Dancing to electronic dance music: concurrent Qualisys optical and Axivity AX3 inertial motion capture, August 2015 (Solberg and Jensenius)

Twenty-nine people dancing to electronic dance music in three groups of nine to ten, recorded on 12 August 2015 in the fourMs motion capture laboratory at the University of Oslo. Qualisys with thirteen cameras tracked one reflective head marker per dancer at 200 Hz, and every dancer also wore an Axivity AX3 accelerometer on each wrist, twenty devices running continuously for about two hours. These are the primary data of Solberg and Jensenius (2017) in Musicae Scientiae and of an ESCOM 2017 conference paper, and they are the material the 2016 SMC methods paper evaluates.The record now states who wore what. Earlier versions said that no table pairing the accelerometers to the dancers had been kept, and concluded that the two modalities could not be paired per dancer. Such a table existed in the study's own archive and was recovered in August 2026. It ships as metadata/participant_sensor_map.tsv, and it is verified rather than asserted: it states a marker column for each dancer, the Qualisys files state marker names in column order, and the two agree for all twenty-nine. The questionnaire is included. All twenty-nine dancers answered a short questionnaire immediately after their session, covering demographics, musical training, listening and dancing habits, how often they wanted to move during the session, and free text on the musical characteristics present when they did. It is anonymous, and it joins to the sensor map by participant identifier. Year of birth is withheld as redundant with age. Read the marker labels carefully. Each take labels its dancers Participant01 to Participant10 and the labels restart in the next take, so they name twenty-nine people rather than ten. Earlier versions of this record said ten, and also described a tenth dancer in the first group. There were nine: the remaining device pair was prepared and never worn. The stimulus structure is also deposited: the two DJ mixes with tempo and the breakdown, build-up and drop of each break routine, the thirty analysis segments the study used, and the four windows in which the accelerometers were spiked to align their clocks. Participant video and the commercial music are withheld: the first is identifying, the second cannot be redistributed. Both studies were carried out for Ragnhild Torvanger Solberg's doctoral thesis, Experiences with electronic dance music: a multi-method study on associations between musical characteristics, embodiment and peak-pleasurable responses (University of Agder, 2018, ISBN 978-82-7117-876-5), which is partly a reprint of the articles these data support. The thesis is digitised by the National Library of Norway at https://urn.nb.no/URN:NBN:no-nb_digibok_2025070206093, where access is granted on request and directly to staff in the Norwegian higher-education sector. Funding. Recorded at the fourMs Lab, University of Oslo. No other funding is associated with these data.