Our latest publications

• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2020). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society.  ISSN 0300-7766.  43(5)
• Høffding, Simon; Roald, Tone & Mette, Houlberg (2019). Participation and Receptivity in the Art Museum –a Phenomenological Exposition. Curator: The Museum Journal.  ISSN 0011-3069. . doi: 10.1111/cura.12344
• Mangaoang, Áine (2019). Music and Tourism, In John Buckley & John O'Flynn (ed.),  Ceol Phádraig: Music at St Patrick's College Drumcondra, 1875-2016.  Peter Lang Publishing Group.  ISBN 978-1-78997-622-9.  Chapter 9.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P.3.  s 20 - 25
• Weisethaunet, Hans (2019). Escaping Nordic musical exoticism? Chapter 2. The Nature of Nordic Music, In Tim Howell (ed.),  The Nature of Nordic Music.  Routledge.  ISBN 978-1-138-20718-9.  Chapter 2.  s 20 - 47
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). SoundCloud and Bandcamp as Alternative Music Platforms. Social Media + Society.  ISSN 2056-3051.
• Jones, Ellis Nathaniel (2019). DIY and popular music: mapping an ambivalent relationship across three historical case studies. Popular music and society.  ISSN 0300-7766. . doi: https://doi.org/10.1080/03007766.2019.1671112
• Jones, Ellis Nathaniel (2019). What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation. Media Culture and Society.  ISSN 0163-4437. . doi: https://doi.org/10.1177/0163443719853498
• Brøvig-Hanssen, Ragnhild (2019). Mixing with Quotations: Mashups and Contextual Transformation, In Simon Zagorski-Thomas; Katia Isakoff; Sophie Stévance & Serge Lacasse (ed.),  The Art of Record Production, Volume 2: Creative Practice in the Studio.  Routledge.  ISBN 978-1138205109.  Chapter 3.  s 50 - 65
• Brøvig-Hanssen, Ragnhild (2019). Humor's Role in Mashups and Remixes, In Nick Brae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  Kapittel.
• Mangaoang, Áine & O'Flynn, John (2019). Sounding Dublin: Mapping Popular Music Experience in the City. Journal of World Popular Music.  ISSN 2052-4900.  6(1) Show summary

  This article interrogates ideas of popular music "sound(s)" linked to place by interpreting data gathered during the applied research project Mapping Popular Music in Dublin (MPMiD) 2015-16. An outline background, rationale and framework for MPMiD is presented, followed by a review of methods developed and overall themes that emerged. Focusing on the project's "Sounding Dublin" strand, the article analyses the responses of 366 participants from a section of MPMiD's e-survey relating to music, musicians, sounds and soundtracks that might be considered "typical" (or otherwise) of Dublin. Although a substantial minority of participants eschew notions of sonic uniqueness linked to place in the abstract sense, the data reveal a rich tapestry of experiences and standpoints linked to ideas of a Dublin sound or sounds. Some appear to concur with conventional hagiographies of rock and folk, with others challenging received narratives and proposing alternative viewpoints, scenes and pathways. "Dublin-specific" associations emerging across various genres are based on appraisals of performer engagement, accent and timbre, and narrative/lyrical style.

• Hawkins, Stan & Størvold, Tore (2019). Justin Timberlake's "Man of the Woods": Lumbersexuality, Nature, and Larking Around, In Stan Hawkins & Lori A. Burns (ed.),  The Bloomsbury Handbook of Popular Music Video Analysis.  Bloomsbury Academic.  ISBN 978-1-5013-4233-2.  Kapittel 17.  s 317 - 336
• Alarcón Diaz, Ximena; Lopez Bojórquez, Lucia Nikolaia; Lartillot, Olivier & Flamtermesky, Helga (2019). From collecting an archive to artistic practice in the INTIMAL project: lessons learned from listening to a Colombian migrant women’s oral history archive. Acervo. Revista do Arquivo Nacional.  ISSN 0102-700X.  32(3), s 48- 63 Show summary

  This paper describes a multidisciplinary encounter with oral testimony archives and their incorporation in the artistic research project Intimal. It explores ways in which to creatively listen to stories which might be emotionally challenging, and to create and sustain empathy with these disembodied voices, which contain a shared history as fissures of sixty years of violence.

• Xambo Sedo, Anna; Saue, Sigurd; Jensenius, Alexander Refsum; Støckert, Robin & Brandtsegg, Øyvind (2019). NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Conference paper.  s 216 - 221 Full text in Research Archive. Show summary

  In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses.

• Holbrook, Ulf A. S. (2019). A question of backgrounds: Sites of listening, In Monty Adkins & Simon Cummings (ed.),  Music beyond airports: Appraising ambient music.  University of Huddersfield Press.  ISBN 978-1-86218-161-8.  3.  s 51 - 66 Show summary

  This chapter examines ambience as it was defined in Brian Eno's liner notes in Ambient 1: Music for Airports and from John Cage's experiences leaning up to the composition of 4'33'', in regards to the background and the potential sonic landscape it can inhabit. It looks at the importance of the background for our perception of the foreground.

