Our latest publications

• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter, In - - (ed.),  Proceedings of the 5th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-6504-8.  Article No. 38. Show summary

  Head movements of groups of participants moving to music allowing for both duple and triple subdivisions were analysed using Recurrence Quantification Analysis. As expected the maximum recurrence rate varied between participant, position in the music, and between groups. The lags of maximum recurrence were only partly corresponding to the metrical levels of the music and syncopated sections confused participants so that they moved to 4/4 rather than 6/8.

• Halmrast, Tor (2018). Attack the Attack. Proceedings of the Institute of Acoustics.  ISSN 1478-6095.  30(3), s 335- 346 Show summary

  When listening to musicians playing the same pieces of music in different acoustic settings in Stavanger concert hall, the perceived differences were astonishing. However, the measured overall changes in spectrum, level etc., were surprisingly small. Long reverberation of course increases the length of a tone, so that it masks the entrance of the next one, but probably most astonishing was the perceived difference in timbre due to changes of the attack, (also for a first note in a phrase). The paper will discuss general theory of how an “ideal, diffuse field reverberation” influences on attack. The early response of a concert hall, is, however, seldom “diffuse”. The paper will show measurements and simulations (Odeon) of attack with/without early reflections. Methods for measuring attack in concert halls is not as trivial as measuring Rise Time, Steepness etc. for ordinary electronic filters, and alternative approaches like Integrated (Cumulative) Squared Step Response and Spectral Flux is discussed. The importance of attack has been little discussed in concert hall design, but should be more and more important, also because listeners nowadays are used to listening to recordings where any wanted amount of direct sound is mixed with a long and (too?) smooth, non-correlated, (digital) reverberation. It is generally assumed that a fast attack is more brilliant, sounds more like if there are more high frequencies present than a “fade in”. First we must remember that a signal of course preserves it attack best if we just hear the direct sound only. This paper will show how reverberation always smoothens/prolongs the attack and discuss how this affects signals of different lengths, different musical instruments which in itself have slow or fast onset of note, and if it is possible to reduce the smoothening of the attack by early reflections.

• Holbrook, Ulf A. S. (2018). An Approach to Stochastic Spatialisation: A Case of Hot Pocket, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  1.  s 31 - 32 Show summary

  Many common and popular sound spatialisation techniques and methods rely on listeners being positioned in a “sweet-spot” for an optimal listening position in a circle of speakers. This paper discusses a stochastic spatialisation method and its first iteration as implemented for the exhibition HotPocket at The Museum of Contemporary Art in Oslo in2017. This method is implemented in Max and offers a matrix-based amplitude panning methodology which can provide a flexible means for the spatialialisation of sounds.

• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice, In Tom Ziemke; Mattias Arvola; Nils Dahlbäck & Erik Billing (ed.),  PROCEEDINGS OF THE 14TH SWEDISH COGNITIVE SCIENCE SOCIETY CONFERENCE.  The University of Skövde.  ISBN 978-91-983667-3-0.  Paper published at the proceedings.  s 10 - 11
• Gonzalez Sanchez, Victor Evaristo; Dahl, Sofia; Hatfield, Johannes Lunde & Godøy, Rolf Inge (2018). Characterizing movement fluency in musical performance: Toward a generic measure for technology enhanced learning. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2019.00084 Show summary

  Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyogrphy (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyze the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest movements from expert performers' are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as function of movement smoothness and coarticulation patterns was shown to be limited by the sample size but serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.

• Godøy, Rolf Inge (2018). Sound-Motion Bonding in Body and Mind, In Youn Kim & Sander L. Gilman (ed.),  The Oxford Handbook of Music and the Body.  Oxford University Press.  ISBN 9780190636234.  Chapter. Show summary

  This chapter focuses on the links between sound and body motion in music. It can readily be observed that musical sound is produced by body motion and also triggers body motion in many contexts, meaning scholars have an inexhaustible supply of sound-motion bonding available for research. The main challenges here are to get an overview of the different kinds of sound-motion bonding at work in music, and to go deeper into the subjective experiences of sound-motion bonding. To this end, the chapter presents sound-motion bonding in a so-called motor theory perspective on perception, suggesting that whatever humans perceive of sound, motion, and/or visual features is spontaneously re-enacted in our minds, meaning active mental simulation of whatever it is that we are perceiving. This leads to the idea of sound-motion objects, entities that fuse sensations of sound and motion into salient and holistically perceived units in musical experience.

• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Muscle activity response of the audience during an experimental music performance, In Stuart Cunningham (ed.),  Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion.  Association for Computing Machinery (ACM).  ISBN 978-1-4503-5373-1.  Sound and Immersion. Article 11. Show summary

  This exploratory study investigates muscular activity characteristics of a group of audience members during an experimental music performance. The study was designed to be as ecologically valid as possible, collecting data in a concert venue and making use of low- invasive measurement techniques. Muscle activity (EMG) from the forearms of 8 participants revealed that sitting in a group could be an indication of a level of group engagement, while comparatively greater muscular activity from a participant sitting at close distance to the stage suggests performance-induced bodily responses. The self-reported measures rendered little evidence supporting the links between muscular activity and live music exposure, although a larger sample size and a wider range of music styles need to be included in future studies to provide conclusive results.

• Watne, Åshild & Nymoen, Kristian (2018). Der æ so vent å vestoheio. Intonasjon i et gammelstev fra Setesdal.. Musikk og tradisjon.  ISSN 1892-0772.  32, s 7- 30 Show summary

  Der æ so vent å vestoheio. Intonation in a "gammelstev" from Setesdal.

• Danielsen, Anne (2018). Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves, In Ciro Scotto; Kenneth M. Smith & John Brackett (ed.),  The Routledge Companion to Popular Music Analysis: Expanding Approaches.  Routledge.  ISBN 9781138683112.  Chapter 12.
• Nardocci, Margrethe Førre (2018). Il lessico musicale nei modi di dire in italiano e in norvegese :. Oslo Studies in Language (OSLa).  ISSN 1890-9639.  10(1), s 119- 141
• Eriksen, Asbjørn Øfsthus (2018). «Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950)», del 1. Studia Musicologica Norvegica.  ISSN 0332-5024.  44(1), s 79- 101
• Lartillot, Olivier; Thedens, Hans-Hinrich & Jensenius, Alexander Refsum (2018). Computational model of pitch detection, perceptive foundations, and application to Norwegian fiddle music, In Richard Parncutt & Sabrina Sattmann (ed.),  Proceedings of ICMPC15/ESCOM10.  Centre for Systematic Musicology, University of Graz.  ISBN 978-3-200-05771-5.  article.  s 252 - 255 Show summary

  Background Automated detection of pitch in polyphonic music remains a difficult challenge (Benetos et al., 2013). Robust solutions can be found for simple cases such as monodies. Implementation of perceptive/cognitive models have been so far less successful than engineering methods, and in particular machine learning models. One reference model (Klapuri, 2006) preselects pitch candidates based on harmonic summation and searches for multiple pitches through cancellation. Aims The aim was to conceive a model for pitch detection in polyphonic music able to transcribe in details traditional Norwegian music played on Hardanger fiddle, where more than two strings are played at the same time. The new model should be applicable to other types of music as well. Perceptive and cognitive models should guide the improvement of the state of the art. Main Contribution The model is neither based on a machine-learning training on a given set of samples, nor explicitly relying on stylistic rules. Instead, the methodology consists in conceiving a set of rules as simple and general as possible while offering satisfying results for the chosen corpus of music. We follow some general principles of the model by (Klapuri 2006) while introducing new heuristics. We present a new method for harmonic summation that penalises harmonic series that are sparse, in particular when odd partials are absent, as it would indicate that the actual harmonic series is a multiple of the given pitch candidate. Besides, a multiple of a fundamental can be selected as pitch in addition to the fundamental itself if its attack phase is sufficiently distinctive. For that purpose, we introduce a concept of pitch percept that persists over the whole extent of the note, and that serves as a reference for the detection of higher pitches at harmonic intervals. Results The proposed method enables to obtain transcriptions of relatively good quality, with a low ratio of false positives and false negatives. The construction of the model is under refinement. We are applying this method to the analysis of recordings of Norwegian folk music, containing a large part of Hardinger fiddle pieces and a cappella singing. Implications Automated transcription is of high interest for musicology and music information retrieval. This enables for instance to build large corpora of scores for music analysis and opens news perspectives for computational musicology. By attempting to design computer models based on general rules as simple as possible rather than on machine learning, while resulting in a behaviour in terms of pitch detection that comes closer to human capabilities, we hypothesise that the underlying mechanisms thus modelled might suggest general computational capabilities that could be found in cognitive models as well. In the same time, an improvement of the model based on expertise in music perception and cognition is desired. References Benetos et al. (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, 41, 407-434 Klapuri, Multiple Fundamental Frequency Estimation by Summing Harmonic Amplitudes. ISMIR 2006 Keywords: pitch, computational model, harmonic summation, Norwegian folk music, Hardanger fiddle.

