Our latest publications

• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2020). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society.  ISSN 0300-7766.  43(5)
• Herrebrøden, Henrik; Grotterød, Audun & Hystad, Sigurd William (2019). External distractions and motor performance: A field study exploring the effects of mental toughness and extraversion on golf putting. International Journal of Sport Psychology.  ISSN 0047-0767.  50(5), s 437- 447 . doi: 10.7352/IJSP.2018.49.000
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation. Applied Sciences.  ISSN 2076-3417.  9(23) . doi: 10.3390/app9235121 Show summary

  We present a method for tempo estimation from audio recordings based on signal processing and peak tracking, and not depending on training on ground-truth data. First, an accentuation curve, emphasizing the temporal location and accentuation of notes, is based on a detection of bursts of energy localized in time and frequency. This enables the detection of notes in dense polyphonic texture, while ignoring spectral fluctuation produced by vibrato and tremolo. Periodicities in the accentuation curve are detected using an improved version of autocorrelation function. Hierarchical metrical structures, composed of a large set of periodicities in pairwise harmonic relationships, are tracked over time. In this way, the metrical structure can be tracked even if the rhythmical emphasis switches from one metrical level to another. This approach, compared to all the other participants to the Music Information Retrieval Evaluation eXchange (MIREX) Audio Tempo Extraction competition from 2006 to 2018, is the third best one among those that can track tempo variations. While the two best methods are based on machine learning, our method suggests a way to track tempo founded on signal processing and heuristics-based peak tracking. Moreover, the approach offers for the first time a detailed representation of the dynamic evolution of the metrical structure. The method is integrated into MIRtoolbox, a Matlab toolbox freely available.

• Devine, Kyle (2019). Musicology Without Music, In Nick Brae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  1.  s 15 - 37
• Becker, Artur; Herrebrøden, Henrik; Gonzalez Sanchez, Victor Evaristo; Nymoen, Kristian; Dal Sasso Freitas, Carla Maria; Tørresen, Jim & Jensenius, Alexander Refsum (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data, In Grisha Coleman (ed.),  Proceedings of the 6th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-7654-9.  Article 12. Show summary

  We present an approach to analyzing the motion capture data of rowers using bivariate functional principal component analysis (bfPCA). The method has been applied on data from six elite rowers rowing on an ergometer. The analyses of the upper and lower body coordination during the rowing cycle revealed significant differ- ences between the rowers, even though the data was normalized to account for differences in body dimensions. We make an argument for the use of bfPCA and other functional data analysis methods for the quantitative evaluation and description of technique in sports.

• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2019). Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill. Journal of Motor Behavior.  ISSN 0022-2895. . doi: 10.1080/00222895.2019.1689909 Show summary

  The links between music and human movement have been shown to provide insight into crucial aspects of human’s perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500 seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.

• Eriksen, Asbjørn Øfsthus (2019). Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950), del 2. Studia Musicologica Norvegica.  ISSN 0332-5024.  45(1), s 75- 94 . doi: DOI: https://doi.org/10.18261/issn.1504-2960-2019-01-07
• Bishop, Laura; Cancino-Chacón, Carlos & Goebl, Werner (2019). Moving to communicate, moving to interact: Patterns of body motion in musical duo performance. Music Perception.  ISSN 0730-7829.  37(1), s 1- 25 . doi: 10.1525/mp.2019.37.1.1
• Bishop, Laura; Cancino-Chacón, Carlos & Goebl, Werner (2019). Eye gaze as a means of giving and seeking information during musical interaction. Consciousness and Cognition.  ISSN 1053-8100.  68, s 73- 96 . doi: 10.1016/j.concog.2019.01.002
• Høffding, Simon; Roald, Tone & Mette, Houlberg (2019). Participation and Receptivity in the Art Museum –a Phenomenological Exposition. Curator: The Museum Journal.  ISSN 0011-3069. . doi: 10.1111/cura.12344
• Mangaoang, Áine (2019). Music and Tourism, In John Buckley & John O'Flynn (ed.),  Ceol Phádraig: Music at St Patrick's College Drumcondra, 1875-2016.  Peter Lang Publishing Group.  ISBN 978-1-78997-622-9.  Chapter 9.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P.3.  s 20 - 25
• Weisethaunet, Hans (2019). Escaping Nordic musical exoticism? Chapter 2. The Nature of Nordic Music, In Tim Howell (ed.),  The Nature of Nordic Music.  Routledge.  ISBN 978-1-138-20718-9.  Chapter 2.  s 20 - 47
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). SoundCloud and Bandcamp as Alternative Music Platforms. Social Media + Society.  ISSN 2056-3051.
• Jones, Ellis Nathaniel (2019). DIY and popular music: mapping an ambivalent relationship across three historical case studies. Popular music and society.  ISSN 0300-7766. . doi: https://doi.org/10.1080/03007766.2019.1671112
• Jones, Ellis Nathaniel (2019). What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation. Media Culture and Society.  ISSN 0163-4437. . doi: https://doi.org/10.1177/0163443719853498
• Brøvig-Hanssen, Ragnhild (2019). Mixing with Quotations: Mashups and Contextual Transformation, In Simon Zagorski-Thomas; Katia Isakoff; Sophie Stévance & Serge Lacasse (ed.),  The Art of Record Production, Volume 2: Creative Practice in the Studio.  Routledge.  ISBN 978-1138205109.  Chapter 3.  s 50 - 65
• Brøvig-Hanssen, Ragnhild (2019). Humor's Role in Mashups and Remixes, In Nick Brae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  Kapittel.

