-
Edwards, Peter
(2022).
Pønkebadet.
-
Edwards, Peter
(2022).
Marino Formenti and the transformative concert recital .
-
Danielsen, Anne & Leske, Sabine Liliana
(2022).
How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives.
Show summary
The internal beat or pulse in the listener is not a single point in time, but has a shape and a width and can be described via a probability distribution. This phenomenon has been conceptualized in the beat bin thoery (Danielsen 2010). The internal beat bin of the listener varies systematically with the precision needed in the given musical or sonic context. Anne and Sabine will present behavioral evidence for this phenomenon and a first attempt to reveal the underlying neural mechanism behind the flexible adaptation to the precision of the current beat bin context. They will present effects of acoustic factors on the perceptual center and the beat bin, as well as preliminary results on how neural oscillatory activity might represent a neural mechanism behind this phenomenon.
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Bradley, Catherine Anne
(2022).
Perspectives for lost polyphony and red notation around 1300: Medieval motet and organum fragments in Stockholm.
-
Bradley, Catherine Anne
(2022).
La musique et la liturgie à Notre-Dame.
-
-
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Danielsen, Anne
(2022).
Utvikling og ledelse av tverrfaglige forskningssentre - erfaringer fra RITMO SFF.
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Brøvig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bjørnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne
(2022).
Musical rhythm. Qualitative investigations.
-
Brøvig-Hanssen, Ragnhild
(2022).
Formidlingsformer i forskning.
-
Edwards, Peter
(2022).
György Ligeti’s Concerto for Violin and Orchestra: Conceiving Rhythm and Form by Association.
-
al Outa, Amani; Knævelsrud, Helene; Laczkó, Bálint & Jensenius, Alexander Refsum
(2022).
Winner of RRI-inspired transdisciplinary side quest call.
[Internet].
Centre for Digital Life Norway.
Show summary
Centre for Digital Life Norway (DLN) is excited to congratulate the team behind the project “The autophagic symphony – Unveiling the final rhythm” as winner of DLN’s RRI-inspired transdisciplinary side quest call.
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Jensenius, Alexander Refsum & Platou, Jeanette
(2022).
Kan kunstig intelligens være kreativ?
[Radio].
NRK P2 Arena.
Show summary
Hva er AI, eller kunstig intelligens, som vi kaller det på norsk. I Arena i dag ser vi på hvor kunstig intelligensk blir brukt, og hva det funker i. Kan vi få en data til å skrive poesi, og hva med musikken og kunsten?
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Jensenius, Alexander Refsum & Ashley, Kevin
(2022).
FAIR in Higher Education.
Show summary
Between January 25th and 27th, FAIRsFAIR partners and stakeholders will meet for a series of concluding meetings to deep-dive into the results of FAIRsFAIR. We’ll analyse the impact that we managed to have on the European Research Community. We'll go once more through the tools, guidelines and best practices that we have produced and delivered to researchers, data stewards, decision makers and funders towards a better, more structured approach towards FAIR data management. We’ll take the recommendations we produced and the lessons we learnt and leave them as a legacy for future activities to come.
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Mangaoang, Áine
(2022).
Prisons of Note: Mapping music in prisons from the periphery (Keynote address).
-
Jensenius, Alexander Refsum & Fasciani, Stefano
(2021).
University of Oslo - RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
Proceedings of the SMC Conferences.
ISSN 2518-3672.
2021-.
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Funderud, Ingrid; Danielsen, Anne; Endestad, Tor; Jensenius, Alexander Refsum; Leske, Sabine Liliana & Solbakk, Anne-Kristin
(2021).
Improving working memory in patents with epilepsy by rhythmic sounds.
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Krzyzaniak, Michael Joseph; Gerry, Jennifer; Kwak, Dongho; Erdem, Cagri; Lan, Qichao & Glette, Kyrre
(2021).
Fibres Out of Line.
Show summary
Fibres Out of Line is an interactive art installation and performance for the 2021 Rhythm Perception and Production Workshop (RPPW). Visitors can watch the performance, and subsequently interact with the installation, all remotely via Zoom.
-
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Lan, Qichao & Jensenius, Alexander Refsum
(2021).
Collaborative Live Coding with Glicol Music Programming Language.
-
Lan, Qichao & Jensenius, Alexander Refsum
(2021).
Glicol: A Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet.
-
Bishop, Laura; Gonzalez Sanchez, Victor Evaristo; Laeng, Bruno; Jensenius, Alexander Refsum & Høffding, Simon
(2021).
Social context affects head motion and gaze in string quartet rehearsal and concert performance.
-
Weisethaunet, Hans
(2021).
«Samtale med Stian Carstensen – om lytting som kilde til musikalsk kunnskap.» Lanseringsseminar: Å høre hjemme i verden, Litteraturhuset, Oslo.
-
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Mangaoang, Áine
(2021).
Mapping music and nuances in penal exceptionalism from the periphery.
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Mangaoang, Áine
(2021).
Singing Restorative Justice: Norwegian Prison Music Exceptionalism?
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Godøy, Rolf Inge
(2021).
Impulse-driven rhythm objects.
Show summary
Impulse-driven rhythm objects
Various recent research in movement science has converged in suggesting that human motor control is intermittent, i.e. that skilled and rapid body motion require piecewise pre-planning combined with point-by-point triggering of such anticipatory planned chunks of body motion (Loram et al. 2014). Known by various names such as open loop, feedforward, or serial ballistic, the idea of intermittent control is based on constraints of our motor system, first of all that the motor system is too slow to allow for continuous feedback control in demanding tasks, but also on the need for a contextual activation spreading of preparatory motion of the effectors (fingers, hands, vocal apparatus) for upcoming events, known as coarticulation. Based on our motion capture data of musical performance, the aim of this paper is to show how these constraints are manifest in what we call impulse-driven rhythm objects, i.e. in holistically conceived and perceived multimodal chunks of combined motion and sound.
Besides drawing on insights from movement science, this object focus also has a background in notions of objects and/or gestalts in music (Schaeffer 1966), with sound objects typically in the duration range of approximately 0.3 to 3 seconds, recognizing the overall shape of the sound object as crucial for both the generation and perception of musical features. With an added related idea of action gestalts in motor control (Klapp and Jagacinski 2011), we can speak of multimodal sound-motion objects where the sensations of sound are closely linked with sensations of body motion and effort.
To better understand the manifestation of such impulse-driven rhythm objects, it will be useful first to give an overview of the basic ideas of intermittent motor control and to provide some plausible theoretical framework for how such piecewise anticipatory motor control might work, and then go on to demonstrate how motion capture data testifies to rather strong consistencies in the performance, suggesting a high degree of pre-planning. Also, this motion capture data can demonstrate how the workings of coarticulation are manifest in preparatory motion (e.g. fingers/hands move ahead to optimal position for upcoming tone onsets (Godøy 2014)). This is typically evident in fast rhythm objects such as ornaments, where due to the required speed, it will not be possible to make corrections mid-course, but where error corrections will have to wait until the next instance of the ornament. Lastly, the element of effort in the performance of such rhythm objects may be indirectly inferred from the motion capture data, but better explored with EMG data, i.e. muscle activity data. As demonstrated with our own and other EMG data, this concerns in particular optimization of motion, where the holistic anticipatory control of motion chunks may contribute to minimizing energy cost and enhancing sense of fluency (Gonzales Sanchez et al. 2019).
Keywords: rhythm objects, sound objects, intermittent, multimodal, motor control
-
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Kraugerud, Emil
(2021).
Acousmatic intimacy in popular music sound.
-
-
Devine, Kyle
(2021).
Streams and Clouds: The Political Ecology of Music in a Digital Era.
-
Devine, Kyle
(2021).
Decomposed: Political Ecologies of Music — Past, Present, Future.
-
Devine, Kyle
(2021).
Digital Transformations and Environmental Challenges in Music.
-
Devine, Kyle
(2021).
Decomposed: Political Ecologies of Music — Past, Present, Future.
-
Devine, Kyle
(2021).
Political Ecology of Music Workshop.
-
Devine, Kyle
(2021).
Music and the Green Economy: What Do We Want to Sustain?
-
Devine, Kyle
(2021).
Recomposed: Sustainability and Musical Culture.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
-
-
-
-
-
-
-
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Kjus, Yngvar
(2021).
Collective musicking on DAW platforms?
Show summary
This talk will present key aims of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. This presentation will discuss the extent to which the response (ranging from comprehensive employment to rejection) to technological advances is conditioned by collectives, whether they are informal genre communities or more formalized institutions of art and education. Music making entails various forms of collaboration, and the project will examine how online production resources stimulate or challenge them. It aims to carry out in-depth case studies of genres with specific social characteristics, including rock/pop (with bands involved in long-term projects) and rap/hip-hop (where artists engage in projects more flexibly with other artists and producers). The benefits of this approach will be compared with the insights that might be found by examining how contemporary production platforms are introduced and taught at music education institutions (including the Norwegian Academy of Music), unpacking how the platforms are incorporated into courses on computer music and laptop musicianship, as well as more traditional courses on composition and performance. The talk will discuss how these approaches might shed light on the routes and milieus, informal and formal, through which a new generation of music makers is brought to these new platforms.