• Godøy, Rolf Inge (2019). Thinking Sound-Motion Objects, In Michael Filimowicz (ed.),  Foundations in Sound Design for Interactive Media.  Routledge.  ISBN 9781138093942.  8.  s 161 - 178 Show summary

  It can be argued that sound perception is event-based, focused on chunks of sound, on what has been called sound objects. Also, it can be argued that these sound objects are closely linked with sensations of body motion, hence, should be understood as sound-motion objects. The advantage of thinking sound-motion objects is to provide us with lucid representations of salient sound features as multimodal shape images, providing solid and tangible images of the otherwise ephemeral sound features. Drawing on the rich tradition of sound object theory from the work of Pierre Schaeffer and co-workers, the present scheme for thinking sound-motion objects also draws on insights from more recent research on human motor cognition demonstrating that sensations of body motion are integral to the perception and cognition of sound.

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• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (ed.) (2020). Made in Ireland: Studies in Popular Music. Routledge.  ISBN 978-1-138-93652-2.  0 s.
• Mangaoang, Áine (2019). Dangerous Mediations: Pop Music in a Philippine Prison Video. Bloomsbury Academic.  ISBN 9781501331541.  256 s.
• Herrebrøden, Henrik (2019). Ti idrettsutøvere som søkte hjelp – og fikk det. Cappelen Damm Akademisk.  ISBN 9788202621407.  176 s.
• Hawkins, Stan & Burns, Lori A. (ed.) (2019). The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Academic.  ISBN 978-1-5013-4233-2.  445 s.
• Bradley, Catherine (2019). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press.  ISBN 1561592390.

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• Jones, Ellis Nathaniel (2020). Book review: Popular Music in the Post-Digital Age. Popular Music.  ISSN 0261-1430.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7a.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7b.
• Cederkvist, Vibeke & Brøvig-Hanssen, Ragnhild (2020, 18. februar). Musikkverdenen voksne ikke forstår. [Internett].  NRK.no. Show summary

  Bedroom pop: En undergrunnskultur.

• Weisethaunet, Hans (2019). ‘Roots’’ and ‘Routes’ of Scandinavian Music—Dialogue/lecture with Hallvard T. Bjørgum.
• Weisethaunet, Hans (2019). The Art Ensemble of Chicago, ECM. Jazznytt.  ISSN 0332-7248.  250, s 58- 59
• Weisethaunet, Hans (2019). Music Studies and Fieldwork, "World Music Workshop", Agder University.
• Høffding, Simon (2019). What do expert musicians perceive when they perform? Phenomenological Explorations.
• Høffding, Simon; Wallot, Sebastian & Roepstorff, Andreas (2019). The Danish String Quartet: Absorption and Interaction.
• Høffding, Simon (2019). Phenomenological interviews.
• Høffding, Simon (2019). Informing phenomenology through interviews: Dreyfus’ experts and musical virtuosos.
• Høffding, Simon (2019). Musical Empathy and expert automaticity: Applying phenomenology to Music performance.
• Westner, Britta; Andersen, Lau Møller; Blenkmann, Alejandro Omar & Leske, Sabine Liliana (2019). RITMO International EEG FieldTrip workshop, Lectures and Hands-on sessions.
• Leske, Sabine Liliana (2019). Oscillations and their functional relevance and Experimental design issues in EEG studies investigating oscillations.
• Hawkins, Stan (2019). Introduction: Nordic Study Day.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• Kjus, Yngvar (2019). Keynote foredrag: Hvordan oppleves levende musikk i den digitale tiden?.
• Hagen, Anja Nylund (2019). Napster. Store Norske Leksikon (Nettutgaven).
• Holbrook, Ulf A. S. & Kraugerud, Emil (2019). Distances and proximities in acousmatic spatiality. Show summary

  In any given listening situation space is, in some form, always present. Our understanding of this space is given by our listening position and our ability to relate sounds to our knowledge of context, representation and cause. Th is paper seeks to discuss the spatiality of sounds, through our listening to the space in sound and not just to the space the sounds occupy. In both stereo and multichannel reproduction contexts we perceive sounds as existing in space but seldom consider the spaces which are occupied in the sound.The proximal differences between sounds and the perceived distances in the listening perspectives, not just angular differences in panning, are important criteria for understanding the contexted spatiality a sound contains. A sound is an energy and a soundfield is a collection of energies, a release of energy changes a space or creates a new space (Lefebvre 1991). Perception of the closeness of a sound is greatly dependent on the space contained by that sound, as it is perceived by a listener. Th is perception is affected by apparent width and timbre. For example, a wide sound may be perceived as being close, and through particular techniques applied in music production, the distance relations between sounds can be manipulated beyond what would be possible in direct interaction with sound sources. In musical contexts, this can in turn affect the ways in which the music is interpreted. Rather than just seeing a microphone as a static point which samples a signal at specific intervals, the microphone, like the speaker, is a window into space which gives us access to the spaces in the sounds. A hard left /right pan in a stereo soundfield provides us with a clear spatial boundary in which sounds exist, but this space is extended by the spatiality of the sounds themselves.

• Vuoskoski, Jonna Katariina & Heid, Markham (2019, 05. september). Why Listening to Sad Music Makes You Feel Better. [Internett].  https://elemental.medium.com/why-listening-to-sad-music-make.
• Vuoskoski, Jonna Katariina (2019). Parallels between the cognition of rhythm in sports and music. Show summary

  Although rhythm is often discussed in purely auditory terms, mounting evidence from the fields of cognitive psychology and neuroscience suggests that rhythm is fundamentally a domain-general phenomenon grounded in motor action. By drawing parallels between music and rowing – a sport characterized by repetitive rhythmic patterns and synchronized joint action – I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how interpersonal synchronization relies on shared timing models, multisensory cues, and predictive processes. Furthermore, I will demonstrate how conceptual and theoretical tools developed in the context of musical rhythm – such as non-isochronous meter (i.e., a cyclic pattern of beats with unequal durations) – can contribute to conceptualizing and understanding rhythm cognition in the context of rowing as well. Finally, I will discuss how accurate sensorimotor synchronization can facilitate experiences of ‘flow’ in both disciplines – especially in the face of increasing rhythmic complexity.

