Our latest publications

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

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

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

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

• Bradley, Catherine (2019). Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle. Journal of the American Musicological Society.  ISSN 0003-0139.  72(2), s 431- 492 . doi: 10.1525/jams.2019.72.2.431
• Høffding, Simon & Satne, Glenda (2019). Interactive expertise in solo and joint musical performance. Synthese.  ISSN 0039-7857.  s 1- 19 . doi: 10.1007/s11229-019-02339-x
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to feel place, breathing to feel presence. Proceedings of the International Conference on New Interfaces for Musical Expression.  ISSN 2220-4792. Full text in Research Archive. Show summary

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Nielsen, Nanette (2019). 'Carl Nielsen, the Modern Musical Philosopher: Life as an Aesthetic Experience', In Perrakis Manos (ed.),  Life as an Aesthetic Idea of Music.  Universal Edition.  ISBN 978-3-7024-7621-2.  Chapter 5.  s 79 - 103
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance. Proceedings of the SMC Conferences.  ISSN 2518-3672.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Federico Visi (ed.),  Music Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Nime.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Nime. Full text in Research Archive.
• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  Paper.  s 97 - 104 Full text in Research Archive. Show summary

  In this paper we introduce a hardware platform to proto- type interfaces of demanding sonic interactive systems. We target applications featuring a large array of analog sensors requiring data acquisition and transmission to computers at fast rates, with low latency, and high band- width. This work is part of an ongoing project which aims to provide designers with a cost effective and acces- sible platform for fast prototyping of complex interfaces for sonic interactive systems or musical instruments. The high performances are guaranteed by a SoC FPGA. The functionality of the platform can be customized without requiring significant technical expertise. In this paper, we discuss the principles, the current design, and the prelim- inary evaluation against common microcontroller-based platforms. The proposed platform can sample up to 96 analog channels at rates up to 24 kHz and stream the data via UDP to computers with a sub millisecond latency.

• Lartillot, Olivier (2019). Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  D3.1.  s 489 - 489
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  S2.6.  s 174 - 181
• Lan, Qichao; Tørresen, Jim & Jensenius, Alexander Refsum (2019). RaveForce: A Deep Reinforcement Learning Environment for Music Generation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P2.1.  s 217 - 222
• Holbrook, Ulf A. S. (2019). Sound Objects and Spatial Morphologies. Organised Sound.  ISSN 1355-7718.  24(1), s 20- 29 . doi: 10.1017/S1355771819000037 Show summary

  One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenom- enological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.

View all works in Cristin

• Bradley, Catherine (2019). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press.  ISBN 1561592390.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music. MIT Press.  ISBN 9780262537780.  328 s.

View all works in Cristin

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

  Bedroom pop: En undergrunnskultur.