-
Weisethaunet, Hans
(2021).
“World Music and the World’s Musics”. Seminar lecture, UiA.
-
Kjus, Yngvar
(2021).
Transformations in the creative roles and modes of music production.
Show summary
This talk will present key aims and issues of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. One of the project’s key questions is: To what extent is platformization involved with transforming creative roles and modes of music production? The hypothesis is that new platforms influence key professions in the value chain of music. The central roles of composer, performer, and producer are already reflected in the protection afforded by copyright law and the associated right of remuneration, but DAWs represent a growing range of functionality, including algorithmic automatization and networked cooperation, that challenges these established roles.
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Weisethaunet, Hans
(2021).
Theory and history of Popular Music Studies: Hans Weisethaunet in dialogue with Professor Simon Frith, UK. .
-
Vuoskoski, Jonna Katariina
(2021).
From compassion to being moved: Social emotions evoked by music.
Show summary
Musical engagement involves and fosters a number of processes that are associated with empathy, such as emotional contagion, entrainment, and social bonding. One example of such a process is the feeling of ‘being moved’ – a powerful, rewarding experience often accompanied by chills, tears, and a sense of connection. In the past few years, ‘being moved’ has attracted increasing research interest as a distinct emotional response with prosocial functions and motivations – also in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). Building on empirical evidence from my recent work, I will argue that experiences of ‘being moved’ in the context of music listening are inherently social responses. I will demonstrate that feelings of being moved are closely related to empathic personality traits and feelings of compassion, and they mediate the enjoyment of music-induced sadness. I will also argue that feeling moved by music is associated with appraisals or experiences of closeness or affiliation.
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Dalgard, Joachim; Lartillot, Olivier; Vuoskoski, Jonna Katariina & Guldbrandsen, Erling Eliseus
(2021).
Absorption - Somewhere between the heart and the brain.
-
Subramanian, Sidhant; Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo
(2021).
Music or Lyrics? Individual differences associated with listening strategies.
-
Gram-Nilsen, Elias & Vuoskoski, Jonna Katariina
(2021).
The influence of the moving image on musical emotions.
-
-
-
Weisethaunet, Hans
(2021).
Sound Studies, seminar presentation/dialogue with professor Jocelyne Guilbault, University of California, Berkeley, digital.
-
Weisethaunet, Hans
(2021).
Hva er musikkvitenskap? Lecture/dialogue with professor em. Even Ruud.
-
Kjus, Yngvar & Brøvig-Hanssen, Ragnhild
(2021).
Møter med teknologi: Kvinnelige skaperes utforsking av DAWs.
-
Kjus, Yngvar
(2021).
Comparing the platforms of cultural production: Music, film, game.
Show summary
A key development in the creative industries is the spread of large digital services and tools in numerous countries. Such utilities and technologies are often presented and perceived as platforms that are able to accommodate countless users and uses. Their emergence has been highly visible in the area of distribution, with the proliferation of online services such as YouTube, Facebook, Spotify, the operations and growing dominance of which has triggered much research (for an overview, see Hesmondhalgh 2020, Spilker 2018, Van Dijck et al. 2018). The 2000s and 2010s have also seen pervasive developments in production tech¬nology, including digital audio workstations (DAWs) such as Logic Pro and Live as well as more recent entrants such as AudioTool and BandLab, but their establishment as platforms of music making in the online environment remains comparatively under-researched. This is also the case for neighboring sectors, such as computer games, which leads Foxman (2019: 9) to conclude that “platform tools remain seriously understudied.” To understand how different production platforms develop–and what sets them apart–can be a powerful inroad to understand how cultural content is produced and then channeled into different distribution platforms.
The development of products and services that thrive on the internet is a process of platformization, which has been defined as the “penetration of infrastructures, economic processes and governmental frameworks of digital platforms in different economic sectors and spheres of life” (Poell et al. 2019). It is the hypothesis of the current abstract that the developers of production technology, as well as their various user groups, are all involved in a platformization process which are having profound but also distinctive cultural, social, and economic ramifications for different creative industry sectors.
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2021).
Liveness in deadly times: How artists in Norway explored the expressive potential of live-streamed concerts at the face of Covid-19
.
-
Weisethaunet, Hans
(2021).
«Improvisasjon II, lecture. Dialog med Knut Reiersrud.».
-
Weisethaunet, Hans
(2021).
“Challenges in ethnomusicological fieldwork”.
-
Weisethaunet, Hans
(2021).
«Jazz og sjangermangfold i høyere norsk musikkutdanning». Musikkhistorieprosjektet ved Norges musikkhøgskole.
-
-
-
-
-
Hawkins, Stan
(2021).
Popular Music Books in Process Series - "In Concert: Performing Musical Persona" with Phil Auslander and Stan Hawkins.
-
-
Bradley, Catherine
(2021).
Red Notes and New Motets: Fragments from a Medieval Music Book in Stockholm.
-
Bradley, Catherine
(2021).
Fragments from a Medieval Motet Manuscript in Stockholm: Musical Notation and Lost Polyphony around 1300.
-
Bradley, Catherine
(2021).
Authorship in the Late Thirteenth-Century Motet: Adam de la Halle and Petrus de Cruce.
-
Kjus, Yngvar
(2021).
Har internett gjort det vanskeligere å lykkes i musikkbransjen?
[Radio].
NRK P2 - Studio 2.
Show summary
Selv om de fleste er enige i at strømmetjenester og sosiale medier er viktig for å nå et globalt publikum, kan også de samme plattformene begrense mulighetene for artister i dag. Forskere ved Univesitetet i Oslo mener musikkbransjen er rammet av digital ambivalens.
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Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt
(2021).
Musikk, opphavsrett og internett.
Show summary
Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30.
På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet.
Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter).
Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no.
Seminarprogrammet:
Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30)
Velkommen og kort presentasjon av seminaret og prosjektet
- Forhandlinger om opphavsrett, Yngvar Kjus
- Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen
- Opphavsrettslige utfordringer, Olav Torvund
Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00)
Keynotes:
- Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis?
- Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR
Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo)
Panel:
- Kathrine Synnes Finnskog (Music Norway)
- Ole Henrik Antonsen (NOPA)
- Erik Brataas (Arctic Rights, Amplify:Creatives)
Vel møtt!
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Devine, Kyle
(2021).
Greening the Net.
[TV].
https://www.channelnewsasia.com/news/video-on-demand/greenin.
-
-
Devine, Kyle
(2021).
Building Back Better.
The Wire.
443.
-
-
Bradley, Catherine
(2021).
Fragments from A Medieval Motet Manuscript in Stockholm: Perspectives for Theory and Analysis.
-
-
Sønnesyn, Sigbjørn Olsen
(2020).
Egil Kraggerud, De antiquitate regum Norwagiensium (On the Old Norwegian Kings). Edited with translation and commentary (Oslo: Novus Press, 2018).
Historisk Tidsskrift (Norge).
ISSN 0018-263X.
99(2),
p. 160–163.
-
Sønnesyn, Sigbjørn Olsen
(2020).
Laura Cleaver, Illuminated History Books in the Anglo-Norman World, 1066–1272 (Oxford: Oxford University Press, 2018).
Journal of British Studies.
ISSN 0021-9371.
59(2),
p. 410–411.
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Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina
(2020).
Food & Paper: Virtually Together: Concerts during the Coronavirus.
Show summary
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
-
-
-
Devine, Kyle
(2020).
Decomposed: Political Ecologies of Music.
-
Devine, Kyle
(2020).
Renewable Heritage: Footprints of the Future.
-
Devine, Kyle
(2020).
Decomposed: Political Ecologies of Musical Culture.
-
Dybsand, Øyvin
(2020).
Johan Halvorsen in Leipzig: His Study Time and Later Contacts with C. F. Peters.
-
Smedsrud, Morten Skipenes; Nordmark, Kristin Nagy & Aksnes, Hallgjerd
(2020).
En reise til musikkens indre.
Apollon : Forskningsmagasin for Universitetet i Oslo.
ISSN 0803-6926.
30. årgang(3/2020),
p. 18–21.
-
Aksnes, Hallgjerd; Fuglestad, Svein & Koksvik, Ingvild
(2020).
«...alt går så fort og skal være flinkt...»: Affordanser i GIM-programmet The Romantic Piano.
-
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Vuoskoski, Jonna Katariina
(2020).
Vad lyssnar folk på i Borgå, Karis och Jakobstad?
[Internet].
https://svenska.yle.fi/artikel/2020/12/04/vad-lyssnar-folk-p.
-
Bradley, Catherine
(2020).
A New Type of Musical Notation ca. 1300: Decoding Red Notes in a Fragment from Stockholm.
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Hagen, Anja Nylund; Molde, Audun; Nathaus, Klaus & Mitrovic, Minja
(2020).
Panel: “The Impacts of the Covid-19 crisis on the cultural and creative sectors” .