• Vuoskoski, Jonna Katariina (2019). Accounting for inter-individual variance in perceived and felt emotions. Show summary

  The emotional meanings conveyed by music do not exist in a vacuum, but emerge from the interaction between the music, the listener, and the context/situation. In addition to cross-cultural variability in musical forms and the emotional connotations associated with them, there is also significant inter-individual variability within cultures with regard to emotional responding. In this talk, I will present empirical evidence from two studies that demonstrate the extent of inter-individual variability – in terms of both perceived and felt emotion – in Finnish listeners. Study 1 explored the contribution of Big Five personality traits and current mood to individual differences in emotions perceived in music. Sixty-seven participants listened to 50 short film music excerpts, and rated their perceived emotions using five discrete emotion scales (happiness, sadness, fear, anger, and tenderness). Both personality traits and mood states were significantly correlated with biases in emotion perception, but partial correlations and moderated multiple regression analyses revealed that current mood accounted for most of the inter-individual variance in ratings of perceived emotion. Study 2 investigated individual differences in emotional reactivity to music at the level of both self-reports and physiological responses. Furthermore, the role of trait empathy in these individual differences was explored. Fifty-four participants heard 10 1-minute music excerpts representing five different emotions (sad, happy, scary, tender, and neutral). Participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales. In addition, participants’ electrodermal activity and heart rate variability were measured. Correlation analyses revealed that trait empathy was associated with the intensity of emotional responses both at the level of self-report and physiological responses. Furthermore, the patterns of correlations were consistent across both levels. The implications of the findings will be discussed in terms of the benefits of investigating individual differences and measuring multiple components of emotion.

• Vuoskoski, Jonna Katariina & Layton, Christine (2019, 21. september). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio].  ABC Radio Perth, Australia.
• Sioros, George & Danielsen, Anne (2019). How do Rhythmic Features Affect our Movement?.
• Jensenius, Alexander Refsum (2019). Hvordan fremme tverrfaglighet?.
• Weisethaunet, Hans (2019). Musikk som praksisfelt, musikk som vitenskap og som kulturelt felt..
• Weisethaunet, Hans (2019). Platepoetikk. ECM 50 år. Bobo Stenson interview. Nasjonalbiblioteket Seminar..
• Weisethaunet, Hans (2019). Musikk som kunnskap og dannelse – endringer i det nordiske feltet? Fra blokkfløyte til Chick Corea. Nord-Ed Seminar, UiO.
• Jensenius, Alexander Refsum (2019). Hva kan kroppslig stillstand si om opplevelsen av musikk?.
• Jones, Ellis Nathaniel & Hyland, Patrick (2019). Negotiating conceptions of “lo-fi” authenticity in collaborative work.
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). Bandcamp and SoundCloud as alternative music platforms.
• Jones, Ellis Nathaniel (2019). Book Review: Spotify Teardown: Inside the Black Box of Streaming Music. Convergence. The International Journal of Research into New Media Technologies.  ISSN 1354-8565.  25(4), s 782- 785 . doi: https://doi.org/10.1177/1354856519854204
• Brøvig-Hanssen, Ragnhild (2019). Presentation of MASHED; TIME; and MusFrag.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Dual-Planed Temporality.
• Brøvig-Hanssen, Ragnhild (2019). Mashup and Parody.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal chops and Rhythm.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Pleasure.
• Sioros, George; Câmara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian (2019). Timing and drummers’ movement: A novel methodology for performance analysis. Show summary

  Timing is an important aspect of groove music. The relationship between musicians’ body motion in performance and timing is, however, as yet not well understood Timing and drummers’ movement: A novel methodology for performance analysis . In the present study we recorded movement of 20 drummers performing the same rhythmic pattern under four different timing instructions: natural, on- the-beat, laid-back and pushed. Motion capture data synchronized to audio recordings of their performances were collected as part of a larger experimental project. This presentation focuses on our method for analyzing motion capture data. The aim of the analysis is a) to identify common movement strategies for sub-groups of drummers, and b) to identify strategies for achieving the four different timing conditions across drummers. In this presentation we focus on the movement of the left arm, and particularly on the preparation and rebound phase of the snare strokes. To explore and analyze the data without statistically testing a priori hypotheses about specific performance techniques, we combined existing practices from different disciplines into a novel methodology. First, we reduce the data into motion templates (Müller and Röder 2006). We design a set of 22 binary features to describe the movement of the arm. Second, we perform a phylogenetic analysis of the motion templates, in which we identify clusters within each timing condition. A comparison between clusters reveals differences in the coordination of the participants’ movements that correspond to the different performance strategies. Preliminary analysis has shown distinct clusters within all timing conditions that differ in specific features. For instance, we observe three groups of participants within the “natural” condition that differ in the flexion of the wrist and elbow. Besides our findings we will present the details of the methodology, which can be applied in the study of music-related movements beyond the scope of this project.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). Does moderate syncopation increase groove? The answer depends on the syncopation pattern. Show summary