• Borregaard, Andreas; Vuoskoski, Jonna Katariina & Hawkins, Roddy (2018). Music, complexity, and embodiment in performance: a conversation with accordionist Andreas Borregaard. The Senses & Society.  ISSN 1745-8927.  13(3), s 335- 345 . doi: 10.1080/17458927.2018.1525200
• Godøy, Rolf Inge (2018). Motor constraints shaping musical experence. Music Theory Online.  ISSN 1067-3040.  24(3) Show summary

  In recent decades, we have seen a surge in published work on embodied music cognition, and it is now broadly accepted that musical experience is intimately linked with experiences of body motion. It is also clear that music performance is not something abstract and without restrictions, but something traditionally (i.e., before the advent of electronic music) constrained by our possibilities for body motion. The focus of this paper is on these various constraints of sound-producing body motion that shape the emergent perceptual features of musical sound, as well as on how these constraints may enhance our understanding of agency in music perception.

• Kelkar, Tejaswinee; Roy, Udit & Jensenius, Alexander Refsum (2018). Evaluating a collection of Sound-Tracing Data of Melodic Phrases, In Emilia Gómez; Xiao Hu; Eric Humphrey & Emmanouil Benetos (ed.),  Proceedings of the 19th International Society for Music Information Retrieval Conference.  Institut de Recherche et Coordination Acoustique/Musique.  ISBN 978-2-9540351-2-3.  KAPITTEL. Full text in Research Archive. Show summary

  Melodic contour, the ‘shape’ of a melody, is a common way to visualize and remember a musical piece. The purpose of this paper is to explore the building blocks of a future ‘gesture-based’ melody retrieval system. We present a dataset containing 16 melodic phrases from four musical styles and with a large range of contour variability. This is accompanied by full-body motion capture data of 26 participants performing sound-tracing to the melodies. The dataset is analyzed using canonical correlation analysis (CCA), and its neural network variant (Deep CCA), to understand how melodic contours and sound tracings relate to each other. The analyses reveal non-linear relationships between sound and motion. The link between pitch and verticality does not appear strong enough for complex melodies. We also find that descending melodic contours have the least correlation with tracing.

• Câmara, Guilherme Schmidt & Danielsen, Anne (2018). Groove, In Rehding Alexander & Rings Steven (ed.),  The Oxford Handbook of Critical Concepts in Music Theory.  Oxford University Press.  ISBN 9780190454746.  Groove. Full text in Research Archive. Show summary

  This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).

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• Høffding, Simon (2019). A Phenomenology of Musical Absorption. Palgrave Macmillan.  ISBN 978-3-030-00659-4.  300 s.

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• Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Glette, Kyrre (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.

• Vuoskoski, Jonna Katariina (2019). Being moved by music: A prosocial emotional response?. Show summary

  Musical engagement (music-making, listening and dancing) involves and fosters a number of processes that are associated with empathy, such as emotional contagion, embodied resonance, 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). ‘Being moved’ is typically characterized as a mixed or predominantly positive emotion, with joy and sadness as its main ingredients. In the context of music listening, feelings of being moved are closely related to empathic personality traits, and have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). Building on empirical evidence from my recent work, I will argue that the experiences of ‘being moved’ in the context of music listening are inherently social responses with prosocial motivations and functions.