-
-
-
Weisethaunet, Hans
(2020).
“Music & Cultural Theory: Ph.d. Seminar-lecture”.
-
Weisethaunet, Hans
(2020).
«Musikkritikken som felt».
-
Weisethaunet, Hans
(2020).
«Populærmusikkens historiografi – Norge».
-
Hawkins, Stan
(2020).
Approaching queerness in popular music.
-
-
Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina
(2020).
Virtually together: Concerts during the coronavirus.
Show summary
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
-
Hawkins, Stan & Stuen, Eivend Augst Westad
(2020).
Stan Hawkins: Fra samtidskomponist til popforsker.
[Newspaper].
KILDEN.
-
Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina
(2020).
Virtually Together: Concerts during the Coronavirus.
Show summary
Background
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved.
Aims
We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved.
Method
Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved.
Results
310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings.
Conclusions
This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
-
Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina
(2020).
Quarantine Concerts.
-
Hawkins, Stan
(2020).
Keynote address: On a Journey to the End of Playfulness: Queerness and Music.
-
Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán
(2020).
Made in Ireland booklaunch.
-
Mangaoang, Áine
(2020).
Creative freedom? The place of music in Norwegian prisons.
-
Mangaoang, Áine & Western, Thomas James
(2020).
Music, Sound, and Power in Contemporary Places of Detention .
-
Mangaoang, Áine
(2020).
Music, Sound, and Power in Contemporary Places of Detention: Ethno-Activist Approaches in Ireland, Greece, Norway (panel).
-
Mangaoang, Áine; O'Flynn, John; Ó Briain, Lonán; Jones, Jaime & Dillane, Aileen
(2020).
Made in Ireland: Notes from a small island (panel).
-
Mangaoang, Áine
(2020).
Retromania? Problematizing Popular Music Heritage Futures.
-
Mangaoang, Áine
(2020).
Music video on the margins: Performing citizenship on YouTube.
-
Mangaoang, Áine
(2020).
"Listen to the song here in my heart”: Beyoncé, YouTube and Signed Songs.
-
Hagen, Anja Nylund
(2020).
Det store skillet mellom digitale vinnere og tapere.
[Internet].
ballade.no.
Show summary
Deler av norsk musikkbransje ser på strømming og digitale plattformer med stjerner i øynene. Andre ser bare utfordringer. Ytterpunktene skildres i fersk forskning – og skillene mellom musikksjangerne er store.
-
Hagen, Anja Nylund
(2020).
Ny rapport: - Digitaliseringen i musikkbransjen må profesjonaliseres.
[Internet].
KulturPlot.
Show summary
røyt 10 år etter at strømmetjenestene ble innført, sliter fortsatt norske artister og bransjeledd med å utnytte denne teknologien. Rapporten «Digital ambivalens», som er utarbeidet av forskere fra Universitetet i Oslo og Telemarksforsking, gir et bilde av den norske musikkbransjen før korona og omtrent 10 år etter at strømming ble vanlig.
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Hagen, Anja Nylund
(2020).
– Vi kunne vært verdensledende
.
[Internet].
ballade.no.
Show summary
Norsk musikk må følges av bedre forhandlere når den skal ut i verden. Vinduet som verdensledere på strømming er i ferd med å lukkes for Norge. Slik lyder reaksjonene på fersk forskning om digitale utfordringer.
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Hawkins, Stan
(2020).
"Made in Ireland" book launch - keynote address.
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Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård
(2020).
Norsk musikkbransje – digitale pionerer i ambivalens.
ballade.no.
Show summary
Norsk musikkbransje var blant de første i verden i å omstille seg til digital musikkdistribusjon. Men klarer de digitale pionerene å utnytte mulighetene til sin fordel?
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter.
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Kjus, Yngvar
(2020).
The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
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Bradley, Catherine
(2020).
Review of Musical Culture in the World of Adam de la Halle. Ed. Jennifer Saltzstein.
Revue de musicologie.
ISSN 0035-1601.
106(2),
p. 491–494.
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Bradley, Catherine
(2020).
Scattered Songs in Scandinavia: Fragments from A Medieval Motet Manuscript in Stockholm.
Show summary
https://www.mf.no/en/om-mf/arrangementer/mf-casr-lunch-catherine-bradley
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Bradley, Catherine
(2020).
New Fragments from a Medieval Motet Manuscript in Stockholm.
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Bradley, Catherine
(2020).
Scattered Songs in Stockholm: New Fragments from A Medieval Motet Manuscript.
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Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum
(2020).
MICRO Motion capture data from groups of participants standing still to auditory stimuli (2012).
Show summary
This dataset comprises head motion observations collected as part of an experiment in which a group of people were asked to stand still for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with music. Head motion was captured in units of mm at 100Hz using a Qualisys infra-red optical system. The experiment was carried out at the University of Oslo on March 8th 2012 from a total of 113 participants. Code to read and process these files is available. The paper corresponding to the work is Jensenius et al., "The Musical Influence on People's Micromotion when Standing Still in Groups", Proceedings of the 14th Sound and Music Computing Conference (2017).
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2020).
Lyden av digitalisering: Preludium om musikk og medier.
Norsk Medietidsskrift.
ISSN 0804-8452.
27(3),
p. 1–10.
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Jones, Ellis Nathaniel; Mangaoang, Áine & de Boise, Sam
(2020).
Panel discussion: online participatory music cultures today.
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Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter
(2020).
Vi trenger kort og godt mer automagi i Cristin.
Uniforum.
ISSN 1891-5825.
Show summary
Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.
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Hagen, Anja Nylund
(2020).
Krise og kreativitet - musikkbransjen og koronapandemien 2020 .
Show summary
Rapporten Krise og kreativitet i musikkbransjen - koronapandemien 2020 kartlegger de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen. Anja Nylund Hagen (PhD) fra Institutt for musikkvitenskap, Universitetet i Oslo, er en av forskerne bak rapporten. Hun legger frem de viktigste elementene fra rapporten i første bolk av årets Pseminar.
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Hagen, Anja Nylund
(2020).
Derfor kommer ny musikk i mye større grad som enkeltsingler.
[Internet].
nrk.no.
Show summary
Musikkstrømmetjenestenes inntog i norsk musikkbransje har gjort at musikkbransjeaktørene og artistene har måtte omstille seg til hvordan publikum skal få tak i musikken, sier forsker Anja Nylund Hagen, ved institutt for musikkvitenskap ved Universitetet i Oslo.
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Hawkins, Stan
(2020).
Keynote IASPM Conference: Staging the Spectacle: The Dandyist Theatrics of Jacques Dutronc.
Show summary
Theatricality is a recalibration of everyday life. It is part of every performance. It gives credence to popular music and its cultural and political traditions. This presentation opts for an interdisciplinary and intertextual approach in a bid to argue the inextricable links between theatricality, musical personae, and identity. Popular music studies has come a long way in complementing the scholarship of major opera, film, and musical scholars, which has led to an abundance of work on personae, agency, and the problems of authenticity. To show how popular music performances function as powerful arbitrations of the ‘natural’ as much as the artistic, I discuss how masculinity was forged by a Mod sensibility in the 1960s. My focus falls primarily on Paris. If Serge Gainsbourg was considered the Leonard Cohen of French pop music, then Jacques Dutronc (1943) was most definitely le dandy cool, the Gallic Bob Dylan.
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Kjus, Yngvar & Hagen, Anja Nylund
(2020).
Music on (and in) demand: Negotiating and competing in streaming.
Show summary
This keynote asks what kind of negotiations that take place as music is made available for streaming and how the various players of the music business maneuver the competition in globalized markets. It presents findings from an industry-wide survey (N=556) and 35 qualitative interviews featuring Norwegian musicians, composers and intermediaries across different genres and roles. The aim is to highlight key developments in the practices and prospects of music streaming in recent years, both for creators and other industry professionals. The presenters are both part of the research project Music on demand: Economy and copyright in a digitised cultural sector (MUSEC), funded by the KULMEDIA program of the Research Council of Norway.
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Hagen, Anja Nylund
(2020).
De som får folk til å danse sammen.
[Internet].
ballade.no.
Show summary
– Det er ikke engang vits å sende en mail innenfor Ring 3, sier «bygderockerne» i Hardhaus. Men band utenfor storbyene er nå mer populære enn sine byrivaler og strømmer stort.
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Hagen, Anja Nylund
(2020).
TikTok som maktfaktor i musikkbransjen.
[Radio].
Studio 2, NRK P2.
Show summary
Intervju om hvordan musikken står sentralt i det sosiale nettverket TikTok som nå begynner å bli en maktfaktor å regne med i musikkbransjen.
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Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum
(2020).
Student active learning in a two campus organisation.
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Weisethaunet, Hans
(2020).
IMPROVISASJONS-PRAKSIS med Knut Reiersrud. Interview lecture.
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Weisethaunet, Hans
(2020).
Writing Music Criticism: A dialogue with Rob Young, editor of Wire magazine.
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Weisethaunet, Hans
(2020).
«Georg «Jojje» Wadenius: Blod, svette og tårer».
Jazznytt.
ISSN 0332-7248.
253(1),
p. 42–49.
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Hawkins, Stan
(2020).
Maskulinitet er i endring i norsk black metal.
[Newspaper].
KILDEN.
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Hagen, Anja Nylund
(2020).
Spotifys makt vokser i takt med nye lyttevaner .
[Internet].
forskning.no.
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Hagen, Anja Nylund
(2020).
Hvilken musikk hører vi på i karantene?
[Radio].
NRK P2.
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Hagen, Anja Nylund
(2020).
Hva gjør musikere når de ikke kan spille konserter?
[Internet].
UiO: Det humanistiske fakultet. Sosiel medier.
Show summary
Hva gjør musikere når de ikke kan spille konserter? Anja Nylund Hagen deler HF-forskning hjemmefra: Om Spotifys makt i musikkbransjen og hva som må til for å tjene penger som musiker i dag.
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Hagen, Anja Nylund
(2020).
Norske musikkforlag: Muligheter og utfordringer.
Show summary
flere år har musikkforlag vært mindre synlig i norsk musikkbransje. Den seneste tiden har forlagsvirksomhet vært i fremdrift, likevel vet store deler av norsk musikkbransje fortsatt ganske lite om hva et musikkforlag gjør. Norske musikkrettigheter er attraktivt for sterke internasjonale aktører som utfordrer forlagsvirksomhet i Norge. Hva skal til for at norsk musikkforlagsvirksomhet skal styrkes i norsk musikkbransje?
Panelet innledes av Anja Nylund Hagen som er postdoktor ved Institutt for musikkvitenskap på Universitetet i Oslo. Hun skal vise til resultater fra forskningsprosjektet Music on Demand: Økonomi og opphavsrett i en digitalisert kulturbransje (UiO), som har undersøkt hvilke muligheter og utfordringer norske musikkforlag har for å utvikles og styrkes. Undersøkelsen har blant annet vist til at det er store kunnskapshull om hva forlag gjør og at gamle myter henger igjen. I dette panelet diskuterer norske musikkforlag hvordan de arbeider i Norge, og hva som skal til for å øke kunnskapen om og synligheten til norske musikkforlag.
Panel:
Philip Ruud (Cassette Publishing)
Wendi Pendeza Kazonza (GILT)
Stine Lieng (Warner Chappell Music Norway)
Moderator:
Anja Nylund Hagen (postdoktor ved Institutt for musikkvitenskap, Universitetet i Oslo)
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Hagen, Anja Nylund
(2020).
Bylarm: Å utvikle en artistkarriere i en digital økonomi.
Show summary
I 2019 initierte Kulturrådet det treårige utviklingsprosjektet Kulturøkonomi. Prosjektet har som mål å utvikle en styrket og helhetlig satsing på kulturøkonomi, kunstnerøkonomi og kreativ næring. Kulturøkonomiprosjektet ønsker å forstå hvordan kunstnere og institusjoner kan øke sine inntekter og nå ut til et større og bredere publikum.
I denne bolken ser vi nærmere på hvilke muligheter norske artister har for å øke sine inntekter fra strømming, og ved å dykke ned i suksesshistorien til Astrid S tar vi praten om hvordan man bygger en vellykket musikkarriere. Sesjonen avsluttes med en panelsamtale der vi diskuterer hvilke muligheter og utfordringer det nye digitale musikkmarkedet skaper.
Medvirkende: Sveinung Rindal (The Orchard), Halvor Marstrander (Interstellar Management) og Henning Mongstad (Kulturrådet).
Paneldeltakere: Sveinung Rindal (The Orchard), Erle Strøm (HES), Hanne Hukkelberg (artist), Marte Thorsby (IFPI Norge). Moderator: Anja Nylund Hagen (Universitetet i Oslo (UiO).
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Devine, Kyle
(2020).
Drecksmusik.
[Journal].
enorm—Magazin für gesellschaftlichen Wandel.
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Devine, Kyle
(2020).
Disco Downer.
The Guardian Weekly.
ISSN 0958-9996.
202(8),
p. 24–25.
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Devine, Kyle
(2020).
Carbon Footprints of Music.
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Hawkins, Stan
(2020).
Keynote Paper: Dandified Personas in Pop Music.
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Fasciani, Stefano; Jensenius, Alexander Refsum; Støckert, Robin & Xambó, Anna
(2020).
The MCT Portal: an infrastructure, a laboratory and a pedagogical tool.
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Kjus, Yngvar
(2020).
Vil ha opphavsretten ut av lukkede rom.
[Business/trade/industry journal].
Ballade.no.
Show summary
Kunne bandkonfliktene vi kjenner fra media og rettsvesenet de siste årene vært unngått? Møt forskeren som mener han har løsninga, etter å ha intervjuet norske artister om deres forhold til den komplekse opphavsretten.
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Eerola, Tuomas & Vuoskoski, Jonna Katariina
(2020).
Personality and listeners,
The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.
ABC-CLIO.
ISSN 978-1-4408-5771-3.
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Vuoskoski, Jonna Katariina & Eerola, Tuomas
(2020).
Personality and musicians,
The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.
ABC-CLIO.
ISSN 978-1-4408-5771-3.
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Zeiner-Henriksen, Hans T.
(2019).
Analysing the Popular: Corporeal Engagement in the Experience of Music.
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Mangaoang, Áine
(2019).
Soundscapes of Utopia: The Place of Music in Norwegian Prisons.
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Mangaoang, Áine
(2019).
Hearing Halden: A Case Against Nordic Prison Exceptionalism.
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Mangaoang, Áine
(2019).
Book Presentation.
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Mangaoang, Áine
(2019).
Dangerous Mediations.
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Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and it's aesthetics.
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Halmrast, Tor
(2019).
Cepstrum for Rhythm Detection.
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Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore
(2019).
First Things First.
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Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle
(2019).
Dragging the Lake.
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Halmrast, Tor
(2019).
Oslo I Smug-trioen.
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Halmrast, Tor
(2019).
FLUTR.
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Halmrast, Tor
(2019).
FLUTR for 24 ch Audio (4 quadro + 20 Ambisonics loudspeakers).
Show summary
For info: http://tor.halmrast.no/ICM2019Halmrast_Flutter.m4v
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Weisethaunet, Hans
(2019).
“Is fieldwork about doing interviews?” NMH (Norwegian Academy of Music) ph.d. seminar, guest lecture.
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Weisethaunet, Hans
(2019).
Opponent, ph.d. avhandling, Smith, Erica: Collective Management Organisations (CMOs), Digital Disruption and Small Developing Economies: The Case of the Caribbean Music Industry, UiA.
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Watne, Åshild & Baur, Eckhard
(2019).
Jubileumskonsert i Oslo Konserthus med Kampen Janistjar, Wenche Myhre, IMV Vokalensemble m.fl.
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Hagen, Anja Nylund
(2019).
Norsk musikkbransje og eksport.
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Kraugerud, Emil
(2019).
The acousmatic intimacy of domestic spatialities.
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Hagen, Anja Nylund
(2019).
Hva definerer musikken på 2010-tallet?
[Radio].
NRK, P2.
Show summary
Vi fortsetter vår oppsummering av tiåret vi nå snart legger bak oss. 2010-tallet er strømmingens tiår - både når det gjelder tv-serier og musikk. Kloke hoder mener mye.
Intervjuobjekt: Anja Nylund Hagen, Robert Hoftun Gjestad, Audun Molde
Programleder: Kristian Bendiksen og Otto Haug
Produsent: Nina Kammersten
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Hagen, Anja Nylund
(2019).
Digitalisering som utfordring for kulturindustriene .
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Hagen, Anja Nylund
(2019).
Norsk musikk og globale selskaper.
Show summary
En sentral problemstilling for denne workshopen er forholdet mellom nasjonale medieselskaper og globale plattformer. Vi er interessert i hvilke muligheter og utfordringer ulike medieaktører ser i samarbeidet med globale plattformer, og hvilke løsninger man eventuelt ønsker seg fra politisk hold.
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Hawkins, Stan
(2019).
Black Poesis III: What Makes a Hiphop Classic? Panel debate.
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Devine, Kyle & Brennan, Matt
(2019).
The Terrifying Miracle of Recorded Sound.
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Devine, Kyle
(2019).
Decomposed: Political Ecologies of Jazz and Popular Music.
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Devine, Kyle & Brennan, Matt
(2019).
The Terrifying Miracle of Recorded Sound.
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Political Ecologies of Music (and Dance?).
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Vinyl: More Sustainable Than You Think?
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Hagen, Anja Nylund
(2019).
Norsk musikk i internasjonale markeder.
Frokostseminar, Kulturdepartementet: Musikkeksport
.
Show summary
KUD-skolen og avdeling for medier og kunst inviterer til frokostseminar 8. november klokken 09:00-09:45 med Anja Nylund Hagen om musikkeksport.