• Holbrook, Ulf A. S. (2019). City Dwellers II. Show summary

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

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

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

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

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

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

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

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

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

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

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

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

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

• Rygg Haanaes, Øystein & Bradley, Catherine (2019, 29. juli). Notre-Dame var eit kraftsenter for komposisjon av fleirstemt song i mellomalderen. [Internett].  https://forskning.no/middelalderen-musikk-partner/notre-dame.
• Bradley, Catherine (2019). Tenor Quotations for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Voice in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Adam de la Halle: Motets and Rondeaux.
• Bradley, Catherine (2019). Adam de la Halle’s Intergeneric Self Citations.
• Bradley, Catherine (2019). Polyphony in Medieval Paris: Book Launch.
• Bradley, Catherine (2019). 'First take your Tenor’: Quoting upon Quotations in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Analysing Quotational Foundations for Thirteenth-Century Motets.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpedted Connections with Pedes and Polyphonic Rondeau.
• Bradley, Catherine (2019). Stirps Iesse florigeram in Context: Benedicamus Domino Polyphony in Aquitaine and The Origins of the Motet.
• Bradley, Catherine (2019). 'First take your tenor’: quoting upon quotations in thirteenth-century motets.
• Hagen, Anja Nylund (2019). Bokomtale: Engasjement og arrangement - ei utgreiing om konsertarrangørar. Musikkmagasinet Ballade.  ISSN 0805-5041.
• Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, György (2019). Digital Warmth: The Retro in Digital.
• 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.
• Høffding, Simon (2019). Hvad er musikalsk fordybelse?.
• Høffding, Simon (2019). Grounding Enactivism - Review of Dan Hutto and Erik Myin, Evolving Enactivism (2017, MIT press); Shaun Gallagher, Enactivist Interventions (2017, Oxford University Press); Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. Barandiaran, Sensorimotor Life (2017, Oxford University Press). Philosophy.  ISSN 0031-8191. . doi: 10.1017/S0031819119000044
• Devine, Kyle; Brennan, Matt & Collinson Scott, Jo (2019). The Cost of Music.
• Devine, Kyle (2019, 13. juli). E-mails, applications mobiles, centres de données : le numérique, un véritable glouton énergétique. [Internett].  L'Orient-Le Jour.
• Devine, Kyle (2019, 15. juli). The Internet’s Carbon Footprint. [Internett].  IRL: Online Life is Real Podcast.
• Devine, Kyle (2019, 28. juli). Vinyle ou streaming : quel support musical pollue le plus la planète ?. [Internett].  Télérama.
• Jensenius, Alexander Refsum (2019). Music Technology Developments at University of Oslo.
• Gonzalez Sanchez, Victor Evaristo; Herrebrøden, Henrik; Olimstad, Jostein & Jensenius, Alexander Refsum (2019). Effects of acoustic pacing on the smoothness of rowing movements. Show summary

  The influence of acoustic stimuli and feedback in sport has been explored as means of optimizing technique, in particular during training. Interactive and adaptive acoustic systems have been evaluated for rowing, with results showing a significant increase in boat velocity. However, assessment of the effects of acoustic feedback and pacing in the technical aspects of rowing is still scarce. Previous studies on the smoothness of the stroke force profile have shown that smoothness metrics can qualitatively reflect movement coordination. In this study, we quantify and compare hand movement smoothness from rowers performing under three acoustic conditions: silence, verbal instructions, and acoustic pacing.

• Nielsen, Nanette (2019). Alfred Hitchcock og Bernard Herrmann: mestere i spenning. Z filmtidsskrift.  ISSN 0800-1464.  (2)
• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Jensenius, Alexander Refsum (2019, 01. juli). Reflections from a Carpentries Train the Trainer Workshop. [Fagblad].  Carpentries.org. Show summary

  In this post, Alexander Refsum Jensenius shares thoughts and takeaways from a recent Train the Trainer Workshop

• Kjus, Yngvar (2019). Is streaming streamlining copyright in music?.
• Haugen, Mari Romarheim; Johansson, Mats Sigvard & Lartillot, Olivier (2019). Investigating rhythm production and perception in traditional scandinavian dance music in non-isochronous meter: A case study of norwegian telespringar.
• Brøvig-Hanssen, Ragnhild (2019). Humor, Parody and Mashups. Show summary

  Due to the affordances of new digital technology and user-generated Internet platforms, we have, during the last decade, witnessed an explosion of remixes, here understood broadly as works based on prior material. One such remix is mashup music, which primarily relies on the editing and combining of recognizable popular songs. In this paper I argue that while the dominating theories of humor and parody are focusing on verbal puns and/or literary texts, they prove useful to the study of audiovisual musical remixes, such as mashups. Mashups often seek to exploit an incongruity between the mashed tracks in a way that associates them despite their divergences. As such, they are often constructed in a manner reminiscent of linguistic jokes as theorized by Raskin (1985), Attardo & Raskin (1991), and Veatch (1998), among others. Yet, the incongruity and congruity/resolution factors are in these audiovisual mashups distributed differently than in literary jokes. I further argue that mashups conforms to the concept of parody as theorized by, among others, Hutcheon (2000) and Rose (1993). I then use mashup music as a lens through which to consider the much-debated relationship between humor and parody.