• Høffding, Simon (2019). Extending and Enlarging Myself: Musicianship as Interactional Expertise.
• Oddekalv, Kjell Andreas (2019). Konsert med Sinsenfist.
• Oddekalv, Kjell Andreas (2019). Rap Flows PhD Thesis.
• Weisethaunet, Hans (2019). “The Ethnography of Recording—Sound, Agency, and Objects”, Invited lecture: Music (and Musicologies) of the 21st Century. Ethnography of recording studios Conference.
• Watne, Åshild (2019). IMV Vokalensemble, dir. Åshild Watne, med konsert i Vardåsen kirke.
• Hagen, Anja Nylund (2019, 22. januar). Hva betyr digitaliseringen for norsk musikkeksport?. [Internett].  Ballade.no. Show summary

  Hva betyr digitaliseringen for norsk musikkeksport? Det vil Anja Nylund Hagen finne svar på i ny studie. Nå ber hun flere bransjeaktører svare på spørreundersøkelse.

• Hagen, Anja Nylund (2019, 27. januar). Anja Nylund Hagen om musikkeksport. [Radio].  Søndagsåpent, NRK P1. Show summary

  Intervju om hvordan strømming og nye medier preger arbeidet med musikkeksport og sjansen til å slå igjennom.

• Danielsen, Anne (2019). Classic Album Sundays: Aretha Franklin (paneldeltakelse).
• Høffding, Simon (2018). The Phenomenological Interview and the Skepticist Philosopher.
• Høffding, Simon (2018). Physiological Correlates of Musical Absorption.
• Høffding, Simon & Ravn, Susanne (2018). "What is thinking in movement?".
• Høffding, Simon (2018). Moved in Museums: the Intentionality of Aesthetic Absorption.
• Weisethaunet, Hans (2018). “What’s Black Got to do with it? – Soul and Sound in the Southern Studio“, Topographies of Sound International Conference..
• 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)..
• Jensenius, Alexander Refsum & Zhou, Bo (2018). Musical Gestures Toolbox for Matlab. Show summary

  The Musical Gestures Toolbox (MGT) is a Matlab toolbox for analysing music-related body motion, using sets of audio, video and motion capture data as source material.

• Aksnes, Hallgjerd (2018). Geirr Tveitt and the Teutonic Plague: The History of Effect of Baldur’s Dreams.
• Løvås, Vebjørn & Aksnes, Hallgjerd (2018, 16. desember). Tredje søndag i advent: julemusikk. [Internett].  Facebook-side for Universitetet i Oslo.
• Mauno, Hanne; Aksnes, Hallgjerd & Christophersen, Bjørn Morten (2018, 07. desember). O helga natt: Folkets julesang.  Dagsavisen.
• Halmrast, Tor (2018). Div. Komposisjone: "Jeg Ser", "Bytrærne".
• Halmrast, Tor (2018). Akustikk for Pianostemmere.
• Halmrast, Tor (2018). Sound Theory for Master Students, Electroacoustic Music, Norges Musikkhøgskole.
• Halmrast, Tor (2018). Basstanker i små rom.
• Kjus, Yngvar (2018). Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy.
• Hagen, Anja Nylund (2018). The communication of music in the streaming paradigm.
• 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).

• Lartillot, Olivier (2018). Music and Voice Analysis using Matlab: MIRtoolbox and the MiningSuite.
• Lartillot, Olivier (2018). Analyse musicologique par ordinateur d'enregistrements audio et de partitions informatisées. Show summary

  Cette présentation offrira un panorama des diverses méthodes d’analyse musicale par ordinateur conçues et/ou développées par O. Lartillot, couvrant aussi bien l’analyse d’enregistrements sonores que représentations « symboliques » (c’est-à-dire partitions informatisées ou séquences MIDI). J’expliquerai aussi brièvement les enjeux musicologiques et épistémologiques sous-jacents. La boîte à outils MIRtoolbox produit un éventail assez large de descriptions audio et musicales de fichiers sons. Elle a été par exemple utilisée pour étudier le timbre dans la musique extra-européenne, en collaboration avec Stéphanie Weisser. J’ai également conçu de nouvelles techniques d’analyse mélodique et motivique de représentations symboliques, avec des applications notamment à l’analyse de musiques traditionnelles arabes et turques.