Hagen er postdoktor ved Institutt for musikkvitenskap, Universitetet i Oslo, og har nylig gjennomført en omfattende spørreskjemaundersøkelse og dybdeintervjuer med musikkbransjeaktører om deres eksportarbeid. Hun vil presentere resultater tilknyttet aktørenes arbeidsvirkelighet i den digitale musikkbransjen og deres opplevde utfordringer og muligheter. Undersøkelsen legger vekt på betydningen av nye medier og hvordan digitaliseringen spiller inn på arbeidsvirkelighet, forutsigbarhet, nye kompetanseområder, tillits- og maktforhold, samspill med staten, inntektsstrømmer, forhandlingsmuligheter, samarbeidspartnere osv.
Undersøkelsen er gjennomført som en del av forskningsprosjektet MUSEC (Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor), som er finansiert gjennom KULMEDIA-programmet i Norges forskningsråd. Hagens postdoktorstilling er en del av forskningprosjektet MUSEC og hennes forskningsinteresser omfatter skjæringspunktet mellom nye medier og musikk. Hun har tidligere vært tilknyttet forskningsprosjektet Sky & Scene, også ved UiO, hvor hun avla sin doktorgradsavhandling om bruk av musikkstrømmetjenester.
Presentasjonen holdes noen uker før oppstart av eksportprogrammet Musikk ut i verden, som Innovasjon Norge gjennomfører i samarbeid med Music Norway, på oppdrag fra Kulturdepartementet. Eksportprogrammet er det fjerde i rekken. Det har vært gjennomført tilsvarende program for dataspill og arkitektur - og Litteratur ut i verden pågår enda.
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Kraugerud, Emil
(2019).
Intimitet i innspilt musikk.
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Hagen, Anja Nylund
(2019).
Superstar economy and the digitalised music industry .
Show summary
The term "Superstar Economy" refers to a theory stating that while digitaliization creates opportunites, it also demands vast resources in order to be a part of it. Will the digital economy give us less diversity? Or does it simply provide easier access to music, literature and movies, making art more profitable?
For Arts Council Norway, this is a debate that needs both a national and a European perspective. And we start off by exploring two interesting aspects of the Norwegian cultural sphere:
Despite being a small country with a small language market, a large number of books are written and published in Norway. Authors, publishers, bookstores and other industry actors are important for the scope and quality of production and distribution of Norwegian literature. But if the literature is to develop as it should, there must also be an active and committed literature policy.
Meanwhile, Norway is a leading country when it comes to digitalization and streaming music. Recent numbers show that 9 out of 10 Norwegians are streaming music, and more than half are paying for these services. In 2017, 85 % per cent of sales revenue for recorded music in Norway came from streaming. Can the Norwegian literary policies and the Norwegian digital consumption of culture learn anything from each other? And what can we learn from the main players in the cultural sector themselves?
In Frankfurt on October 18th, we will hear from Norwegian and international experts, writers and academics.
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Eriksen, Asbjørn Øfsthus
(2019).
Grieg in Rachmaninoff's music: similarities and influences.
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Weisethaunet, Hans
(2019).
‘Roots’ and ‘Routes’ of Scandinavian Music—Dialogue/lecture with Hallvard T. Bjørgum.
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Weisethaunet, Hans
(2019).
The Art Ensemble of Chicago, ECM.
Jazznytt.
ISSN 0332-7248.
250,
p. 58–59.
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Weisethaunet, Hans
(2019).
Music Studies and Fieldwork, "World Music Workshop", Agder University.
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Hawkins, Stan
(2019).
Introduction: Nordic Study Day.
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Kraugerud, Emil
(2019).
Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
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Hagen, Anja Nylund
(2019).
Napster.
Store Norske Leksikon (Nettutgaven).
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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.
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Vuoskoski, Jonna Katariina & Heid, Markham
(2019).
Why Listening to Sad Music Makes You Feel Better.
[Internet].
https://elemental.medium.com/why-listening-to-sad-music-make.
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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.
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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.
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Weisethaunet, Hans
(2019).
Musikk som praksisfelt, musikk som vitenskap og som kulturelt felt.
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Weisethaunet, Hans
(2019).
Platepoetikk. ECM 50 år. Bobo Stenson i samtale med Hans Weisethaunet. Nasjonalbiblioteket Seminar.
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Weisethaunet, Hans
(2019).
Musikk som kunnskap og dannelse – endringer i det nordiske feltet? Fra blokkfløyte til Chick Corea. Nord-Ed Seminar, UiO.
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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.
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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.
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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.
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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)
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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)
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Eriksen, Asbjørn Øfsthus
(2019).
Foredrag om Rachmaninov.
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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.
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Bradley, Catherine
(2019).
Invited Seminar at Conservatoire national supérieur de musique et de danse de Lyon.
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Weisethaunet, Hans
(2019).
‘Criticism and canonisation’, presentation for “Musicking in Twentieth-Century Europe”, De Gruyter’s Verlagshaus, Berlin.
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Weisethaunet, Hans
(2019).
“Musical Sound, Place, and Listening,” Invited lecture, “Anthropology of Sound, Acoustemology, and Sensory Transformations Conference”, University of Eastern Finland .
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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).
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Devine, Kyle
(2019).
The World Remade.
[Internet].
Reasonably Sound (podcast).
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Vuoskoski, Jonna Katariina & Bjurström, Eelis
(2019).
Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi.
[Internet].
https://yle.fi/uutiset/3-10875178.
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Vuoskoski, Jonna Katariina & Eerola, Tuomas
(2019).
Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology.
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Thompson, Marc Richard & Vuoskoski, Jonna Katariina
(2019).
Everything but the sound: Investigating the relationships between
movement features and perceptual ratings of silent music performances.
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Vuoskoski, Jonna Katariina & Thompson, Marc Richard
(2019).
The contribution of visual and auditory cues to the perception of emotion in musical performance.
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Huron, David & Vuoskoski, Jonna Katariina
(2019).
On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy.
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Rygg Haanaes, Øystein & Bradley, Catherine
(2019).
Notre-Dame var eit kraftsenter for komposisjon av fleirstemt song i mellomalderen.
[Internet].
https://forskning.no/middelalderen-musikk-partner/notre-dame.
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Bradley, Catherine
(2019).
Tenor Quotations for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
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Bradley, Catherine
(2019).
Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
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Bradley, Catherine
(2019).
Voice in Thirteenth-Century Motets.
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Bradley, Catherine
(2019).
Adam de la Halle: Motets and Rondeaux.
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Bradley, Catherine
(2019).
Adam de la Halle’s Intergeneric Self Citations.
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Bradley, Catherine
(2019).
Polyphony in Medieval Paris: Book Launch.
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Bradley, Catherine
(2019).
'First take your Tenor’: Quoting upon Quotations in Thirteenth-Century Motets.
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Bradley, Catherine
(2019).
Analysing Quotational Foundations for Thirteenth-Century Motets.
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Bradley, Catherine
(2019).
Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpedted Connections with Pedes and Polyphonic Rondeau.
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Bradley, Catherine
(2019).
Stirps Iesse florigeram in Context: Benedicamus Domino Polyphony in Aquitaine and The Origins of the Motet.
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Bradley, Catherine
(2019).
'First take your tenor’: quoting upon quotations in thirteenth-century
motets.
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Danielsen, Anne; Nymoen, Kristian & London, Justin
(2019).
Noise in the click or click in the noise: Investigating probe-stimulus order in
P-center estimation tasks.
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Devine, Kyle; Brennan, Matt & Collinson Scott, Jo
(2019).
The Cost of Music.
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Kraugerud, Emil
(2019).
Intimacy and extimacy in record production.
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Kjus, Yngvar
(2019).
Is streaming streamlining copyright in music? .
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Hagen, Anja Nylund
(2019).
En lesning av Engasjement og arrangement: Ei utgreiing om konsertarrangørar.
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Devine, Kyle
(2019).
The Slow Violence of Music: An Infrastructural History of Sound Reproduction.
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Devine, Kyle
(2019).
Streaming Music Shamed for its Inadvertent Carbon Output.
[Internet].
Gizmodo.
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Alarcón Diaz, Ximena; Ospina, Violeta; Villalba, Silvia; Rodriguez, Liliana; Ramirez, Anita & Lema, Calu
[Show all 10 contributors for this article]
(2019).
INTIMAL Multimedia Fanzine Vol. 1/2019.
Show summary
This fanzine multimedia, has been created by Colombian migrant women participating in the art-research project INTIMAL, who are residing in the cities of Oslo, Barcelona and London. In two pages, each of them opens and defines her state of presence and reflects on their migrations from a deep listening perspective. On the back of the fanzine, there are thoughts, and invitations for other migrant women to dream and to listen deeply.
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Alarcón Diaz, Ximena
(2019).
Talk about INTIMAL project in online Seminar.
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Alarcón Diaz, Ximena
(2019).
INTIMAL workshop London.
Show summary
The INTIMAL workshop, dedicated to Colombian women, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation.
The workshop has limited space and participants are required to commit to attending the entire workshop.