  Recent research points towards a relation between syncopation and groove (Witek et al., 2014; Madison and Sioros, 2014), i.e. the pleasurable sensation of wanting to move to music (Janata et al., 2012). We aimed at confirming the inverted-U shape relation found in previous research, using more controlled music examples (MEs). To this end, we asked twenty-seven participants to listen to and rate variations of MEs that only differ in their syncopation. Ten short funk and rock loops consisting of drums, bass and keyboards were algorithmically transformed (Sioros and Guedes, 2014) to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 25% (roughly equal amount to the original), 50%, and 70%. The MEs were produced using professional sound samples. The participants rated the groove of the original versions higher than all the transformed versions, including the version with a similar amount of algorithmic syncopation, while the 50% and 70% versions had the lowest scores. Statistically significant differences were observed between 1) the original and the rest, and 2) the 25% and the 50% and 70%, but not between the 25% and the deadpan. To understand this result, we compared the original and algorithmic syncopation. Our findings include: 1) The algorithmic syncopation is relatively uniformly distributed. In contrast, the original versions have less syncopated drums with almost no syncopated hi-hats. Certain metrical positions in the drums are never syncopated, e.g. the back-beat snare. 2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style (Danielsen, 2006). 3) The micro-timing alignment of sounds differs between versions. This experiment concludes that groove is increased by syncopation, however, not every pattern will do. Our analysis calls attention to the complex nature of syncopation and its possible dependence on structural factors.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). The relation between groove and syncopation is intricate – not any pattern will do. Show summary

  Groove is the pleasurable sensation of wanting to move to music. A series of studies has attempted to understand the function of this phenomenon by examining its relation to physical properties in the sound signal and found, among other things, that groove increases at optimal levels of syncopation. Here, we tested if the amount of syncopation is the critical factor, rather than the specific pattern of notes that are syncopated. To this end, our algorithm transformed ten short funk and rock loops consisting of drums, bass and keyboards to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 0%, 25% (similar amount to the original), 50%, and 70%. All the examples were produced using profes- sional sound samples and were rated by 27 listeners. The ratings were highest for the original versions, next highest for the 0 and 25% versions, and lowest for 50% and 70% versions, with statistically significant differences between the original and the rest, and the 25% and the 50% and 70%, but not between the 0% and 25%. Apparently, our algorithm failed to recreate the groove of the original music. Comparing the origi- nal and algorithmic syncopation we found: (1) The algorithmic syncopation is relatively uniformly distributed across the instruments, while the original versions have less syncopated drums with almost no syncopated hi-hats, and the back-beat snare never syncopated. (2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style. (3) Differences in the micro-timing alignment of sounds. In conclusion, groove is greatly increased by syncopation; although, not necessarily by syncopation per se, as the results point to several structural factors that may be important and can be further tested and add to our understanding of the functional properties that underlie the sensation of groove.

• Hagen, Anja Nylund (2019). Tidal. Store Norske Leksikon (Nettutgaven). Show summary

  Tidal er en strømmetjeneste for musikk som ble lansert av det norske selskapet Aspiro i 2010 under navnet WiMP. Selskapet ble solgt til S. Carter Enterprises, blant annet eid av hiphop-artisten Jay Z i 2015, og fikk navnet Tidal, men har fortsatt kontor i Oslo. Tidal skiller seg fra andre on-demand strømmetjenester ved å være reklamefri. Tjenesten tilbyr heller et dyrere abonnementsalternativ med bedre lydkvalitet, i tillegg til standardabonnementet. Tidal markerte seg ved å være tidlig ute med å bruke redaksjonelt innhold og spillelister. Det er mange artister blant Tidals medeiere, og selskapet har forsøkt å gjøre det til en merkevare å tilby eksklusivt innhold fra disse artistene.

• Hagen, Anja Nylund (2019). Spotify. Store Norske Leksikon (Nettutgaven). Show summary

  Spotify er verdens mest brukte strømmetjeneste for musikk. Siden lanseringen i 2008 har Spotify opplevd stor vekst i antall brukere og popularitet. Våren 2019 registrerte Spotify over 100 millioner betalende abonnenter. Selskapet anslår at den totale lytterbasen overstiger 209 millioner aktive brukere når gratisversjonen inkluderes. Tjenesten tilbyr over 40 millioner lydspor i sin katalog, og utvikler fortløpende både tjeneste- og innholdstilbudet.

• Hagen, Anja Nylund (2019). strømmetjenester. Store Norske Leksikon (Nettutgaven). Show summary

  Strømmetjenester er tjenester som overfører medieinnhold over internett. «Å strømme» for eksempel film, bøker, video eller musikk, beskriver digitale overføringsprosesser av data i sanntid eller uten at brukeren trenger å laste ned innholdet. Gjennom internettapplikasjoner som kan brukes på både stasjonære og mobile medieenheter, for eksempel TV, nettbrett, smarttelefon, datamaskin og airplay-spillere, gjøres innhold tilgjengelig fleksibelt og fritt etter brukernes preferanser, såkalt on-demand.