• Lartillot, Olivier (2018). MIRToolbox and MiningSuite.
• Lartillot, Olivier (2018). The MiningSuite - a Matlab toolbox for signal, audio and music analysis. Show summary

  This course gives an introduction to analysis of signals, audio recordings, music recordings and music scores with MiningSuite - a free open-source Matlab toolbox. The MiningSuite is a free open-source Matlab toolbox for the analysis of signals, audio recordings, music recordings and music scores (and soon video and motion trajectories) under a common modular framework. The MiningSuite adds a syntactic layer on top of Matlab, so that advanced operations can be specified using a simple and adaptive syntax. This makes the Matlab environment very easy to use for beginners, and in the same time allows power users to design complex workflows in a modular and concise way through a simple assemblage of operators featuring a large set of options. The MiningSuite is an extension of MIRtoolbox, a Matlab toolbox that has become a reference tool in the Music Information Retrieval (MIR) research and academic community. In this course, you will first learn the basic principles of the MiningSuite’s syntax, which enables you to quickly design analytic processes, from simple operators to complex pipelines. You will get a broad overview of the analytic tools available, from basic signal processing to auditory modelling to music analysis. All concepts will be explained from the ground up, so that no prior expertise in signal processing or in music analysis is required.

• Lartillot, Olivier (2018). mirtempo 1.8: Tempo Estimation By Tracking a Complete Metrical Structure. Show summary

  This paper describes the two variants OL1 and OL2 of the model submitted to the MIREX 2018 tempo estimation tasks, and compare them with respect to my previous submission for MIREX 2013.

• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice.
• Akca, Merve (2018). Retrieval-Induced Forgetting Effects in Retrospective and Prospective Memory in Normal Aging.
• Haugen, Mari Romarheim (2018). Investigating Rhythm Structures in Music and Dance Using Motion Capture.
• Bradley, Catherine (2018). Quoting Against the Odds: Connections between Motet Tenors, Pedes, and Polyphonic Rondeaux.
• Bradley, Catherine (2018). Benedicamus Domino and Musical Creativity in the Middle Ages.
• Bradley, Catherine (2018). Crafting and Re-Crafting a Thirteenth-Century Motet.
• Bradley, Catherine (2018). Benedicamus Domino 800-1500.
• Bradley, Catherine (2018). Musical Creativity in Medieval Paris.
• Godøy, Rolf Inge (2018). Impulse-driven sound-motion objects in musical imagery. Show summary

  Musical imagery can be defined as having experiences of music in our minds in the absence of any physically present sound. Experiences of 'tunes in the head' seem to be quite common among both musically trained and untrained people, but one of the pressing questions here is how such images are triggered, or what is the engine of musical imagery in our minds. One possible answer could be that mental images of sound-producing body motion may trigger images of sound in our minds, e.g. images of hitting motion triggering images of drum sound. In this presentation, the focus will be on motor elements of musical imagery, in particular on how fragments of combined sound and motion, what may be called sound-motion objects, are triggered by motion impulses in our minds.

• Danielsen, Anne (2018). Hvordan legge til rette for nytt tverrfaglig samarbeid mellom institutter og fakulteter? RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse..
• Oddekalv, Kjell Andreas (2018). Masteroppgåva: Kjell Andreas Oddekalv Betre flows enn Akerselva. Mål og makt.  ISSN 0332-7744.  48(1), s 33- 41
• Kraugerud, Emil (2018). Intimacy in popular music sound.
• Holbrook, Ulf A. S. (2018). Ice Feathers.
• Holbrook, Ulf A. S. (2018). Droplets.
• Holbrook, Ulf A. S. (2018). A Question of Background.
• Holbrook, Ulf A. S. (2018). Textures of Performances in Spatial Composition.
• Holbrook, Ulf A. S. (2018). The Map(ping) as a Morphological Experiment.
• Dybsand, Øyvin (2018). Johan Halvorsen - «født i 4/4-takt», men uskikket som militærmusiker, I: Niels Kristian Persen (red.),  I storm og stille (Forsvarets musikk 1818-2018).  Forsvarets musikk.  ISBN 9788230339275.  Del 2, kapittel 1.
• Watne, Åshild (2018). Duke Ellington: Sacred Concert i Ullern kirke 25.11.2018.
• Kelkar, Tejaswinee (2018). Python Toolboxes for Mocap Analysis.
• Jones, Ellis Nathaniel (2018). Are platforms 'deskilling' musicians?.
• Jones, Ellis Nathaniel (2018). DIY as the new default. Show summary

