Sem Sælands vei 2 A
Vi inviterer til del to av workshopen i grunnleggende innføring i Max/MSP og Max for Live.
Today, we are going to answer the question of what do postmodernism and metamodernism bring to the musicological table.
Liz Dobson (University of Huddersfield) will lecture on "Interaction, Agency and The Role of Talk in Music Technology Education".
Over this session, we discuss the problems of the copyright of Music. As our colleague Alan Hui explains, digital platforms and digital production software create new challenges and opportunities for making and faking content, shaping and sharing experiences, and reproducing and regulating culture. What role should copyright law play in this digital, mediated and connected world (or is copyright now fundamentally incompatible or irrelevant)?.
Interessert i musikkteknologi? Jente 16-19 år? Tid i høstferien? Velkommen til Girl MusicTech Camp ved Universitetet i Oslo!
Vi inviterer til workshop i grunnleggende innføring i Max/MSP og Max for Live.
Composer-researcher Natasha Barrett talks about "Composing Tangible Sounds in Space".
During this session, we can discuss the problems, experiences and techniques of the miscellaneous ways we listen to/hear music and sound: all the intimacies and relationships that occur between the parties of the listener/sound/emitter musical triangle.
WoNoMute og teknologisatsingen for kvinner ved IMV ønsker velkommen til introduksjonskurs i littleBits.
During this session, we can discuss the problems regarding the discipline of musicology and the concept of interdisciplinarity. What do we gain and what do we lose through the interdisciplinary approach? Is it possible to, in any way, re-merge ‘hard’ and ‘soft’ sciences? How can we think beyond this arbitrary division in musicology?
WoNoMute is presenting Sofia Dahl with her seminar: "Looking at Musical Movements".
Over this session, we discuss the musical relationships between humans and whatever falls into the definition of ‘Nature’ (or the environment, or the nonhuman word). What do potential musical encounters between humans and their others sound like and how potent (artistically and scientifically) are they? Does music support or hinder our mutual ‘understanding’?
WoNoMute is presenting Pamela Z with her seminar: "Works and Processes".
Why is it important/productive to implement the sex/gender perspective into the practice of knowledge production, especially in the context of music/musicology? What are the standard questions we can ask in relation to gender/sex and music? How strongly are the categories of ‘masculinity’, ‘maleness’, ‘womanhood’ and ‘femininity’ embodied in and reproduced by music? How does/might the category of gender affect our practice of conducting musicological investigations?
WoNoMute is presenting Angela Brennecke with her seminar: "What’s (in) your Story? Creative Audio & Interactive Media Technologies for Film & Storytelling ".
The canon(-ization) of knowledge, its systematization and classification, leads to its hierarchization and the sanctified separation between what is worth remembering, archiving, cherishing, disseminating and what is not. What do you think of the concept and practice of systematization of (musicological or any kind of) knowledge?
WoNoMute is presenting Tami Gadir and her seminar: "The Music Technological Body".
WoNoMute is presenting Tone Åse and her seminar: "Voice, Electronics and Improvisation: Artistic Material and Musical Roles".
This month's WoNoMute seminar features Alexandra Murray-Leslie: The Liberation of the Feet: Costuming the Foot for Theatrical Audiovisual Expression As a ‘Gesamtkunstwerk’
WoNoMute is presenting Miranda Moen and her seminar: "Diversity, Ableism and Technology in Music".
What is the historical relationship between musicology and nationalism, and what should we do about it?
Genre matters. Or does it?
We invite you to the presentation of the results from the two-day workshop that intends to explore how contemporary music can promote aesthetic diversity.
Guests: George Lewis and Rolf-Erik Nystrøm
Donald Trump called Rachmaninov an "enemy of music," Messiaen a "liar," Mozart a "phoney," and Bach "derivative." Should we care?
(Or, how do we do politics in music scholarship?)