Date: Saturday, May 4
Time: 11am to 4pm
Place: Iklectik Art Lab, London
'Old Paradise Yard'
20 Carlisle Lane (Royal Street corner) next to Archbishop's Park.
SE1 7LG
Lunch included.
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Alarcón Diaz, Ximena
(2019).
INTIMAL Workshop Oslo.
Show summary
The INTIMAL workshop, dedicated to Colombian women, and open to Colombianxs with non-binary identities, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation.
The workshop has limited space and participants are required to commit to attending the entire workshop.
Date: Sunday, April 28
Time: 11am to 4pm
Place: Melahuset, Mariboes gate 8, 0183 Oslo
Lunch included.
Sign up: x.a.diaz@imv.uio.no
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Alarcón Diaz, Ximena
(2019).
INTIMAL Workshop Barcelona.
Show summary
The INTIMAL workshop, dedicated to Colombian and Latin American women, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation.
The workshop has limited space and participants are required to commit to attending the entire workshop.
Date: Friday, April 26
Time: 11am to 4pm
Place: Phonos Foundation, Barcelona
Lunch included.
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Alarcón Diaz, Ximena
(2019).
INTIMAL Long Distance Improvisation (Telematic Sonic Improvisatory Performance). Oslo-Barcelona-London.
Show summary
Esta es una versión en línea de la improvisación a larga distancia (performance sonora telemática) que tuvo lugar el 7 de mayo de 2019, entre nueve mujeres inmigrantes colombianas y latinoamericanas que residen en las ciudades de Oslo – Barcelona – Londres. Después de un año de compartir sueños y escuchar sus migraciones, expresaron sus Viajes Migratorios, y también respondieron a la memoria oral de las mujeres colombianas en diáspora que no conocen. El movimiento de sus respiraciones fue sonificado y amplificado en tiempo real en las tres ciudades, como una forma de tener presencia “embodied” o incorporada. Este fue un sueño compartido.
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Hawkins, Stan
(2019).
Rock Personas and Issues of Vocality.
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Alarcón Diaz, Ximena
(2019).
Talk in Mixtur Festival, Barcelona: INTIMAL: Interfaces for Relational Listening. Body, Memory, Migration, Telematics.
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Alarcón Diaz, Ximena
(2019).
INTIMAL: a space for relational listening to flow in-between fragments of memory, migration and conflict.
Show summary
When in migration, we experience a radical change in our spatial and temporal embodied multisensorial experience (Ahmed, 2000). This influences the perception of ourselves and others, while issues of gender, class, and cultural stigma emerge subtly and directly heard in voices, languages and in the surrounding acoustic environment; in tandem, we keep memories of our native land in our sonic and embodied memories, which mirror or defy the experience in the host land. During seven years I have explored the sonic inbetweeness, with migrants from all over the world, through Deep Listening practice (Oliveros, 2005) and improvisatory sonic telematic performance, with spoken word and other sounds, opening spaces for the expression and connection between migrants and narratives of migration (Alarcón 2014; 2015; 2016; 2017). Deep Listening involves listening meditations, dream awareness and energy body movement, helping us to dissolve borders created by the fixity of cultural identities and judgmental statements. The technological mediation strengthens migration metaphors, expanding our perception of time and space, and the possibility of stablishing dialogues with unknown people. The research work becomes an artistic strategy to join fragments of memories of place, dissolve mental and cultural barriers, allowing feelings such as loss, to be expressed, and to generate empathy. In this talk, I will describe the development of INTIMAL, a physical virtual “embodied” system for relational listening that integrates body movements, spoken word and voice, memories of place, and oral archives. Informed by the listening experiences of nine Colombian migrant women in London, Oslo and Barcelona, in the context of Colombia’s post-conflict, I have integrated methods of Embodied Music Cognition (Jensenius, 2018) to observe the full embodied expression of their “migratory journeys” and the responses of oral archives with testimonies of other Colombian women about experiences in the conflict. The system supports relational listening (English, 2015), as a process to flow between fragments of memories of migration and conflict, in co-located and telematic performances, nourishing at once their sensing of place, and sensing of presence, as acoustic and vibrational practice (Eidsheim, 2015). Women’s emerging narratives open avenues to expand their embodied acoustic spaces in the daily life, improving their agency while actively intervening the Insider/Outsider perspective.
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Edwards, Peter
(2019).
Udo Zimmermann's Weiße Rose.
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Kraugerud, Emil
(2019).
Domestic intimate space in recorded music.
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Jensenius, Alexander Refsum; Erdem, Cagri; Zelechowska, Agata; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo
(2019).
Entraining Guitars.
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Hagen, Anja Nylund
(2019).
Musikkbransjen er ikke så digital som vi tror.
Dagens næringsliv.
ISSN 0803-9372.
109(109),
p. 31–31.
Show summary
Kun 44 prosent norske musikkbransjeaktører oppgir å bruke innsikt og data fra digitale plattformer i arbeidet med musikkdistribusjon. Dette tallet overrasker, og tyder på at digitaliseringen av musikkbransjen har mer å gå på.
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Weisethaunet, Hans
(2019).
“Challenges in Ethnomusicological Research”. UiA World Music Seminar.
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Weisethaunet, Hans
(2019).
Writing Music—‘constructing authenticity’, NTNU seminar.
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Weisethaunet, Hans
(2019).
Perspectives on jazz improvisation: A dialogue with bassist Arild Andersen.
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Weisethaunet, Hans
(2019).
Interview lecture: A dialogue with Georg «Jojje» Wadenius: Guitar improvisation in the recording studio.
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Hagen, Anja Nylund
(2019).
Facing the global music industry: Norwegian responses to the digitalisation of the music industry.
Show summary
This talk presents research from the project Music on demand: economy and copyright in a digitised cultural sector, University of Oslo. The talk discusses aspects of how digitalisation shape and develop the Norwegian music industry, in specific how digital media open up new global markets and increase the potential to reach international audiences with Norwegian music.
At the same time, the digital music industry is characterised by new revenue flows, complex copyright issues, and new relationships between music stakeholders and online media. This means that musicians and fans, as well as the cultural content and cultural industries are linked in new ways, through new media. For music industry professionals to exploit these new media opportunities, this means that interaction and negotiation with a greater range of parties under new conditions is required.
Inspired by production studies (e.g. Hesmondhalgh and Baker 2011), this project adapts an agenda of studying how different music industry professionals act and interact within a digitalised music industry context. Through a large quantitative survey conducted over the autumn and winter 2018, supplemented with interviews with managements, record labels, publishers and others, the project asks to which extent the digitalisation demands reconfigured activities and competences for those working with music, and how this involves innovation in the music industry.
The study aims to give cross-disciplinary insights into Norway’s responses to the global challenges of the digitised cultural industries. The stay in Stockholm and Södertörn University is planned to add comparative aspects to the project with potential to enrich and fortify the conclusions. Despite Norway’s status as an early adopter of digital music technology, Sweden’s position as a big global player and the host of well-established international publishing houses and the global streaming-giant Spotify, makes it interesting to compare central aspects of the two neighbouring, yet very different global music markets.
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Hagen, Anja Nylund & Kjus, Yngvar
(2019).
Musikkbransjen i strømmingens tidsalder.
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Hagen, Anja Nylund
(2019).
Norsk musikk i internasjonale markeder.
Show summary
Musikkstrømmetjenester, sosiale medier og innsikt fra digitale plattformer er sentralt i dagens musikkdistribusjon og musikkproduksjon, men hvordan erfares den digitale virkeligheten for musikkbransjens aktører? Dette får vi svar på når resultater fra en stor spørreundersøkelse fra forskningsprosjektet MUSEC (UiO) for første gang presenteres. Omtrent 600 musikkbransjeaktører på tvers av sjangere, roller og virksomheter har deltatt i spørreundersøkelsen, som ble avsluttet i januar 2019.
Resultatene viser hvordan musikkbransjen erfarer digitaliseringen med vekt på musikkeksport, endrede pengestrømmer, forhandlingsmuligheter og behovet tilskuddsordninger. Et funn viser for eksempel at 9 av 10 mener de som styrer strømmetjenestes spillelister har stor makt i dagens musikkbransje. Slik avdekker studien hvordan organisering, makt- og tillitsforhold også forskyves i en musikkbransje som blir stadig mer digital og global.
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Clauder, Ingvo; Tveit, Anders; Evensen, Terje & Lossius, Trond
(2019).
In a Now.
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Kjus, Yngvar & Hagen, Anja Nylund
(2019).
Musikkbransjen i strømmetiden.
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Weisethaunet, Hans
(2019).
«Tomasz Stańko: Det siste intervjuet».
Jazznytt.
ISSN 0332-7248.
249,
p. 40–45.
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Weisethaunet, Hans
(2019).
Interview lecture: A dialogue with John Surman.
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Alarcón Diaz, Ximena
(2019).
Seminario Transdisciplinar: voz, memoria, violencia, comunidad, prácticas artísticas.
Show summary
This is a network project.
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Vuoskoski, Jonna Katariina
(2019).
Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad?
