Change search
Refine search result
1 - 7 of 7
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Ahlbäck, Sven
    et al.
    Royal College of Music in Stockholm, Department of Folk Music.
    Rosenberg, SusanneRoyal College of Music in Stockholm, Department of Folk Music.Misgeld, OlofRoyal College of Music in Stockholm, Department of Folk Music.Hjalmarsson, JonasRoyal College of Music in Stockholm, Department of Folk Music.Berndalen, PetterRoyal College of Music in Stockholm, Department of Folk Music.Marsden, BridgetRoyal College of Music in Stockholm, Department of Folk Music.Willman, PernillaRoyal College of Music in Stockholm, Department of Folk Music.
    Frisell, Ellika (Creator)
    Royal College of Music in Stockholm, Department of Folk Music.
    Karlsson, Eva (Cover designer)
    1976-2006, 30 år med Folkmusik på KMH2009Collection (editor) (Other academic)
  • 2.
    Misgeld, Olof
    Royal College of Music in Stockholm, Department of Folk Music.
    The melodic beat - asymmetric variations in polska performances.2019Conference paper (Refereed)
    Abstract [en]

    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.

  • 3.
    Misgeld, Olof
    Royal College of Music in Stockholm, Department of Folk Music.
    The melodic beat - digging into music-dance relations in Swedish Folk.2019Conference paper (Other academic)
    Abstract [en]

    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.

  • 4.
    Misgeld, Olof
    et al.
    Royal College of Music in Stockholm, Department of Folk Music.
    Berndalen, Petter
    Royal College of Music in Stockholm, Department of Folk Music.
    Öberg, Anna
    Palmgren, Lina
    Search 4 Synergy, FoU-projekt: Searching for synergy by exploring the common ground for musical practise and experience in the meeting between folk music and dance,2012Report (Other academic)
  • 5.
    Misgeld, Olof
    et al.
    Royal College of Music in Stockholm, Department of Folk Music. KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID. (Sound and Music Computing).
    Holzapfel, Andre
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID. (Sound and Music Computing).
    Towards the study of embodied meter in Swedish folk dance2018Conference paper (Refereed)
    Abstract [en]

    The interrelation of playing and dancing is central for understanding performance practice in Swedish folk music, as it plays an important role for the metric and rhythmic qualities of spelmansmusik, and playing for dancing is considered a key competence for musicians in this tradition. As part of a research project into performance practice, sound, video and motion capture (MoCap) data were recorded from live performances of three musicians and two dancers in different combinations. In addition, dancing to two recordings by an influential musician and to live and pre-recorded beat clapping was recorded. This paper incorporates measurements and visualizations of performance data in combination with performer participation and interviews. As a starting point for our project, we focus on metric qualities in a historical recording, and on the dance movement patterns to a Swedish polska style with asymmetrical beat patterns. For this paper - as a preliminary investigation into the material - the recordings of one dancer dancing to an isochronous clapped beat, and to a recording by an influential player have been used for comparison of a central movement pattern in dancing. The findings show that asymmetric beat patterns contained in the recording cause wider variation among the movement patterns when compared to the patterns observed to isochronous clapping. Considering the performers reactions towards using MoCap as a tool for viewing and discussing their performances, we propose further investigations by combining scientific, ethnomusicological and artistic research methods into the research of performance practice in folk music.

  • 6.
    Misgeld, Olof
    et al.
    Royal College of Music in Stockholm, Department of Folk Music.
    Holzapfel, Andre
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID. (Sound and Music Computing).
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music.
    Dancing Dots - Investigating the Link between Dancer and Musician in Swedish Folk Dance2019Conference paper (Refereed)
    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.

  • 7.
    Misgeld, Olof (Musician, Creator)
    Royal College of Music in Stockholm, Department of Folk Music.
    Ahlbäck, Sven (Musician, Creator)
    Royal College of Music in Stockholm, Department of Folk Music.
    Berndalen, Petter (Creator, Musician)
    Royal College of Music in Stockholm, Department of Folk Music.
    Fri Form Folk: Sven Ahlbäck, Petter Berndalen och Olof Misgeld spelar låtar efter Gustaf Jernberg2019Artistic output (Refereed)
1 - 7 of 7
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf