2011Elblaus, L., Hansen, K. F., & Unander-Scharin, C. (2011). Exploring the design space: Prototyping "The Throat v3" for the Elephant Man opera. In Zanolla, S., Avanzini, F., Canazza, S., & de Götzen, A. (Eds.), Proceedings of the Sound and Music Computing Conference (pp. 141-147). Padova, Italy: Padova University Press. [abstract][pdf]Abstract: Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process.
In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations.
The focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called tacit knowledge could be activated and brought into the development process.Hansen, K. F., Dravins, C., & Bresin, R. (2011). Ljudskrapan/The Soundscraper: Sound exploration for children with complex needs, accommodating hearing aids and cochlear implants. In Zanolla, S., Avanzini, F., Canazza, S., & de Götzen, A. (Eds.), Proceedings of the Sound and Music Computing Conference (pp. 70-76). Padova, Italy: Padova University Press. [abstract][pdf]Abstract: This paper describes a system for accommodating active listening for persons with hearing aids or cochlear implants, with a special focus on children with complex needs, for instance at an early stage of cognitive development and with additional physical disabilities. The system is called Ljudskrapan (or the Soundscraper in English) and consists of a software part in Pure data and a hardware part using an Arduino microcontroller with a combination of sensors. For both the software and hardware development, one of the most important aspects was to always ensure that the system was flexible enough to cater for the very different conditions that are characteristic of the intended user group.
The Soundscraper has been tested with 25 children with good results. An increased attention span was reported, as well as surprising and positive reactions from children where the caregivers were unsure whether they could hear at all. The sound generating models, the sensors and the parameter mapping were simple, but provided a controllable and complex enough sound environment even with limited interaction.Hansen, K. F., Fabiani, M., & Bresin, R. (2011). Analysis of the acoustics and playing strategies of turntable scratching. Acta Acustica united with Acustica, 97(2), 303-314. [abstract][link]Abstract: Scratching performed by a DJ (disk jockey) is a skillful style of playing the turntable with complex musical output. This study focuses on the description of some of the acoustical parameters and playing strategies of typical scratch improvisations, and how these parameters typically are used for expressive performance. Three professional DJs were instructed to express different emotions through improvisations, and both audio and gestural data were recorded. Feature extraction and analysis of the recordings are based on a combination of audio and gestural data, instrument characteristics, and playing techniques. The acoustical and performance parameters extracted from the recordings give a first approximation on the functional ranges within which DJs normally play. Results from the analysis show that parameters which are important for other solo instrument performances, such as pitch, have less influence in scratching. Both differences and commonalities between the DJs' playing styles were found. Impact that the findings of this work may have on constructing models for scratch performances are discussed.2010Dravins, C., van Besouw, R., Hansen, K. F., & Kuske, S. (2010). Exploring and enjoying non-speech sounds through a cochlear implant: the therapy of music. In 11th International Conference on Cochlear Implants and other Implantable Technologies (pp. 356). Karolinska University Hospital. [abstract][pdf]Abstract: Cochlear implant technology was initially designed to promote reception of
speech sounds; however, music enjoyment remains a challenge. Music is an
influential ingredient in our well-being, playing an important role in our
cognitive, physical and social development. For many cochlear implant
recipients it is not feasible to communicate how sounds are perceived, and
consequently the benefits of music listening may be reduced. Non-speech
sounds may also be important to persons with multiple functional deficits
that relay on information additional to verbatim for participating in
communication. Deaf-born children with multiple functional deficits
constitute a special vulnerable group as lack of reaction to sound often
is discouraging to caregivers. Individually adapted tools and methods for
sound awareness may promote exploration and appreciation of the
information mediated by the implant.
Two current works involving habilitation through sound production and
music will be discussed. First, the results from a pilot study aiming at
finding musical toys that can be adapted to help children explore their
hearing with engaging sounds and expressive interfaces will be presented.