[Internet].
https://www.youtube.com/watch?v=SHipCeYasYY.
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Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo
[Show all 8 contributors for this article]
(2019).
Self-playing Guitars.
Show summary
In this installation we explore how six self-playing guitars can entrain to each other. When they are left alone they will revert to playing a common pulse. As soon as they sense people in their surroundings they will start entraining to other pulses. The result is a fascinating exploration of a basic physical and cognitive concept, and the musically interesting patterns that emerge on the border between order and chaos.
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Vuoskoski, Jonna Katariina
(2019).
Being moved by music: A prosocial emotional response?
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Sønnesyn, Sigbjørn Olsen
(2018).
William of Malmesbury, The Miracles of the Blessed Virgin Mary, ed. R. M. Thomson and M. Winterbottom (Woodbridge: Boydell Press, 2015).
Speculum.
ISSN 0038-7134.
93,
p. 292–294.
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Zeiner-Henriksen, Hans T.
(2018).
Structural verticality in electronic dance music.
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Mangaoang, Áine
(2018).
Arts in Detention (panel).
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Mangaoang, Áine
(2018).
Sounding Contemporary Carceral Cultures.
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Mangaoang, Áine
(2018).
Music on the Margins.
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Mangaoang, Áine
(2018).
Music in prisons: International perspective.
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Mangaoang, Áine
(2018).
Permeable Bars.
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Mangaoang, Áine
(2018).
On songs and protest.
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Mangaoang, Áine
(2018).
Music and Prisons in Global Perspective (Public Policy Panel sponsored by the SEM board).
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Weisethaunet, Hans
(2018).
Dialogue with Skyllstad on his career spanning six decades, on the event of his 90th birthday.
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Alarcón Diaz, Ximena
(2018).
Case Study - in The Digital Musician Third Edition, by Andrew Hugill.
[Internet].
http://andrewhugill.com/thedigitalmusician/alarcon.html.
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Alarcón Diaz, Ximena
(2018).
Nine Colombian women to process memories through intense listening.
[Internet].
https://www.hf.uio.no/imv/english/research/news-and-events/n.
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Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne
(2018).
Prediction of P-centers from audio recordings.
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Weisethaunet, Hans
(2018).
“Ethnomusicology: tradition and perspectives”, World Music seminar series, Universitetet i Agder.
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Weisethaunet, Hans
(2018).
«Jazzimprovisasjon som kommunikasjon», med gjest Arild Andersen.
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Weisethaunet, Hans
(2018).
Interview presentation: “In the recording studio” with Georg “Jojje” Wadenius.
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Weisethaunet, Hans
(2018).
Opponent, ph.d. sluttseminar: «En fiolin er ikke en fiolin er ikke en fiolin...», Benjamin Rygh, Universitetet i Sørøst-Norge.
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Alarcón Diaz, Ximena
(2018).
Relational Listening: in-between body, memory, migration and telematics.
Show summary
How to connect experiences that make of listening a collective dynamic and transformative practice in the midst of subjective experiences? This lecture will introduce the concept of relational listening as it is being nourished in the research project INTIMAL: a physical-virtual system that explores the body as an “interface” for keeping and transforming the memory of place in migratory contexts. The lecture will review practices and theories of listening as a multidisciplinary contemporary practice that connects us with our surroundings and will link it to the exploration of sonic “in-between” spaces. These spaces manifest on the experiences of the body, memory, dreams, migration and telematics, which expand the perception of ourselves in the world, and the world that inhabits us.
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Alarcón Diaz, Ximena
(2018).
INTIMAL Listening in Dreams online sessions, reflecting on four spheres of migratory memory.
Show summary
These INTIMAL Listening in Dream sessions bring together nine women in reflective conversation, and improvisatory performance with body movement and voice, while going through four spheres of migratory memory proposed by the researcher: body stories, social body, native land, host lands. This work: rebuilds trust between Colombian women in a non-judgemental free expression environment; informs further the INTIMAL system, in its thematic content (using oral archives), and in its expressive possibilities mediated through the Internet between distant locations. The sessions are about 2 hours long and have taken place on: May 26, June 16, June 30, July 28, August 11, Sept 29, Oct 6, Oct 27 x 2 sessions, Nov 3, Nov 24, January 12, 2019 and January 19, 2019
Part of this work has included three listening sessions (walks) in Oslo
Sept 2, Sept 30, October 28.
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Alarcón Diaz, Ximena
(2018).
Fieldwork: Deep Listening Intensive-MOCAP Lab sessions.
Show summary
Between April and May 2018, nine Colombian migrant women coming from the cities of Barcelona, London and Oslo had the opportunity to creatively share their listening experiences of migration. Their deep immersion in listening to their migratory journeys – through their bodies, dreams, voices, languages and surrounding environments – is informing the design of the system INTIMAL. The first month of working with the nine women was realized through online meetings, interrelating dreams, migrations and virtuality. After this initial month, we all met in Norway to engage in two full days of Deep Listening practice. We counted on the dedicated support of Deep Listening body facilitator Sharon Stewart, who co-led the retreat with project leader Ximena Alarcón, at the art center Glasslåven in the city of Gran. Our shared verbal silence, the performance of environmental dialogues, the connections to the earth through early morning walks, the exploration of inner geographies, and improvisations with voice and language opened spaces for each of the participants for respectful and powerful sharing as well as creative expressions. These were rooted in common, diverse and opposite perspectives, which helped us to achieve needed acoustic spaces within our cultural diversity and shared history of conflict. Each woman developed an individual repertoire which was expressed as a sonic improvisation of their migratory journeys. This also opened the space for each participant to listen to the testimonies of other Colombian migrant women (collected by the Commission of Truth, Peace and Reconciliation of Colombian Women in Diaspora) and interrelate it with her own story through free body movement, voice and words. The entire experience was registered through different media, spatialised and closed microphone sound, and technologies of Motion Capture and bio-feedback devices in the MOCAP lab at the Department of Musicology at the University of Oslo. Colleagues at RITMO, IMV – UiO supported the MOCAP Lab experiments: Victor Evaristo González Sánchez and Ulf A S Holbrook. The Center for Deep Listening at Rensselaer Polytechnic Institute, supported the use of the Google Hangouts platform for large group communication.
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Weisethaunet, Hans
(2018).
«Musikkvitenskapelig teori og metode», presentasjon, Nord universitet
.
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Weisethaunet, Hans
(2018).
«Kulturanalyse og feltarbeid», Det vitenskapelige ph.d.-programmet, Norges musikkhøgskole.
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Weisethaunet, Hans
(2018).
«Jazz som konservatoriefag», invitert foredrag, NMH historieprosjektet - institusjonshistorie
.
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Weisethaunet, Hans
(2018).
Opponent ph.d. prøvedisputas: Nina Nielsen: “Spreading Darkness: Norwegian Black Metal and Cosmopolitanism”, Norwegian Academy of Music
.
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Weisethaunet, Hans
(2018).
Opponent, ph.d. avhandling, Camilla Kvaal: «Kryssende musikkopplevelser: En undersøkelse av samspill i en interkulturell musikkpraksis.» Høgskolen i Innlandet,
Ph.d. i profesjonsrettede lærerutdanningsfag.
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Câmara, Guilherme Schmidt
(2018).
Original concert performance with funk/soul ensemble "Baba Soul & The Professors of Funk", Oslo World Music Festival 2018.
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Weisethaunet, Hans
(2018).
“What’s Black Got to do with it? – Soul and Sound in the
Southern Studio“, Topographies of Sound International Conference
.
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Nielsen, Nanette; Aksnes, Hallgjerd; Edwards, Peter & Kvalbein, Astrid
(2018).
Launch for Nanette Nielsen’s book _Paul Bekker’s Musical Ethics_. Introduction and moderation by Hallgjerd Aksnes, panel discussion including: Peter Edwards (University of Oslo), Peter Franklin (University of Oxford), Sarah Hibberd (University of Bristol), Astrid Kvalbein (NMH) and Aksel Tollåli (Oslo).
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Aksnes, Hallgjerd
(2018).
Geirr Tveitt and the Teutonic Plague: The History of Effect of Baldur’s Dreams.
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Halmrast, Tor
(2018).
Div. Komposisjone: "Jeg Ser", "Bytrærne".
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Halmrast, Tor
(2018).
Akustikk for Pianostemmere.
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Halmrast, Tor
(2018).
Sound Theory for Master Students, Electroacoustic Music, Norges Musikkhøgskole.
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Halmrast, Tor
(2018).
Basstanker i små rom.
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Kjus, Yngvar
(2018).
Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy
.
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Hagen, Anja Nylund
(2018).
The communication of music in the streaming paradigm
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Hagen, Anja Nylund
(2018).
Industry in change: cultural labour in a globalised and digitalised music industry.
Show summary
Industry in change: cultural labour in a globalised and digitalised music industry
The use of digital media has changed the ways in which music is produced and distributed. Following, the revenue base for music has also changed, and both music and money circulate differently. Several recent music industry reports (e.g. IFPI and Music Norway) describe economic growth and optimism in the sector. In Norway this is evident in strengthened ambitions for international distribution of Norwegian music, and in increasing employment numbers of music industry professionals, working with music in different roles.