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• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (ed.) (2020). Made in Ireland: Studies in Popular Music. Routledge.  ISBN 978-1-138-93652-2.  0 s.

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

  Bedroom pop: En undergrunnskultur.

• Devine, Kyle (2019, 28. november). UiO-forsker: Musikkstrømming er enda verre for miljøet enn CD-platen. [Internett].  Ballade.
• Devine, Kyle (2019, 03. oktober). Ohne Energie und Arbeit könnte es Streaming nicht geben.  SPEX—Magazin für Popkultur.
• Devine, Kyle (2019, 17. november). Derfor er strømming en miljøversting.  Dagbladet.
• Kraugerud, Emil (2019). The acousmatic intimacy of domestic spatialities.
• Hagen, Anja Nylund (2019, 03. desember). 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

• Hagen, Anja Nylund (2019). Kulturøkonomi-symposium.
• 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.

• Hawkins, Stan (2019). Black Poesis III: What Makes a Hiphop Classic? Panel debate..
• Jensenius, Alexander Refsum & Jørgensen, Paul Arvid (2019, 18. november). Kulturstripa: Musikken som beveger. [Radio].  NRK P2. Show summary

  Er du av typen som berre må danse når du høyrer ein viss type musikk? Paul Arvid Jørgensen har møtt ein forskar som ser på om vi menneske er fødd med dansefot, og om ein type musikk fører til meir rørsle enn en annan.

• Danielsen, Anne (2019). Glitched and Warped: Shaping the “Beat Bin” in Contemporary African-American Popular Music.
• Danielsen, Anne (2019). Erfaringer fra SFF IV..
• Kelkar, Tejaswinee (2019). Computational Analysis of Melodic Contour and Body Movement. Full text in Research Archive. Show summary

  The aim of this dissertation is to understand the role of embodiment in melodic contour perception. In other words, it studies how we move our bodies in response to music. Melodies play an important role in both speech and music. This thesis consists of two parts, the first part being a background section discussing the theoretical motivations and methods used. The second part is a collection of four articles. Each of the articles explores a dimension of melodic contour: verticality, motion metaphors, body use, and multi-feature correlational analysis. The empirical work is based on sound-tracing as an experimental paradigm. This brings together the multimodal mappings of pitched sound, gestural imagery evoked by these sounds, and defining geometries of these contours. Two sound-tracing experiments were conducted, resulting in three datasets that have been used in the analyses. In the experiments, participants listened to 16 melodies from four different genres: operatic vocalise, jazz scatting, North-Indian singing, and Sámi joik. The participants listened to each melody twice, the first time standing still, and the second time ``drawing'' the sounds in the air. Infrared motion capture was used to record the participants' body movement, and the analysis is focused primarily on the movement of their hands. The sound analysis is based on signal processing algorithms for pitch detection and methods for contour representation. Cross-correlation of the data is performed using a range of methods from statistical hypothesis testing to canonical correlation analysis. The analysis reveals that although there is a natural propensity to describe pitches in terms of the vertical dimension, the experimental data do not clearly show such an association. Average profiles of movement responses to melodies have an arch-like representation, regardless of the contour of the melody. Spatial height is associated more with relative pitch in the melodic context traced, rather than an absolute pitch scale. In addition, movement indicating metaphoric representation of sound was used more often by participants.