The findings indicate that children with multiple functional deficits can
be more inclined to use the auditory channel for communication and play
than the caregivers would anticipate.
Second, the results of a recent questionnaire study, which compared the
music exposure and appreciation of preschool cochlear implant recipients
with their normally hearing peers will be presented. The data from this
study indicate that preschool children with cochlear implants spend
roughly the same amount of time interacting with musical instruments at
home and watching television programmes and DVDs which include music.
However, the data indicate that these children receive less exposure to
recorded music without visual stimuli and show less sophisticated
responses to music. The provision and supported use of habilitation
materials which encourage interaction with music might therefore be
beneficial.Hansen, K. F. (2010). The acoustics and performance of DJ scratching. Analysis and modeling. Doctoral dissertation, Kungl Tekniska Högskolan. [abstract][link]Abstract: This thesis focuses on the analysis and modeling of scratching, in other words, the DJ (disk jockey) practice of using the turntable as a musical instrument.
There has been experimental use of turntables as musical instruments since their invention, but the use is now mainly ascribed to the musical genre hip-hop and the playing style known as scratching. Scratching has developed to become a skillful instrument-playing practice with complex musical output performed by DJs. The impact on popular music culture has been significant, and for many, the DJ set-up of turntables and a mixer is now a natural instrument choice for undertaking a creative music activity.
Six papers are included in this thesis, where the first three approach the acoustics and performance of scratching, and the second three approach scratch modeling and the DJ interface. Additional studies included here expand on the scope of the papers.
For the acoustics and performance studies, DJs were recorded playing both demonstrations of standard performance techniques, and expressive performances on sensor-equipped instruments. Analysis of the data revealed that there are both differences and commonalities in playing strategies between musicians, and between expressive intentions. One characteristic feature of scratching is the range of standard playing techniques, but in performances it seems DJs vary the combination of playing techniques more than the rendering of these techniques. The third study describes some of the acoustic parameters of typical scratch improvisations and looks at which musical parameters are typically used for expressive performances. Extracted acoustic and performance parameters from the data show the functional ranges within which DJs normally play.
Unlike traditional musical instruments, the equipment used for scratching was not intended to be used for creating music. The interface studies focus on traditional as well as new interfaces for DJs, where parameter mappings between input gestures and output signal are described.
Standard performance techniques have been modeled in software called Skipproof, based on results from the first papers. Skipproof was used for testing other types of controllers than turntables, where complex DJ gestures could be manipulated using simplified control actions, enabling even non-experts to play expressively within the stylistic boundaries of DJ scratching. The last paper describes an experiment of using an existing hardware platform, the Reactable, to help designing and prototyping the interaction between different sound models and instrument interfaces, including scratching and Skipproof.
In addition to the included papers, studies were conducted of expressivity, description of the emotional contents of scratching, DJ playing activities, and the coupling between playing techniques and sample. The physical affordances of the turntable, mixer and samples, as well as genre conventions of hip-hop, are assumed to explain some of the findings that distinguish scratching from other instrumental sounds or practices.Hansen, K. F., & Bresin, R. (2010). The Skipproof Virtual Turntable for High-level Control of Scratching. Computer Music Journal, 34(2), 39-50. [abstract][link]Abstract: Skipproof is an application that emulates a typical
disc jockey (DJ) setup of turntable plus mixer and
also allows high-level control of the playing style
known as scratching. High-level control in this
case means performing with modeled, complex DJ
gestures through simplified actions: For instance,
letting a single movement produce a sound that normally would require precisely synchronized rightand left-hand gestures. The performer controls Skipproof either with the software interface or through
hardware devices connected to the computer. The
hardware devices become alternative performance
interfaces to the standard turntable, controlling the
Skipproof application with both low-level gestures
and high-level control actions in real time. The
mapping between hardware input and Skipproof
output is freely adaptable. Skipproof is in the prototype phase, but it has already been used in several
projects in recent years.2008Askenfelt, A., Falkenberg Hansen, K., Granqvist, S., Hellmer, K., Orlarey, Y., Fober, D., Perifanos, K., Tambouratzis, G., Makropoulo, E., Chryssafidou, E., Arnaikos, L., Rattasepp, K., & Dima, G. (2008). VEMUS, Virtual European Music School or A young person's interactive guide to making music. In Proc of the 28th World Conference of the International Society for Music Education (ISME), 20-25 July, 2008, Bologna, Spain (pp. 218). [pdf]Bresin, R., Hansen, K. F., Karjalainen, M., Mäki-Patola, T., Kanerva, A., Huovilainen, A., Jordá, S., Kaltenbrunner, M., Geiger, G., Bencina, R., de Götzen, A., & Rocchesso, D. (2008). Controlling sound production. In Polotti, P., & Rocchesso, D. (Eds.), Sound to Sense - Sense to Sound: A state of the art in Sound and Music Computing (pp. 447-486). Berlin: Logos Verlag. [pdf]Hansen, K. F., & Alonso, M. (2008). More DJ techniques on the reactable. In Proc. of the Conference on New Interfaces for Musical Expression (pp. 207-210). Genova, Italy: Infomus, Casa Paganini. [abstract][pdf]Abstract: This paper describes a project started for implementing DJ scratching techniques on the reactable. By interacting with
objects representing scratch patterns commonly performed
on the turntable and the crossfader, the musician can play
with DJ techniques and manipulate how they are executed
in a performance. This is a novel approach to the digital DJ
applications and hardware. Two expert musicians practised
and performed on the reactable in order to both evaluate the playability and improve the design of the DJ techniques.Hansen, K. F., & Bresin, R. (2008). Verbal Description of DJ Recordings. In Proc. of the 10th International Conference on Music Perception and Cognition (pp. 20). Sapporo. [abstract]Abstract: In a recent pilot study, DJs were asked to perform the same composition using different intended emotional expression (happiness, sadness etc). In a successive test, these intentions could not be matched by listeners' judgement. One possible explanation is that DJs have a different vocabulary when describing expressivity
in their performances. We designed an experiment to understand how DJs and listeners describe the music. The experiment was aimed at identifying a set of descriptors used mainly with scratch music, but possibly also with other genres. In a web questionnaire, subjects were presented with sound stimuli from scratch music recordings. Each participant described the music with words, phrases and terms in a free labelling task. The resulting list of responses was analyzed in several steps and condensed to a set of about 10 labels. Important differences were found between describing scratch music and other Western genres such as pop, jazz or classical music. For instance, labels such as cocky, cool, amusement and skilled were common. These specific labels seem mediated from the characteristic hip-hop culture. The experiment offered some explanation to the problem of verbally describing expressive scratch music. The set of labels found can be used for further experiments, for example when instructing DJs in performances.Hansen, K. F., Bresin, R., & Friberg, A. (2008). Describing the emotional content of hip-hop DJ recordings. In The Neurosciences and Music III (pp. 565). Montreal.Tambouratzis, G., Perifanos, K., Voulgari, I., Askenfelt, A., Granqvist, S., Hansen, K. F., Orlarey, Y., Fober, D., & Letz, S. (2008). VEMUS: An integrated platform to support music tuition tasks. In Proc. of the 2008 Eighth IEEE International Conference on Advanced Learning Technologies (ICALT '08 ), 1-5 July, 20008, Santander, Spain (pp. 972-976). IEEE Computer Society. [abstract][pdf]Abstract: In this paper, the VEMUS platform is presented, as a novel approach for music tuition that focuses on beginner and intermediate students, typically aged from 9 to 15 years. This platform is characterized by an open, highly interactive and networked multilingual music tuition framework that covers a selection of popular wind instruments. The VEMUS environment integrates innovative, pedagogically-motivated e- learning components to augment traditional music teaching in three distinct learning settings, namely self-practicing, classroom and distance learning. In the present article, the current stage of development of VEMUS is presented, and the areas where it might be of most use towards supporting the educational activities associated with music tuition are identified.2007Hansen, K. F., Alonso, M., & Dimitrov, S. (2007). Combining DJ Scratching, Tangible Interfaces And A Physics-Based Model of Friction Sounds. In Proc. of the International Computer Music Conference (pp. 45-48). San Francisco: International Computer Music Association. [abstract][pdf]Abstract: This paper reports on two Short-Term Scientific Missions (STSM) in the ConGAS European Cost Action. Several sound models and (musical instrument) interfaces were combined to study how DJ gestures of scratching can be applied to new situations. In one experiment, the gestures were used to control a physics-based model of friction sounds, for instance to simulate the sound of a bowed violin string. In the other experiment, DJ gestures from the program Skipproof were adapted to the Reactable framework, allowing users to perform the complicated DJ gestures with ease. This paper describes each model and the adaption and implementation of the models.2006Hansen, K. F. (2006). Musical structure: A translation of István Ipolyi: Innfřring i Musikksprĺkets Opprinnelse og Struktur (1952). TMH-QPSR, 48(1), 35-43. [abstract][pdf]Abstract: This article is an abbreviated and commented translation of Istv´an Ipolyi’s monogram on the origins and structure of the language of music. Theories of structure in music, based on musical analysis, support assumptions that the origins of music lie in our early and primitive forms of expression, as observed in both infants and animals. Several models of musical structure are presented, which can improve our understanding of expression in music. The monogram was written in Norwegian in 1952 and published by J. W. Eides Forlag in Bergen, Norway. The translator is a native Norwegian speaker.Hansen, K. F., & Bresin, R. (2006). Mapping strategies in DJ scratching. In Proc. of the Conference on New Interfaces for Musical Expression (pp. 188-191). Paris, France: IRCAM, Centre Pompidou. [abstract][pdf]Abstract: For 30 years Disc Jockeys have been expressing their musical ideas with scratching. Unlike many other popular instruments, the equipment used for scratching is not built as one single unit, and it was not intended to be a musical instrument. This paper gives an overview of how DJs use their turntable, vinyl record and audio mixer in junction to produce scratch music. Their gestural input to the instrument is explained by looking at the mapping principles between the controller parameters and the audio output parameters. Implications are discussed for the design of new interfaces with examples of recent innovations and experiments in the field.Hansen, K. F., Bresin, R., & Friberg, A. (2006). Principles for expressing emotional content in turntable scratching. In Baroni, M., Addessi, A. R., Caterina, R., & Costa, M. (Eds.), Proc. 9th International Conference on Music Perception & Cognition (pp. 532-533). Bologna: Bonomia University Press. [abstract][pdf]Abstract: Background: Scratching is a novel musical style that introduces the turntable as a musical instrument. Sounds are generated by moving vinyl records with one or two hands on the turntable and controlling amplitude with the crossfader with one hand. With this instrument mapping, complex gestural combinations that produce unique 'tones' can be achieved. These combinations have established a repertoire of playing techniques, and musicians (or DJs) know how to perform most of them. Scratching is normally not a melodically based style of music. It is very hard to produce tones with discrete and constant pitch. The sound is always strongly dependent on the source material on the record, and its timbre is not controllable in any ordinary way. However, tones can be made to sound different by varying the speed of the gesture and thereby creating pitch modulations. Consequently timing and rhythm remain as important candidates for expressive playing when compared to conventional musical instruments, and with the additional possibility to modulate the pitch.
Aims: The experiment presented aims to identify acoustical features that carry emotional content in turntable scratching performances, and to find relationships with how music is expressed with other instruments. An overall aim is to investigate why scratching is growing in popularity even if it a priori seems ineffective as an expressive interface.
Method: A number of performances by experienced DJs were recorded. Speed of the record, mixer amplitude and the generated sounds were measured. The analysis focuses on finding the underlying principles for expressive playing by examining musician's gestures and the musical performance. The found principles are compared to corresponding methods for expressing emotional intentions used for other instruments.
Results: The data analysis is not completed yet. The results will give an indication of which acoustical features DJs use to play expressively on their instrument with musically limited possibilities. Preliminary results show that the principles for expressive playing are in accordance with current research on expression.
Conclusions: The results present some important features in turntable scratching that may help explain why it remains a popular instrument despite its rather unsatisfactory playability both melodically and rhythmically.Hansen, K. F., Thordarson, H., & Karlsson, H. (2006). How interactive are interactive installations? How musical are musical interfaces? Testing interactivity and playability in students' projects. In Tro, J. (Ed.), Proceedings of NoMute (pp. 23-27). Trondheim, Norway. [abstract][pdf]Abstract: This paper describes the results and experiences from an experiment at The Tone and Video Lab at Listaháskóli Íslands sponsored by ConGAS, European cost action 287. Emphasis was to look at interactive interfaces, and the research aimed at finding a correspondence between how the interaction with an art piece looked, its potential for allowing interaction and expressive communication, and its appeal. Questionnaires were used to study aspects such as expressivity and playability. Most artists have a quite good appreciation on how their piece will be experienced. The results show some tendencies with regards to how easy it is to interact compared to the potential for practising skilled performances. How attractive the interaction looks seems to be of less importance.2005Raptis, S., Askenfelt, A., Fober, D., Chalamandaris, A., Schoonderwaldt, E., Letz, S., Baxevanis, A., Hansen, K. F., & Orlarey, Y. (2005). IMUTUS – An effective practicing environment for music tuition. In Proc. of International Computer Music Conference (ICMC 2005), September 5-9, 2005, Barcelona, Spain (pp. 383-386). [abstract][pdf]Abstract: This paper presents some major results from the IMUTUS project. IMUTUS was an RTD project that aimed at the development of an open platform for training students on the recorder. The paper focuses on one of the most important and innovative parts of the IMUTUS system, the practicing environment. This environment integrates technological tools for the automatic analysis and evaluation of student performances along with enhanced interaction schemes to provide an effective approach to music learning. Testing and validation activities that have been carried out indicate that the IMUTUS approach is appreciated by both students and teacher, and that it clearly has a strong potential.Schoonderwaldt, E., Askenfelt, A., & Hansen, K. F. (2005). Design and implementation of automatic evaluation of recorder performance in IMUTUS. In Proc. of International Computer Music Conference (ICMC 2005), September 5-9, 2005, Barcelona, Spain (pp. 431-434). [abstract][pdf]Abstract: This paper describes a novel approach towards automatic evaluation of recorder performance. The processes from finding errors to the formulation of feedback are based on analyses of student performances and experience of recorder teachers. The developed algorithms were implemented in IMUTUS, a prototype practising environment for the recorder.2004Fober, D., Letz, S., Orlarey, Y., Askenfelt, A., Falkenberg Hansen, K., & Schoonderwaldt, E. (2004). IMUTUS - an interactive music tuition system. In Proc. of the Sound and Music Computing Conference (SMC 04), October 20-22, 2004, IRCAM, Paris, France (pp. 97-103). Schoonderwaldt, E., Falkenberg Hansen, K., & Askenfelt, A. (2004). IMUTUS - an interactive system for learning to play a musical instrument. In Auer, M., & Auer, U. (Eds.), Proc. of International Conference of Interactive Computer Aided Learning (ICL), September 29 - October 1, 2004, Carinthia Tech Institute, Villach, Austria. 