  The event seeks to analyse the following questions: to what extent do the divisions between labels, distributors, and stores still obtain after the internet? Do notions of 'major', 'independent', and 'DIY' still carry the same descriptive and analytical meaning in light of self-publishing platforms like Bandcamp, or do we need new concepts to capture the ways in which popular, unpopular, fringe and underground musicians move between institutions and fields? How should we theorise the complex relations between musical media - CD, vinyl, cassette tape, streaming - in contemporary popular musics, and what roles do institutions play in mediating these relations? Are platform-based musical institutions more labile and transitory than their bricks-and-mortar precursors, or is this view now outdated in the age of the 'normal internet'? With the 'gig economy' ascendent--a concept derived from musical labour that is today used to capture the precarity of 21st century work--analysing musical labour and its supporting institutions seems more important than ever. Does musical work serve as barometer for current labour conditions?

• Jones, Ellis Nathaniel (2018). Imagining an audience in DIY music.
• Jensenius, Alexander Refsum (2018). How I try to do it FAIR.
• Jensenius, Alexander Refsum (2018). Motion Capture in Music Performance, Perception and Interaction.
• Oddekalv, Kjell Andreas (2018). Julekonsert med Sinsenfist (Belleville).
• Jensenius, Alexander Refsum; Sundquist, Jonas Hartford & Eriksen, Siri Øverland (2018, 09. september). De er studenter ved to universiteter samtidig. [Internett].  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.

• Jensenius, Alexander Refsum (2018). Paneldeltagelse: Veien til åpen tilgang - konsekvenser og implementering av Plan S.
• Kjus, Yngvar (2018). The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
• Jensenius, Alexander Refsum (2018). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Jensenius, Alexander Refsum (2018). The recording and use of videos from music events – how to balance ethical requirements and FAIR principles using data from live concerts, music performances and the like?.
• Eriksen, Asbjørn Øfsthus & Edwards, Peter (2018). Musikk og humor.
• Jensenius, Alexander Refsum (2018). Evaluering, merittering og forskningsvurdering.
• Jensenius, Alexander Refsum (2018). Comments on Open Science - Do we need a national action plan?.
• Jensenius, Alexander Refsum (2018). Omvendt klasserom mellom to universiteter: Master Programme in Music, Communication & Technology.
• Schia, Katja Henriksen; Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2018). Music-Dance Performance: "Rhythm".
• Jensenius, Alexander Refsum; Danielsen, Anne; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Intellectual warm-up: "Rhythm".
• Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018, 21. november). Rytmen er en danser. [Fagblad].  Ballade.
• Lartillot, Olivier (2018). Computational musicological analysis of notated music: a brief overview. Show summary

  Since the dawn of informatics, computer-based analysis of notated music has been attempted. I present a brief overview of the research in this area, covering the various tasks of music analysis, such as melodic, rhythmic, metrical, motivic or structural analyses, and evoking diverse methodological alternatives. I will discuss about the current state of the art, in particular the limitations of computational approaches so far, the technical challenges, and how I propose to transcend the current limitations. Practical applications of this area of research will be discussed, such as retrieval of musical queries in databases, automated identification (of genre, composer, etc.) or music performance and generation.

• Jensenius, Alexander Refsum & Tømte, Even (2018, 08. november). Når bassisten står 500 kilometer unna. [Fagblad].  Musikkultur. Show summary

  På masterprogrammet Music, communication, and technology bruker studenter i Oslo og Trondheim avansert videokonferanseutstyr til å jamme i sanntid.

