    The results of these tests indicated that melody can be conceived differently by people even within a limited cultural sphere. But the results also suggested that this variability is possible to model by a rule-based method of analysis, since the predictions given by the model generally were well above chance level. It is herein suggested that variability in grouping conception to a considerable degree can be accounted for in terms of start- and end-oriented grouping preference. Moreover, the results also indicate that important aspects of even culturally foreign music can be conveyed, also in limited melodic stimuli.

    Generally, the results support the assumption of a general cognitive framework for melodic surface structure. This might be interpreted as to indicate that, metaphorically speaking; melody may indeed be a universal ‘language’, but one which we all understand in our own way.

  • 3.
    Misgeld, Olof
    et al.
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Holzapfel, Andre
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID. (Sound and Music Computing).
    Ahlbäck, Sven
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Dancing Dots - Investigating the Link between Dancer and Musician in Swedish Folk Dance2019Konferansepaper (Fagfellevurdert)
    Abstract [en]

    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 the interaction of music and dance has potential for developing theories of performance strategies in artistic practice and for developing interactive systems. In this paper we investigate this link by having Swedish folk musicians perform to animations generated from motion capture recordings of dancers. The different stimuli focus on motions of selected body parts as moving white dots on a computer screen with the aim to understand how different movements can provide reliable cues for musicians. Sound recordings of fiddlers playing to the "dancing dot" were analyzed using automatic alignment to the original music performance related to the dance recordings. Interviews were conducted with musicians and comments were collected in order to shed light on strategies when playing for dancing. 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.

  • 4.
    Misgeld, Olof (, )
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Ahlbäck, Sven (, )
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Berndalen, Petter (, )
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Fri Form Folk: Sven Ahlbäck, Petter Berndalen och Olof Misgeld spelar låtar efter Gustaf Jernberg2019Kunstnerisk output (Granskad)
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