• Hagen, Anja Nylund; Sandvik, Eystein; Witek, Julia; Nedrelid, Alma & Hovland, Torkjell (2019). Å bygge en karriere i musikklivet. Show summary

  Studier, nettverk, praksis – hva betyr mest for bygge en karriere i musikklivet?Hvordan oppleves kjønnsbalansen fra ulike ståsted i musikklivet og musikkbransjen, og hvorfor er det viktig å etterstrebe likestilling? Hvilken kjernekompetanse må man ha for å jobbe i musikklivet, og hvilke egenskaper fra en musikkbransjekarriere er overførbare til andre karrierefelt? Debattleder: Anja Nylund Hagen (postdoktor ved IMV) Med Alma Nedrelid (assisterende operasjef – Den Norske Opera &Ballett, ex-IMV) Eystein Sandvik (musikkritiker, NRK, ex-IMV) Julia Witek (bassist og vokalist i No. 4, ex-IMV) Torkjell Hovland (musikkritiker for bl.a. Jazznytt og Ballade og kommunikasjonsansvarlig i Oslo musikkråd, ex-IMV)

• Câmara, Guilherme Schmidt; Nymoen, Kristian & Danielsen, Anne (2019). Timing is Everything... Or is it? Part II: Effects of Instructed Timing Style and Timing Reference on Drum-Kit Sound in Groove Performance.
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2019). Timing is Everything... Or is it? Part I: Effects of Instructed Timing and Reference on Guitar and Bass Sound in Groove Performance.
• Lartillot, Olivier (2019). Computational analysis of tempo and metre: from signal processing to cognitive musicology. Show summary

  Computational models for the analysis of tempo, metre and the tracking of beats have made significant progress during the last decades. I first present a synthetic overview of the state of the art. Up to recently, classical approaches were based on signal processing, with the integration of heuristics based on assumptions related to music perception and cognition. The standard approach is to first detect percussive events through the establishment of an accentuation curve, followed by periodicity detection, and the construction and tracking of meter. Because rhythmic emphasis can develop on various metrical levels across time, it is necessary to track the metrical structure on multiple levels. I show the benefit of such detailed analysis with the use of a model I have developed, and which obtained one of the highest grades in the MIREX tempo estimation competition. New approaches based on deep learning have achieved impressive progress and have largely surpassed signal-processing-based approached (including mine) in the recent yearly editions of MIREX. One limitation of these approaches, at least in their current stages, is that they appear as black boxes able to imitate a particular behaviour for which they were trained on particular examples. As such, they hardly offer insight on the cognitive mechanisms underlying the perception of metre. I will discuss the limitations of signal processing approaches and highlight the complexity of the musical structure. Pulsation in music is not always expressed through a periodic repetition of percussive events, but may emerge from a subtle propagation of motivic or harmonic structures. I present an approach under development that models the different components of music analysis and combine them altogether, extending further Lerdahl and Jackendoff’s vision. Motivic repetition, which plays a core role, is also one of the dimensions that is the most difficult to model and automate.

• Danielsen, Anne (2019). Hvor er egentlig beatet? Rytme og timing i rytmisk musikk.
• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara (2019). Musikkprodusentens rolle. Show summary

  Musikkprodusentens rolle - Hva skal til for å lykkes som studioprodusent? - Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål? - Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres? Debattleder: Yngvar Kjus (førsteamanuensis ved IMV) Med Sara Karoliussen (artist, produsent, ex-IMV) Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV) Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO) Michael Scott Hartung (produsent) Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)

• Alarcón Diaz, Ximena & Jensenius, Alexander Refsum (2019). "Ellos no están entendiendo nada" ("They are not understanding anything"): Listening to Embodied Memories of Colombian Migrant Women Reflecting on Conflict and Migration. Show summary

  Exploring the role of the body as an interface that keeps memory of place, INTIMAL physical-virtual “embodied” system, integrates body movement, voice, and an oral archive, as an artistic platform for relational listening (Alarcón, 2019), using networking technologies for telematic sonic improvisatory performances, in the context of geographical migration. INTIMAL has been informed by a case study with nine Colombian migrant women in Europe, listening to their migrations, and to an oral archive with testimonies of conflict and migration by other Colombian migrant women.1 The first two interfaces created for the system: MEMENTO (a spoken word retrieval system), and RESPIRO (for transmission and sonification of breathing data), have been tested by the research participants in a telematic sonic improvisatory public improvisatory performance between the cities of Oslo, Barcelona, and London. In the performance, proposed as a shared dream, a “complex narrative” (Grishakova & Poulaki, 2019) emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged—including body movement, voice, spoken word, and breathing—establishing connections between gendered migration, and Colombian conflict. We reflect on how distributed improvisatory embodied expression, and relational listening through technological mediations, aids the process of collective remembering (Wertsch, 2001), in a complex context of conflict and migration.

• Hui, Alan (2019). IPTrollet blog: After the Kraftwerk ruling: Narrower limitations and exceptions for EU and EEA?. Show summary

  The recent EU Court of Justice’s preliminary ruling in the Kraftwerk case (Pelham v Hütter, C-476/17) clarifies the nature and scope of exceptions and limitations in the EU, and the EOS (EEA) by virtue of the EFTA. Here, we delve deeper into implications for limitations and exceptions beyond remixes and consider how the this ruling should be read with other authorities.