• Aareskjold, Jon Marius (2018). Sound of Light.
• Aareskjold, Jon Marius (2018). Torun Eriksen - Luxury and Waste.
• Kjus, Yngvar (2018). Musical negotiations: How singer-songwriters relate to economy and copyright in digital times. Show summary

  Musical negotiations: How singer-songwriters relate to economy and copyright in digital times

• Nymoen, Kristian (2018). Soundtracer - Et innblikk i innholdsbasert arkivsøk. Show summary

  Et musikkopptak inneholder store mengder informasjon. I fagfaltet Music Information Retrieval forskes det på teknikker for å hente ut informasjon fra selve lydsignalet. Disse teknikkene gir nye og spennende muligheter for søk i lydarkiv – enten som supplement til, eller i stedet for, metadata. Hvordan kan man søke i et lydarkiv etter et bestemt intonasjonsmønster eller en bestemt rytmikk? Og hva skal til for å søke i et arkiv ved å nynne, klappe, eller bevege seg?

• Nymoen, Kristian (2018). Music Information Retrieval.
• Jensenius, Alexander Refsum (2018). Sophus Bugges Salong: Rytmer og følelser. Show summary

  Hvorfor opplever vi rytmer og tid slik vi gjør? "RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse" vil gi oss svaret.

• Alarcón Diaz, Ximena (2018). Workshop: Listening to Migration. Show summary

  Workshop: Listening To Migration Sentralen/Gymsalen 14/9, 11 – 15 Free Entry, including refreshments Artistic research project INTIMAL invites everyone interested to a one-day workshop dedicated to listening deeply to traces of human migration. Led by Ximena Alarcón Diaz, participants will carry out sonic meditations involving breathing, body movement, dream awareness and voice expression. Participants are invited to explore in-between sonic spaces through the actions and to connect with individual memories and collective migratory journeys. Inspired by Pauline Oliveros’s Deep Listening practice, combined with Embodied Music Cognition methods, this INTIMAL workshop explores the role of the body as a medium that carries a memory of place. The project is developed by Ximena Alarcón Diaz at RITMO (Centre for Interdisciplinary Studies in Rhythm, Time and Motion), Department of Musicology, University of Oslo. The workshop has a capacity of 15 and is open to all comers. Free Pre-registration here is required by 3 September: http://bit.ly/2nC7QSy Produced in collaboration with INTIMAL. Ultima Context is supported by Norsk Komponistforening, Fritt Ord and Bergesenstiftelsen.

• Alarcón Diaz, Ximena (2018). INTIMAL: Migrant Women's Sonic Statements of Presence. Show summary

  Departing from the fieldwork of the art research project INTIMAL, and reflecting on studies of gender, emotions, embodiment and migration (Brooks & Simpson, 2013; Ahmed, 2000), listening, language and voice studies (Oliveros, 2005; Choi, 2017; Cavarero, 2005; El Haouli, 2014) this paper suggests how listening and improvisatory mediated telematic performance (Alarcon, 2014), become key relational processes opening paths for women to explore identities, and heal feelings of loss, while augmenting their sense of space and acoustic presence. INTIMAL is a physical-virtual embodied interactive system that explores the body as an “interface” that keeps memory of place in migratory contexts, and through the practice of telematic sonic improvisatory performance. In the historical context of Colombian post-conflict and European diaspora, the research analyses the embodied acoustic experiences of nine Colombian migrant women living in Barcelona, London and Oslo, following their creative and personal healing process as they engage in a Deep Listening process (Oliveros, 2005) to their surroundings, language, voice, and silences, through memories and dreams (Lewis, 2005), and listening body (Gold, 2008), meeting physically and using internet-mediated communication. In the process, they also respond to an oral archive of testimonies from the Commission of Colombian Women in Diaspora (2017) with experiences rooted in the Colombian conflict. The resulting narratives have been recorded through Embodied Music Cognition methods (Jensenius, 2018), looking at individual agency and togetherness. Thus, the paper highlights how listening and expression processes through body movement, language and voice, free and technologically mediated improvisatory physical-virtual performance, help in the unfolding of layers of historical and cultural memory of conflict, including gendered violence (Thomas, 2006; Tolton, 2011; Tolton, 2014), as women move from a sense of place to the creation of a sense of presence (and telepresence) (ISPR, 2000), through individual and collective statements of presence.

• Jensenius, Alexander Refsum (2018, 14. oktober). Forskerbloggen: Hvorfor får man lyst til å danse til musikk?. [TV].  NRK.
• Aubinet, Stéphane (2018). Sámi joik and the singing body as a more-than-human ecology.
• Aubinet, Stéphane (2018). Musical notation and non-human voices in Sámi joik.

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