2003Bresin, R., Hansen, K. F., & Dahl, S. (2003). The Radio Baton as configurable musical instrument and controller. In Bresin, R. (Ed.), Proceedings of SMAC 2003, Stockholm Music Acoustics Conference (pp. 689-691). [abstract][pdf]Abstract: The Max Mathews’ Radio Baton (RB) 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 de- fault batons, a new radio transmitter based on a thimble that fits the fingertips was developed. This new transmitter allows musicians’ interaction based on hand gestures and it can also fit different devices. The RB and the thimble-based transmitter are used for the control of apd model implementing DJ scratching techniques. This new configuration of the RB allows DJs a direct control of sampled sounds maintaining hand gestures similar to those used on vinyl. In another application the sound model of a bodhran was controlled with a traditional playing approach. In this case the RB can be controlled with a traditional bodhran double beater with one thimble radio transmitter fitted at each end. This allows detection of the beater position on the RB surface, the surface corresponding to the membrane of the bodhran in the sound model. In a third application the thimble controller was used to move a virtual ball rolling along the elastic surface of a box placed over the receiving antennae of the RB.Bresin, R., Hansen, K. F., Dahl, S., Rath, M., Marshall, M., & Moynihan, B. (2003). Devices for manipulation and control of sounding objects: The Vodhran and the Invisiball. In Rocchesso, D., & Fontana, F. (Eds.), The Sounding Object (pp. 271-295). Florence, Italy: Mondo Estremo. [pdf]Hansen, K. F., & Bresin, R. (2003). Complex Gestural Audio Control: The Case of Scratching. In Rocchesso, D., & Fontana, F. (Eds.), The Sounding Object (pp. 221-269). Florence, Italy: Mondo Estremo. [pdf]Hansen, K. F., & Bresin, R. (2003). DJ scratching performance techniques: Analysis and synthesis. In Bresin, R. (Ed.), Proc. Stockholm Music Acoustics Conference (pp. 693-696). Stockholm. [abstract][pdf]Abstract: Scratching is a popular way of making music, turning the DJ into a musician. Normally scratching is done using a vinyl record, a turntable and a mixer. Vinyl manipulation is built up by a number of specialized techniques that have been analysed in a previous study. The present study has two main objectives. First is to better understand and model turntable scratching as performed by DJs. Second is to design a gesture controller for physical sound models, i.e. models of friction sounds. We attached sensors to a DJ equipment set-up. Then a DJ was asked to perform typical scratch gestures both isolated and in a musical context, i.e. as in a real performance. He also was asked to play with different emotions: sad, angry, happy and fearful. A model of the techniques used by the DJ was built based on the analysis of the collected data. The implementation of the model has been done in pd. The Radio Baton, with specially adapted gesture controllers, has been used for controlling the model. The system has been played by professional DJs in concerts.2002Hansen, K. F. (2002). Music besides grooves. In Depraetere, F., & Willelmsen, P. (Eds.), Pitch - Mutating Turntables: Argos Festival Catalogue (pp. 136-146). Brussels: Argos Editions.Hansen, K. F. (2002). The Basics of Scratching. Journal of New Music Research, 31(4), 357-365. [abstract][pdf]Abstract: This article deals with the popular and rarely studied art form of manipulating a vinyl record by rhythmically dragging and pushing it, commonly labelled “scratching.” With sufficient practice, a Disc Jockey (DJ) can have great control over the sound produced and treat the turntable as an expressive musical instrument. Even though a digital-based model of scratching might seem preferable to the vulnerable vinyl record, and such models are being manufactured today, the acoustical behaviour of the scratch has not been formally studied until now. To gain information of this behaviour, a DJ was asked to perform some typical scratching patterns. These common playing techniques and the corresponding sounds have been analysed. Since the focus of the article is on the basics of how the instrument works, an overview on standardized equipment and alternative equipment is also given.2001Hansen, K. F. (2001). Playing the turntable: An introduction to scratching. TMH-QPSR, 42(1), 69-79. [pdf]2000Hansen, K. F. (2000). Turntable Music. In Jonsson, L., Oversand, K., & Breivik, M. (Eds.), Musikklidenskapelig Ĺrbok 2000 (pp. 145-160). Trondheim: Department of Music, Norwegian University of Science and Technology. [pdf]1999Hansen, K. F. (1999). Turntablisme - His Master's Voice: The Art of the Record Player. 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