• Sørbø, Solveig Isis; Bentham, John; Watson, Pia; Lartillot, Olivier; Gonzalez Sanchez, Victor Evaristo & González, María Isabel (2019). Aether Trouble. Show summary

  Music video for "Aether Trouble" by PYSJ. With: Pia Watson Víctor González (RITMO*) Torgeir Koppang (PYSJ) Solveig Sørbø (PYSJ) Cinematography: John Bentham Camera Operators: Morten Malerstuen (camera and additional cinematography) Kristoffer Haugen Lighting: Nicholas Blakstad Andresen Morten Malerstuen Breath data collection (using FLOW* by SweetZpot): Víctor González, RITMO* Visualization of breath data and audio: MIRAGE* and MIRtoolbox by Olivier Lartillot, RITMO* Editing: María Isabel González Story / Concept: Solveig Sørbø Olivier Lartillot Pia Watson Directed by: John Bentham Solveig Sørbø Consultant: Nicholas Blakstad Andresen Produced by: Solveig Sørbø Extras: The dogs Vips and Willy Special thanks: Sagar Sen Naín Mendoza Fonseca Turid Svensøy SweetZpot RITMO* Workaway.info Filter Musikk Thanks to F21 for letting us use their studio MUSIC: Find the audio track on your plattform of choice: https://fanlink.to/aether Find the audio track on your plattform of choice: https://fanlink.to/aether Aether Trouble by PYSJ Written by: Solveig Sørbø Performed by PYSJ Solveig Sørbø Torgeir Koppang Andreas Rødland Haga Stig Frogner Mixing: Stig Frogner Mastering: Björn Engelmann / The Cutting Room Production: Solveig Sørbø * RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo. This work was partially supported by the Research Council of Norway through its Centres of Excellence scheme, project number 262762. * Learn more about the visualization technologies on the MIRAGE project website: http://bit.ly/MirageProject * Data was collected using FLOW™ sensors from SweetZpot. For more information about this technology see: https://www.sweetzpot.com/flow

• Jensenius, Alexander Refsum (2019). Ett år med MCT-programmet ved IMV.
• Jensenius, Alexander Refsum (2019). Å stå stille. [www ].
• Hui, Alan; Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2019). Grey Tuesday (Musikk I gråsonen). Show summary

  Hva betyr kreativitet og originalitet, og hvem definerer disse begrepene? Hva er de konkrete konsekvensene av mangel på en konseptuell klarhet på kreativitet og originalitet? Dette er spørsmålene som interesserer forskergruppen MASHED. For å forsøke å besvare disse spørsmålene skal forskergruppen se på Mashups. Mashups er en musikksjanger som kombinerer og redigerer annen innspilt musikk til et nytt, og avhengig av hvem du spør, unikt lydspor. Dette kan gjøres ved å kombinere vokalspor fra én innspilling med instrumentalspor fra en annen til en A+B-Mashup, eller ved å kombinere vokal- og instrumentalspor fra flere innspillinger til en Megamix-Mashups. Sosiale media plattformers implementering av algoritmiske reguleringsverktøy har fornyet den langvarige debatten om hvordan en slik musikalsk lånekultur kan forsvares juridisk og hvordan dette påvirker ytringsfriheten. Programutvalget ved Institutt for musikkvitenskap inviterer Ragnhild Brøvig-Hanssen, Ellis N. Jones og Alan Hui til en åpen samtale om Mashup-musikk, opphavsrett, kreativitet og originalitet. Etter samtalen vil det være åpent for spørsmål fra salen.

• Hui, Alan (2019). Platform regulation of mashup makers in a post-Brexit UK. Show summary

  Over one decade ago, Lawrence Lessig described how the Apple had removed mashup maker Girl Talk’s album Night Ripper from iTunes (Lessig, 2008). He yearned for copyright laws that encouraged Girl Talk and other participants in Read/Write culture to create and re-create the culture around them. Instead, he saw copyright wars reinforcing Read/Only culture, espousing a system where professionals create and amateurs consume. He argued that Read/Write culture could only flourish under different regulation. A decade on, Night Ripper is now available on iTunes, Spotify, Amazon Music and other platforms. And mashups, GIFs and memes are commonplace across platforms. But have we come close to the system Lessig envisioned? This paper considers the regulatory landscape that mashup makers traverse on contemporary music platforms. It considers platform regulation in the context of UK copyright laws and the uncertain relationship between UK and EU law in post-Brexit UK. It sketches the scale and scope of regulation of mashups, as part of Read/Write culture. It observes the rise of UK regulation ostensibly targeting Read/Only culture, and questions whether mashups have again been the innocent bystander. Recent UK copyright enforcement measures include a UK domain registrar suspending the Sowndhaus mashup website (Maxwell 2017), and courts ordering internet service providers to block websites hosting torrents and unauthorised live-streaming. The threat of enforcement also led to Google Search and Microsoft Bing removing copyright-infringing search results under a Code of Practice. The UK has also introduced copyright exceptions for quotation, parody, pastiche and caricature which permit some Read/Write uses. How have these regulatory mechanisms worked in tandem? This paper argues that content ID systems, ostensibly designed to tackle Read/Only infringement, also regulate mashups and other Read/Write culture. Content ID systems such as Zefr and Dubset have become commonplace and influential across music and social media platforms, but received less attention in literature than platforms such as YouTube and Spotify (Vaidhyanathan 2011, Eriksson et al. 2019). It considers how the recently passed EU Copyright Directive may affect music licensing and amplify the role of content ID systems, both in deterring infringement and safeguarding reliance on copyright exceptions. Does the directive mark a change in regulation to ‘licence first, ask questions later’ (Erikson 2019)? If so, how might content ID systems evolve to enable licencing agreements? Alternatively, does the directive establish stronger rights to quote and make parodies, and therefore aid the making of mashups? Finally, the paper adapts Vaidhyanathan’s concept of ‘trust bias’ from search engines to content platforms (Vaidhyanathan 2011). Does the availability of mashups on content platforms contribute to user trust of suggestions, playlists and ranked search results? Should mashup makers and mashup communities trust content platforms, despite concerns over streaming royalties, opaque content moderation outcomes, and the complexity of copyright? With the imminent Brexit or implementation the EU Copyright Directive, I consider possible futures for platform regulation of music. If courts no longer oversee website blocking decisions, or content platforms are required by law to moderate content, how does this affect systems of trust?