• Erdem, Cagri & Saga, Yuki (2019). Meeting Yuki Saga.
• Høffding, Simon (2019). Kvalitativ forskning og fænomenologi tur-retur.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019, 14. juni). Rapkjefta - episode 1. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Rokken.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Strynefestivalen 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Walderhaug, Bendik; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist Sommerfest // Rockefeller // Legendiske gjester.
• Hagen, Anja Nylund (2019). En lesning av Engasjement og arrangement: Ei utgreiing om konsertarrangørar.
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to find place, breathing to feel presence. Show summary

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Støckert, Robin; Jensenius, Alexander Refsum; Xambo Sedo, Anna & Brandtsegg, Øyvind (2019). A case study in learning spaces for physical-virtual two-campus interaction. Show summary

  Norwegian University of Science and Technology (NTNU) Teaching Excellence is an integrated and wide-ranging initiative aimed at helping NTNU to achieve its goal to providing education characterized by quality at a high international level. The initiative consists of a portfolio of development measures, with the purpose to develop innovative approaches to learning, teaching and assessment. SALTO (Student Active Learning in a Two campus Organization) is one of the development projects founded for the period 2018-2020. The project is based on a study where the students are divided into two campuses. The aim is to develop effective pedagogy with activity at both campuses at the same time, with particular emphasis on interaction, resource sharing and communication/collaboration. The project aims to allow students and teachers to explore educational, methodological, and technological solutions together. A new joint master's program in "Music, Communication and Technology" (MCT) between NTNU and University in Oslo (UiO), constitutes the framework for the SALTO project. The common pedagogy, technology and shared learning space between the two Universities, is hereafter defined as the Portal. SALTO will utilize the MCT Portal as an arena/living lab to evolve and optimize student active learning scenarios. In this paper, we elaborate on the issues, challenges and potential with three different scenarios, which emerged during the first 6 months of the project: (1) The Opening Ceremony between NTNU and UiO, with a combo of talks and performance. (2) A live Christmas concert connecting two high schools 500 km apart (Trondheim-Oslo). (3) An intense cross-university course with a combo of preparations, lectures and hands-on exercises.

• Holbrook, Ulf A. S. (2019). Forest Glade.
• Holbrook, Ulf A. S. (2019). Tessellation Rift. Show summary

  Is there an inside and an outside of a sound? "Tessallation rift” is a 3D, higher order ambisonics acousmatic composition which explores the internal/external problematic of sounds. Ordinarily, sounds arrive at our ears from a source located outside of ourselves, from our surrounding environment. Is there a way in which we can not just listen to the sound but in the sound? This piece explores the rich multiplicity of sounds and spaces.

• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces. Show summary

  In this paper we introduce a hardware platform to proto- type interfaces of demanding sonic interactive systems. We target applications featuring a large array of analog sensors requiring data acquisition and transmission to computers at fast rates, with low latency, and high band- width. This work is part of an ongoing project which aims to provide designers with a cost effective and acces- sible platform for fast prototyping of complex interfaces for sonic interactive systems or musical instruments. The high performances are guaranteed by a SoC FPGA. The functionality of the platform can be customized without requiring significant technical expertise. In this paper, we discuss the principles, the current design, and the prelim- inary evaluation against common microcontroller-based platforms. The proposed platform can sample up to 96 analog channels at rates up to 24 kHz and stream the data via UDP to computers with a sub millisecond latency.

• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Parkour.
• Oddekalv, Kjell Andreas (2019). Surrender to the flow – rhyme as the defining structural element in rap.
• Oddekalv, Kjell Andreas (2019). The urge to «clean up» the rap: rhythm and plasticity in rap music.
• Devine, Kyle (2019). The Slow Violence of Music: An Infrastructural History of Sound Reproduction.
• Brennan, Matt & Devine, Kyle (2019). Music streaming has a far worse carbon footprint than the heyday of records and CDs—new findings. The Conversation.  ISSN 2201-5639. . doi: https://theconversation.com/music-streaming-has-a-far-worse-carbon-footprint-than-the-heyday-of-records-and-cds-new-findings-114944
• Devine, Kyle (2019, 09. april). Real Cost of Streaming. [Radio].  Cape Talk (South Africa).
• Devine, Kyle (2019, 21. april). Noise pollution: What you need to know about the carbon footprint of streaming music. [Internett].  Canadian Broadcasting Corporation.
• Devine, Kyle (2019, 09. april). Streaming Music Shamed for its Inadvertent Carbon Output. [Internett].  Gizmodo.
• Devine, Kyle (2019, 08. april). Digital Music Consumption Has Led to Increase in Greenhouse Gas Emissions, New Study Finds. [Internett].  Billboard.
• Alarcón Diaz, Ximena; Ospina, Violeta; Villalba, Silvia; Rodriguez, Liliana; Ramirez, Anita; Lema, Calu; Ojeda, Myriam; Scott, Bruna; A, Juliana & A, LaChiki (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.