The music market is entailed with new opportunities, but also new competition. Music distribution via the internet means that geographical boundaries are less important, and the opportunity to reach audiences abroad is vast. To exploit the new media opportunities, however, also abilities, skills and strategies to interact and negotiate with a greater range of parties under new conditions is demanded. Artists, producers, copyright holders, song writers and other music professionals have to face changing industry dynamics and market structures. The traditional music industry companies, networks, power relations, roles and hierarchies seem to be at flux.
In parallel, the digital turn of the music industry has exposed a vulnerability of artists and industry professionals when confronted by new media technology with a global reach (NOU 2013). In this context, the music industry as a workplace is also changing, but how and to which degree, is underexplored. This paper therefore asks what practices and activities are regarded as key among music industry professionals when the goal is to reach international markets and audiences with music.
Inspired by production studies (Hesmondhalgh and Baker 2011), the study adapts an agenda of studying how workers in different professions act and interact within digitalised music industry contexts, and what they achieve or fail to achieve. Using survey methodology supplemented by case studies and interviews with industry professionals, the study will account for broad perspectives from both artists, managements, record labels, publishers and others.
The study expects to find patterns of cultural labour in a growing music industry that include professional interplays and relationships between both humans and digital media. With an assumption that investment areas, core competences, and professional network thinking have to be adjusted according to the market logics of social media, streaming services and online distribution models, the study aims to display how tasks and practices, but also bargaining power and other power relations, are distributed among traditional workers and companies in the music industry. Issues related to the changed roles of copyright in a digitalised and globalised music industry are also expected to be central, as well as the distinctive negotiation of music as art and commodity.
The study is part of a larger research project MUSEC (Music Media, Economy, Copyright) University of Oslo, funded by the Norwegian Research Council, researching how values and rights are negotiated and evaluated when music is produced and distributed via digital media.
Sources:
Hesmondhalgh, D and S Baker (2011): Creative Labour: Media Work in Three Creative Industries. Abingdon: Routledge.
NOU (2013): Kulturutredningen 2014. (The Official Norwegian Report on Cultural Policy 2014).
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Akca, Merve
(2018).
Time course of selective attention for instrumental timbres and human voice.
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Bradley, Catherine
(2018).
Quoting Against the Odds: Connections between Motet Tenors, Pedes,
and Polyphonic Rondeaux.
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Bradley, Catherine
(2018).
Benedicamus Domino and Musical Creativity in the Middle Ages.
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Bradley, Catherine
(2018).
Crafting and Re-Crafting a Thirteenth-Century Motet.
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Bradley, Catherine
(2018).
Benedicamus Domino 800-1500.
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Bradley, Catherine
(2018).
Musical Creativity in Medieval Paris.
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Kraugerud, Emil
(2018).
Intimacy in popular music sound.
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Dybsand, Øyvin
(2018).
Johan Halvorsen - «født i 4/4-takt», men uskikket som militærmusiker.
In Persen, Niels Kristian (Eds.),
I storm og stille
(Forsvarets musikk 1818-2018).
Forsvarets musikk.
ISSN 9788230339275.
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Jensenius, Alexander Refsum
(2018).
Motion Capture in Music Performance, Perception and Interaction.
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Jensenius, Alexander Refsum; Sundquist, Jonas Hartford & Eriksen, Siri Øverland
(2018).
De er studenter ved to universiteter samtidig.
[Internet].
Khrono.
Show summary
NTNU og Universitetet i Oslo har for første gang gått sammen om å lage et fellles studieprogram. Resultatet er masteren Music, Communication and Techonology.
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Kjus, Yngvar
(2018).
The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
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Jensenius, Alexander Refsum
(2018).
Åpen forskning - et humanistisk-teknologisk perspektiv.
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Eriksen, Asbjørn Øfsthus & Edwards, Peter
(2018).
Musikk og humor.
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Jensenius, Alexander Refsum
(2018).
Evaluering, merittering og forskningsvurdering.
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Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip
(2018).
Rytmen er en danser.
[Business/trade/industry journal].
Ballade.
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Jensenius, Alexander Refsum & Tømte, Even
(2018).
Når bassisten står 500 kilometer unna.
[Business/trade/industry journal].
Musikkultur.
Show summary
På masterprogrammet Music, communication, and technology bruker studenter i Oslo og Trondheim avansert videokonferanseutstyr til å jamme i sanntid.
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Aareskjold, Jon Marius
(2018).
Sound of Light.
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Aareskjold, Jon Marius
(2018).
Torun Eriksen - Luxury and Waste.
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Zelechowska, Agata
(2020).
Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music.
Oslo 07-Media.
Show summary
This dissertation examines the phenomenon of spontaneous movement responses to music. It
attempts to grasp and illustrate the complexity of this behaviour by viewing it from different
perspectives. Unlike most previous studies on music and body movement, it places the focus on barely
visible manifestations of movement, such that can happen when listening to music while standing still.
The point of departure is a reflection on movement responses to music, and why such responses are
considered a universal human phenomenon. This is followed by a discussion on different approaches
to studying how music `inspires' movement, and an overview of different factors that can potentially
contribute to the emergence of movement responses to music. The first goal of the empirical research
is to verify the common conception that `music makes us move' and examine whether such a
movement response can be involuntary. Three of the five included papers show that music can, indeed,
make people move, even when they try to stand as still as possible. The second goal is to explore
different factors that contribute to movement responses to music. Throughout the included papers,
several topics are examined, including rhythmic complexity, tempo, music genres, individual
differences, playback systems, and others. The theoretical chapters show how these topics fit into
three broader categories of music experience components: music, listener, and context. Overall, the
results suggest that several factors seem to increase movement responses to music: the clear
underlying pulse in the sound stimuli, the rhythmic complexity, a tempo around 120 beats per minute,
listening on headphones rather than speakers, and high empathy of the listener.While this dissertation
leaves many questions open, its main contribution is in bridging some gaps in the literature on musicrelated
body movement. It also broadens up the perspective on why, how, and when music moves us.
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Zelechowska, Agata; Jensenius, Alexander Refsum; Laeng, Bruno & Vuoskoski, Jonna Katariina
(2020).
Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music.
Universitetet i Oslo.
Full text in Research Archive
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Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård
(2020).
Digital ambivalens. Norsk musikk i internasjonale markeder.
Universitetet i Oslo, Telemarksforsking.
ISSN 978-82-336-0342-7.
Show summary
Rapporten Digital ambivalens gir et deskriptivt bilde av den norske musikkbransjen før korona, og omtrent 10 år etter at streaming ble mainstream. Resultatene bygger på spørreundersøkelsen Norsk musikk i internasjonale markeder som fikk 555 svar, fordelt på skapere og utøvere av norsk musikk, samt aktører i plateselskap, management, musikkforlag, booking med mer, til sammen omtalt som mellomledd. Ved å se på hvordan norsk musikkbransje opererer internasjonalt og bruker medier i arbeidet med musikk, bekrefter undersøkelsen at det er utstrakt profesjonell aktivitet med norsk musikk i mange deler av verden. Digitaliseringen er viktig for å nå et globalt publikum, og legger til rette for nye typer eksport. Mens en nesten samstemt norsk musikkbransje anerkjenner sosiale medier og strømmetjenesters betydning i distribusjon og formidling av norsk innspilt musikk, danner rapporten samtidig et inntrykk av at dette ikke skjer uten tvetydighet og motstridende erfaringer. Bransjen er rammet av digital ambivalens.
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Eriksen, Asbjørn Øfsthus
(2020).
Rapport om gjennomgåelse av Edvard Grieg: Samlede verker, bind 1 (1977) og del av bind 2 (1986) .
Senter for griegforskning, Universitetet i Bergen. http://grg.uib.no.
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Gran, Anne-Britt; Linn-Birgit, Kampen Kristensen; Molde, Audun; Hagen, Anja Nylund & Booth, Peter
(2020).
Krise og kreativitet i musikkbransjen – koronapandemien 2020.
BI Centre for Creative Industries.
Show summary
På oppdrag fra Musikkindustriens Næringsråd, og medfinansiert av Norsk kulturråd og de regionale Musikkontorene, har BI Centre for Creative Industries (BI:CCI) gjennomført en stor spørreundersøkelse i musikkbransjen i forbindelse med koronapandemien. Formålet var å kartlegge de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen.
Prosjektansvarlig har vært prof. Anne-Britt Gran (BI:CCI), med Linn-Birgit Kampen Kristensen (BI:CCI) som prosjektkoordinator, Peter Booth (BI:CCI) som analyseansvarlig, Audun Molde (Høyskolen Kristiania) og Anja Nylund Hagen (Musikkvitenskap, UiO) som eksperter på musikkbransjen.
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Størvold, Tore
(2019).
Dissonant Landscapes: Nature and the Musical Imagination of Iceland.
Oslo 07-Media.
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