• Becker, Artur; Herrebrøden, Henrik; Gonzalez Sanchez, Victor Evaristo; Nymoen, Kristian; Dal Sasso Freitas, Carla Maria; Tørresen, Jim & Jensenius, Alexander Refsum (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data. Show summary

  We present an approach to analyzing the motion capture data ofrowers using bivariate functional principal component analysis(bfPCA). The method has been applied on data from six elite rowersrowing on an ergometer. The analyses of the upper and lower bodycoordination during the rowing cycle revealed significant differences between the rowers, even though the data was normalized toaccount for differences in body dimensions. We make an argumentfor the use of bfPCA and other functional data analysis methods forthe quantitative evaluation and description of technique in sports.

• Gonzalez Sanchez, Victor Evaristo (2019). Toward a Generic Measure of Fluency. 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.

• Gonzalez Sanchez, Victor Evaristo (2019). MICRO: Human Bodily Micromotion in Music Perception and Interaction. Show summary

  This talk will highlight links between music and human movement, aiming at providing insight into crucial aspects of human perception, cognition, and sensorimotor systems. It will analyze responses to a wide range of music and sound features, exploiting concepts such as the groove, embodied music cognition, and entrainment. Victor will be glad to discuss potential implications of movement-analysis research for embodiment perspectives on technologically enabled conceptual learning.

• Gonzalez Sanchez, Victor Evaristo (2019). Characterizing Movement Fluency in Musical Performance. 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.

• Devine, Kyle & Brennan, Matt (2019). The Terrifying Miracle of Recorded Sound.
• Devine, Kyle (2019). Decomposed: Political Ecologies of Jazz and Popular Music.
• Devine, Kyle & Brennan, Matt (2019). The Terrifying Miracle of Recorded Sound.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Political Ecologies of Music (and Dance?).
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Vinyl: More Sustainable Than You Think?.
• 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.

• Sørbø, Solveig Isis; Good, Matthew & Jensenius, Alexander Refsum (2019). RITMO + UB = MusicLab. Show summary

  MusicLab er et samarbeidsprosjekt mellom UB og RITMO og en pilot på åpen forskning ved UiO. Konseptet kombinerer live musikk, live forskning og vitenskapsformidling. Det er mye vi har fått til med MusicLab, men i slikt nybrottsarbeid støter man også på nye typer utfordringer. Hvor langt kan man trekke åpenheten?

• Kraugerud, Emil (2019). Intimitet i innspilt musikk.
• Hagen, Anja Nylund (2019). «Superstar Economy?» - Art and Cultural Economy in the Digital Era. 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.

• Enli, Gunn & Jensenius, Alexander Refsum (2019). Mikroutdanninger gir nye muligheter for videreutdanning. Uniforum.  ISSN 1891-5825.
• Jensenius, Alexander Refsum (2019). Scientific Computing Use Case: RITMO.
• Eriksen, Asbjørn Øfsthus (2019). Grieg in Rachmaninoff's music: similarities and influences..
• Høffding, Simon (2019). Sammen i Musikken: Fri improvisation som unik social begivenhed.
• Høffding, Simon (2019). At a distance from myself – on the phenomenology of hyper reflection and ex-static musical absorption.
• Jensenius, Alexander Refsum (2019). Lecture-demo: Music-Related Micromotion. Show summary

  This presentation will summarize findings from my research into music-related micromotion. This includes the smallest human motion that we can perform and perceive, typically measured at at a scale of millimeters. We have carried out a series of studies of such micromotion, in which people have been asked to try to stand still on the floor, both in silence and with (musical) sound. By measuring their bodily responses with different types of motion tracking and physiological devices we find a number of similarities between people's quantity and quality of motion. This has been the starting point for exploring the use of micromotion in musical practice, what I call 'sonic microinteraction'. This includes standstill performances with interactive sound and light. It also includes several installations with our ensemble of self-playing guitars. These are hybrid instruments, using digital sound-production through acoustically resonating guitars. They are controlled through inverse microinteraction, meaning that you need to focus on standing still to produce any sound. This challenges our traditional understanding of the affordance of musical instruments, and opens for both artistically and scientifically interesting perspectives.

• Jensenius, Alexander Refsum (2019). Sound actions: An embodied approach to a digital organology. Show summary

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Jensenius, Alexander Refsum (2019). Sound actions: An embodied approach to a digital organology. Show summary

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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