• Alarcón Diaz, Ximena (2019). Talk about INTIMAL project in online Seminar.
• Alarcón Diaz, Ximena (2019). Taller INTIMAL London. Show summary

  El taller INTIMAL, dedicado a mujeres Colombianas, para escuchar a nuestras migraciones, y respirar juntas. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otras, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Sábado 4 de Mayo Hora: 11am a 4pm Lugar: Iklectik Art Lab, London ‘Old Paradise Yard’ 20 Carlisle Lane (Royal Street corner) next to Archbishop’s Park. SE1 7LG Almuerzo incluido.

• Alarcón Diaz, Ximena (2019). Taller INTIMAL Oslo. Show summary

  El taller INTIMAL, dedicado a mujeres Colombianas, y abierto a Colombianxs con identidades no binarias, para escuchar a nuestras migraciones, y respirar juntxs. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otrxs, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Domingo 28 de Abril Hora: 11am a 4pm Lugar: Melahuset, Mariboes gate 8, 0183 Oslo Almuerzo incluido. Inscríbete: x.a.diaz@imv.uio.no

• Alarcón Diaz, Ximena (2019). Taller INTIMAL Barcelona. Show summary

  El taller INTIMAL, dedicado a mujeres Colombianas y latinoamericanas, para escuchar a nuestras migraciones, y respirar juntas. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otras, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Viernes 26 de Abril Hora: 11am a 4pm Lugar: Fundación Phonos, Barcelona Almuerzo incluido.

• Devine, Kyle (2019, 08. april). Emissions From Music Consumption Reach Unprecedented High, Study Shows. [Internett].  Pitchfork.
• Devine, Kyle (2019, 04. juni). Is streaming music worse for the environment than buying CDs and records?. [Internett].  Australian Broadcasting Corporation.
• Devine, Kyle (2019, 23. mai). Is Streaming Music Dangerous to the Environment? One Researcher Is Sounding the Alarm. [Internett].  Rolling Stone.
• Jensenius, Alexander Refsum; Schramm, Rodrigo; Coccioli, Lamberto; Mancini, Clara & Lyons, Michael J. (2019). Ethics at NIME. Show summary

  This workshop is intended to discuss how we think about and handle research ethics at NIME conferences. A number of NIME papers involved studies on/with humans. Most of these are on volunteering adults, but there are also examples of studies with children, and with patients. We also see an interest in the community to carry out research on/with animals. NIME’s current ethical guidelines do not take these perspectives into account. The Steering Committee therefore sees the need to develop better and more up-to-date ethical guidelines for the conference. This is to create an increased awareness about the needs for ethical considerations in the community, but also as guidelines for reviewers and conference chairs. NIME is proud of being a very heterogeneous community, covering people working in a large number of different scientific disciplines, artistic practices, as well as R&D in the industry. Needless to say, this breadth of perspectives also means that it is difficult to impose the same guidelines on all studies. NIME researchers also have to abide to a number of different regulations at institutional, regional, national, continental and international levels. The workshop will consist of short introductions to some challenges faced when carrying out research on/with humans and animals, in both scientific and artistic contexts. This will be followed by group-based brainstorming and a final plenary discussion.

• Alarcón Diaz, Ximena (2019). INTIMAL Long Distance Improvisation (Telematic Sonic Improvisatory Performance). Oslo-Barcelona-London. Show summary

  This is an online version of the Long Distance Improvisation (telematic sonic performance) that took place on May 7, 2019, between nine Colombian and Latin American migrant women residing in the cities of Oslo – Barcelona – London. After a year of sharing dreams and listening to their migrations they expressed their Migratory Journeys, and also they responded to oral memory from Colombian Women in Diaspora who they don’t know. Their breathing movement was sonified and amplified in real time in the three cities, as a form of having their embodied presence. This was a shared dream.

• Jensenius, Alexander Refsum; McPherson, Andrew; Xambo Sedo, Anna; Overholt, Dan; Pellerin, Guillaume; Bukvic, Ivica Ico; Fiebrink, Rebecca & Schramm, Rodrigo (2019). Open Research Strategies and Tools in the NIME Community. Show summary

  This workshop is intended for discussing how we can develop more and better strategies and tools for opening up research processes and results within the NIME community. The development of more openness in research has been in progress for a fairly long time, and has recently received a lot of more political attention through the Plan S initiative, The Declaration on Research Assessment (DORA), EU's Horizon Europe, and so on. The NIME community has been positive to openness since the beginning, but still has not been able to fully explore this within the community. We call for a workshop to discuss how we can move forwards in making the NIME community (even) more open throughout all its activities.

• Lartillot, Olivier (2019). Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches.
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation.
• Hawkins, Stan (2019). Rock Personas and Issues of Vocality.
• Holbrook, Ulf A. S. (2019). The Telephone. Show summary

  In the summer of 2017 I spent a week in Helsinki. Despite being a city full of the usual traffic noise, it was pretty quiet. A lot of activity was centered around the shopping center Kamppi in the center of the city. In amongst all the buskers and selfie-sticks there was a woman with a portable speaker, a microphone and a message about Jesus. The Telephone is composed for 5th order 3D higher ambisonics, presented in stereo.

• Holbrook, Ulf A. S. (2019). Superimposed Landscape (Lista). Show summary

  Det er mye som forandrer seg gjennom tid, men ikke alt: 50 år etter at Øivind Brune og Bjørn Krogstad startet den første Sørlandsutstillingen i regi av kunstforeningen i Kristiansand, er Sørlandsutstillingen fremdeles i live. Utstillingen er fremdeles en landsdelsutstilling for Aust-Agder, Vest-Agder og Telemark fylke. Utstillingen baserer seg fremdeles på fri innsendelse. Det søkes fremdeles om deltakelse og juryen velger fremdeles ut hva og hvem som skal være med. Formålet er fremdeles å formidle samtidskunst fra regionen, men det sier seg selv at både kunsten og samtiden har endret seg i løpet av disse 50 årene. 2019 er første gang Sørlandsutstillingen finner sted ene og alene på Lista. Det er første gang utstillingen arrangeres som en landskapsbasert utstilling og det er første og eneste gang utstillingen er 50 år. Når Sørlandets kunstnere skal utfordres på dette med landskap er Lista et godt valg. Det er vanskelig å forestille seg et sted hvor naturen er tydeligere og mer insisterende enn akkurat her. Listalandskapet er unikt. Det er brutalt. Det er mykt. Det er vind. Det er brattere og hardere enn steinene som er hugget av hav. Det er sol, det er idyll. Det er flatere enn havet før det forsvinner i horisonten hvor sørlandet og vår verden slutter. Det er fruktbart og nakent. Det er spor etter krig og ødeleggelse. Det er fullt av liv. Det er i stadig endring, konstant, variabelt. Det må bevares og tas vare på. Det er fylt av galskap, men følger likevel naturens lover. Det er skjørt og trenger omsorg og pleie. Det trenger å bli sett. Det trenger å oppleves. Det trenger at vi tar oss tid. Det trenger at vi beveger oss for å finne le. Det kan ikke forstås, men fortjener likevel at vi gjør vårt beste i å godta nettopp dette. Kunst i landskap er nytt for Sørlandsutstillingen, men det er slettes ikke nytt for Lista. Lista har en lang tradisjon for dette. En tradisjon startet og vedlikeholdt av Alfred Vaagsvold. Sørlandsutstillingens tilstedeværelse på Lista er vanskelig å forestille seg uten denne tradisjonen. Sørlandsutstillingen er stolt av å kunne invitere publikum til å vandre, være og samtidig oppdage både landskapet og kunsten – for første gang, på nytt eller enda en gang. Sørlandsutstillingen vil takke årets jury og samtlige deltakere for en utstilling som er like variert, like mangfoldig og like kontrastfullt som Lista selv.

• Jensenius, Alexander Refsum (2019). Technology and the voice.

View all works in Cristin