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019, 06. september). Med opphavsrett på studieplanen. [Fagblad].  Ballade.no.
• Eriksen, Asbjørn Øfsthus (2019). Foredrag om Rachmaninov.
• Hagen, Anja Nylund (2019). Music streaming and data literacy. Show summary

  The chain of production, distribution and consumption in the music industries has always been shaped by the technologies available to the markets. Developments in the contemporary music industry must therefore be understood in relation to streaming technology. Just a decade after Spotify launched in Sweden, the Norwegian music industry heavily relies on music streaming services as the mainstream distribution format to reach global markets and new audiences. At the same time, the streaming industry is entailed with new competition, where new types of skills and competences are demanded to interact and negotiate with a greater range of parties under new conditions. This paper stems from a large survey targeting musicians, composers and intermediaries across different genres and functions in the Norwegian music industry, supplemented by in-depth interviews with music industry key persons. The goal is to reveal aspects of how Norwegian music industry partners experience to work with music in the realm of streaming. By using the concept of digital literacy, this paper studies how the ability to take use and make sense of the digital potential of the streaming technology is experienced. The digital literacy of streaming will specifically be explored in relation to datafication, as the concept of how online content and traffic can be tracked and analysed to predict and control activities and royalties in the current digital market flows. The survey shows how datafication has become key in the digital music industry, but also big variations in whom that are taking this currency of data in use. The paper further discusses digital literacy as a concept to address how datafication in the era of streaming seems to create a new dimension of the digital divide, of those who can make sense of and engage with data, and those who can’t.

• Hagen, Maren Kvamme & Danielsen, Anne (2019, 01. september). Ein hest og ei landeplage. [Internett].  nrk.no.
• Bradley, Catherine (2019). Invited Seminar at Conservatoire national supérieur de musique et de danse de Lyon.
• Weisethaunet, Hans (2019). ‘Criticism and canonisation’, presentation for “Musicking in Twentieth-Century Europe”, De Gruyter’s Verlagshaus, Berlin.
• Weisethaunet, Hans (2019). “Musical Sound, Place, and Listening,” Invited lecture, “Anthropology of Sound, Acoustemology, and Sensory Transformations Conference”, University of Eastern Finland.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019, 23. august). Rapkjefta - episode 2. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Samfunnet Bislet 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Byfest Kongsvinger 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Verksøya 2019.
• Holbrook, Ulf A. S. (2019). City Dwellers II. Show summary

  I City Dwellers II møter vi et hundretalls stemmer i et prosjekt som undersøker sceneteksten som et potensielt "thirdspace", et omsluttende rom der flere tider, hendelser og forløp kan pågå samtidig.

• Eriksen, Asbjørn Øfsthus (2019). Skazki. Nikolaj Medtner. Gunnar Sama, piano. (Liner notes til CD med klavermusikk av Nikolaj Medtner. 2L-156-SACD. Lindberg Lyd AS).
• Devine, Kyle (2019, 19. august). The World Remade. [Internett].  Reasonably Sound (podcast).
• Hagen, Anja Nylund (2019, 11. august). Slik kan Emir (26) leve av musikken: – Men jeg tenkte aldri «oi shit, her kan vi tjene mer penger».  Dagens Næringsliv.
• Hagen, Anja Nylund (2019, 15. august). Thomas Hayes har signert med Sony, skal gi ut musikk.  Aftenposten. Show summary

  – Det er blitt mer akseptert å gi ut musikk som influenser i 2019, mener musikkprodusent Hef Augosti Hotvedt.

• Vuoskoski, Jonna Katariina & Bjurström, Eelis (2019, 23. juli). Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi. [Internett].  https://yle.fi/uutiset/3-10875178.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2019). Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology. Show summary

  It has been postulated that empathy and emotional contagion might be some of the fundamental mechanisms through which music induces emotional responses in listeners. Previous studies have reported correlations between questionnaire measures of trait empathy and self-reported intensity of music-induced emotion (particularly in response to sad and tender music), but it is not yet known whether this association only exists at the level of self-report. us, the aim of this study was to investigate the relationship between trait empathy and psychophysiological indices of music-induced emotion. Fi y-four participants heard 10 1-minute music excerpts representing ve di erent emotions (sad, happy, scary, tender, and neutral). For each excerpt, participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales (happy, tender, peaceful, moved, anxious, and energetic). In addition, participants’ electrodermal activity and heart rate variability (HRV) were measured. Trait empathy was measured using the Interpersonal Reactivity Index (Davis, 1980). Trait empathy correlated signi cantly with the mean ratings of overall intensity of felt emotion (averaged across all excerpts; r = .29). Trait empathy also correlated with phasic skin conductance activity in response to sad (r = .28) and tender (r = .33) excerpts, and with high- frequency HRV in response to happy excerpts (r = .36; all p < .05). ese results corroborate previous ndings that have associated trait empathy with the self-reported intensity of music-induced emotions, and provide novel evidence of a similar pattern also on the level of psychophysiology.

• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2019). Everything but the sound: Investigating the relationships between movement features and perceptual ratings of silent music performances. Show summary

  In musical performance, the gestures and mannerisms of a musician can have a profound impact on the observer’s experience of the music. In this presentation, we investigate to what degree this holds true when presenting participants silent videos of abstracted movement (stick figure animations derived from motion capture data). [P] A pianist and violinist individually performed four pieces (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry and deadpan. The 32 performances were tracked using optical motion capture. Subsequently, participants (piano group: n = 31; violin group: n = 34) viewed the performances as stick-figure animations and provided ratings of perceived happiness, anger, sadness, and tenderness for each performance. [P] From the 3D motion capture data for each performance, we computed variables based on the movements of the head, torso, shoulders, arms and hands. We computed the average velocity, acceleration and jerk of each direction (x, y, z) as well as the norm of the vectors. We compared these features with the averaged perceptual ratings. [P] Correlation analyses revealed that participants were likely to rate a performer’s intention high on happiness and anger when the movements were high in activity (e.g. quick movements, many changes in directions), while the performances were rated high on sadness and tenderness when the movement were low in activity. For both the pianist and the violinist, no single part of the body stood out as correlating more highly with the perceptual ratings than others. [P] The results support past research that the communication of emotional intentions in a musical performance is possible even when viewing the performances without sound and in an abstracted setting. They also indicate that the visual aspects of a performance are experienced as a single gestalt (as opposed to paying attention to individual parts of the body).

• Vuoskoski, Jonna Katariina & Thompson, Marc Richard (2019). The contribution of visual and auditory cues to the perception of emotion in musical performance. Show summary

  In musical performance, emotional expression emerges from the interplay between the structural features of the music (i.e., the composition) and the expressive efforts of the performer. Previous research has shown that the body movements and gestures of the performer constitute an important source of expressive information, successfully communicating different expressive intentions to audiences. However, it is still un- known whether visual kinematic information about performers’ movements could also modulate perceived emotions. [P] This study aimed to investigate the relative contributions of auditory and visual cues to the communication of emotion in musical performance. A pianist and a violinist performed four short musical passages (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry, and deadpan. The musicians’ movements were tracked using optical motion capture. [P] A total of 90 participants took part in three perceptual experiments, where they rated perceived emotions using four scales. There were four rating conditions: audio-only, video-only (with point-light animations generated from motion capture data), audiovisual, and time-warped audiovisual. In the time-warped condition, motion capture animations from all four expressive conditions were combined and synchronized with the audio of the deadpan performances. [P] Repeated-measures ANOVAs revealed that participants could accurately recognize emotional expressive intentions based on vi- sual information alone. In the audio-only condition, Type of Composition (mean effect size = .40; generalized eta- squared; Bakeman, 2005) accounted for more variance than Expressive Intention (mean effect size = .17) in participants’ emotion ratings. In the audiovisual condition, the difference between mean effect sizes was reduced (Type of Composition = .36; Expressive Intention = .20), indicating that visual kinematic infor- mation enhanced the perceptual salience of expressive intentions. The time-warped audiovisual condition (where animations with different expressive intentions were paired with deadpan audio) also revealed that visual information could modulate perceived emotions.

• Huron, David & Vuoskoski, Jonna Katariina (2019). On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy. Show summary

  Why do people enjoy listening to nominally sad music? In the first instance, only about half the population reports enjoying sad music (Garrido & Schubert, 2011; Taruffi & Koelsch, 2014). Such individual variability suggests that either culture, experience, and/or personal trait factors play a decisive role in the seemingly paradoxical phenomenon of sad-music enjoyment. Recent experiments implicate trait empathy. Specifically, those listeners who most enjoy sad music typically score high on ”empathetic concern” (or compassion), with nominal ”personal distress” (or commiseration) (Eerola, et al., 2016; Kawakami & Katahira, 2015; Sattmann & Parncutt, 2018; Vuoskoski & Eerola, 2017). That is, when encountering sadness-related stimuli, sad- music lovers are more likely to experience pity or compassion rather than an emotional contagion of evoked sadness or commiseration. The authors review literature implicating compassion as a positively valenced affect. Neuroimagining studies show that altruistic thoughts alone are sufficient to activate regions of the medial forebrain pleasure circuit (Harbaugh, Mayr & Burghart, 2007; Izuma, Saito, & Sadato, 2008). Since compassion is a precursor affect intended to motivate altruistic behaviors, compassion must also be pos- itively valenced. In this regard, the pleasure of compassion conforms to classic research on dopamine function, where over time, dopamine rewards shift from consummatory behaviors to anticipatory behaviors (Berridge & Robinson, 1998; Gebauer, et al., 2012; Weiss, et al., 1993). Overall, Pleasurable Compassion Theory suggests that sad-music lovers experience only moderate levels of “I feel your pain” but high levels of “I feel sympathy for you.” If compassion is a positively valenced affect, then high levels of sympathy, pity, or compassion will produce a broadly pleasurable experience. Finally, Pleasureable Compassion Theory is shown to avoid a number of classic pitfalls identified by aesthetic philosophers when accounting for the paradox of negative emotions in the arts (e.g., Levison, 2013).

• Godøy, Rolf Inge (2019). Music and Body Motion. Show summary

  How, and to what extent, is our experience of music influenced by the body motion of the musicians, both those we can see and those we can only imagine? Could it be that music is just as much a matter of choreogrphy as a matter of sound?

• Rygg Haanaes, Øystein & Bradley, Catherine (2019, 29. juli). Notre-Dame var eit kraftsenter for komposisjon av fleirstemt song i mellomalderen. [Internett].  https://forskning.no/middelalderen-musikk-partner/notre-dame.

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