Our latest publications

• Bishop, Laura; Jensenius, Alexander Refsum & Laeng, Bruno (2021). Musical and Bodily Predictors of Mental Effort in String Quartet Music: An Ecological Pupillometry Study of Performers and Listeners. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.653021
• Swarbrick, Dana; Seibt, Christa Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2021). Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.648448 Show summary

  The popularity of virtual concerts increased as a result of the social distancing requirements of the coronavirus pandemic. We aimed to examine how the characteristics of virtual concerts and the characteristics of the participants influenced their experiences of social connection and kama muta (often labeled “being moved”). We hypothesized that concert liveness and the salience of the coronavirus would influence social connection and kama muta. We collected survey responses on a variety of concert and personal characteristics from 307 participants from 13 countries across 4 continents. We operationalized social connection as a combination of feelings and behaviors and kama muta was measured using the short kama muta scale (Zickfeld et al., 2019). We found that (1) social connection and kama muta were related and predicted by empathic concern, (2) live concerts produced more social connection, but not kama muta, than pre-recorded concerts, and (3) the salience of the coronavirus during concerts predicted kama muta and this effect was completely mediated by social connection. Exploratory analyses also examined the influence of social and physical presence, motivations for concert attendance, and predictors of donations. This research contributes to the understanding of how people can connect socially and emotionally in virtual environments.

• Hansen, Niels Chr.; Treider, John Melvin Gudnyson; Swarbrick, Dana; Bamford, Joshua S.; Wilson, Johanna & Vuoskoski, Jonna Katariina (2021). A Crowd-Sourced Database of Coronamusic: Documenting Online Making and Sharing of Music During the COVID-19 Pandemic. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.684083 Show summary

  When a sweeping COVID-19 pandemic forced cultural venues, schools, and social hangouts into hibernation in early 2020, music life relocated to the digital world. On social media platforms like YouTube, Facebook, Twitter, and TikTok, sofas and balconies took center stage for musical performances presented as live-streamed concerts and recorded videos. Amateurs and professional musicians alike embraced digital formats and innovated novel genres of corona-themed music. Adapting the well-known “musicking” term from cultural musicology (Small, 1999), we will characterize the diverse practices of listening to, playing, dancing to, composing, rehearsing, improvising, discussing, exploring, and innovating musical products during lockdown with explicit or implicit reference to the novel coronavirus and/or pandemic life circumstances as “corona-musicking.” By extension, audiovisual products of such corona-musicking behavior will be defined collectively as “coronamusic.” To best facilitate future work, these definitions are intentionally broad and minimally exclusive (cf. Small, 1999). This study aims to establish the CORONAMUSIC DATABASE–a crowdsourced corpus of links to coronamusic videos and news media reports (https://osf.io/y7z28/). This constitutes the first readily accessible and searchable resource for researchers from all disciplines with an interest in documenting and investigating the musical dynamics underlying the pandemic.

• Onderdijk, Kelsey; Swarbrick, Dana; Van Kerrebroeck, Bavo; Mantei, Maximillian; Vuoskoski, Jonna Katariina; Maes, Pieter-Jan & Leman, Marc (2021). Livestream Experiments: The Role of COVID-19, Agency, Presence, and Social Context in Facilitating Social Connectedness. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.684083 Show summary

  Musical life became disrupted in 2020 due to the COVID-19 pandemic. Many musicians and venues turned to online alternatives, such as livestreaming. In this study, three livestreamed concerts were organized to examine separate, yet interconnected concepts—agency, presence, and social context—to ascertain which components of livestreamed concerts facilitate social connectedness. Hierarchical Bayesian modeling was conducted on 83 complete responses to examine the effects of the manipulations on feelings of social connectedness with the artist and the audience. Results showed that in concert 1, where half of the participants were allowed to vote for the final song to be played, this option did not result in the experience of more agency. Instead, if their preferred song was played (regardless of voting ability) participants experienced greater connectedness to the artist. In concert 2, participants who attended the concert with virtual reality headsets experienced greater feelings of physical presence, as well as greater feelings of connectedness with the artist, than those that viewed a normal YouTube livestream. In concert 3, attendance through Zoom led to greater experience of social presence, but predicted less connectedness with the artist, compared to a normal YouTube livestream. Crucially, a greater negative impact of COVID-19 (e.g., loneliness) predicted feelings of connectedness with the artist, possibly because participants fulfilled their social needs with this parasocial interaction. Examining data from all concerts suggested that physical presence was a predictor of connectedness with both the artist and the audience, while social presence only predicted connectedness with the audience. Correlational analyses revealed that reductions in loneliness and isolation were associated with feelings of shared agency, physical and social presence, and connectedness to the audience. Overall, the findings suggest that in order to reduce feelings of loneliness and increase connectedness, concert organizers and musicians could tune elements of their livestreams to facilitate feelings of physical and social presence.

• Fasciani, Stefano & Goode, Jackson (2021). 20 NIMEs: Twenty Years of New Interfaces for Musical Expression, In Roger Dannenberg & Xiao Xiao (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  The International Conference on New Interfaces for Musical Expression. Full text in Research Archive. Show summary

  This paper provides figures and metrics over twenty years of New Interfaces for Musical Expression conferences, which are derived by analyzing the publicly available paper proceedings. Besides presenting statistical information and a bibliometric study, we aim at identifying trends and patterns. The analysis shows the growth and heterogeneity of the NIME demographic, as well the increase in research output. The data presented in this paper allows the community to reflect on several issues such as diversity and sustainability, and it provides insights to address challenges and set future directions.

• Masu, Raul; Melbye, Adam Pultz; Sullivan, John & Jensenius, Alexander Refsum (2021). NIME and the Environment: Toward a More Sustainable NIME Practice, In Roger Dannenberg & Xiao Xiao (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  The International Conference on New Interfaces for Musical Expression.  KAPITTEL. Full text in Research Archive. Show summary

  This paper addresses environmental issues around NIME research and practice. We discuss the formulation of an environmental statement for the conference as well as the initiation of a NIME Eco Wiki containing information on environmental concerns related to the creation of new musical instruments. We outline a number of these concerns and, by systematically reviewing the proceedings of all previous NIME conferences, identify a general lack of reflection on the environmental impact of the research undertaken. Finally, we propose a framework for addressing the making, testing, using, and disposal of NIMEs in the hope that sustainability may become a central concern to researchers.

• Copiaco, Abigail; Ritz, Christian; Abdulaziz, Nidhal & Fasciani, Stefano (2021). A Study of Features and Deep Neural Network Architectures and Hyper-Parameters for Domestic Audio Classification. Applied Sciences.  ISSN 2076-3417.  11(11) . doi: 10.3390/app11114880
• Godøy, Rolf Inge (2021). Perceiving Sound Objects in the Musique Concrète. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.672949 Full text in Research Archive. Show summary

  In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music.

• Dybsand, Øyvin (2021). Johan Halvorsen as Young Violin Student in Leipzig, “The City of Music”, in the Late 1880s, In Patrick Dinslage & Stefan Keym (ed.),  Edvard Grieg und seine skandinavischen Kollegen in ihren Beziehungen zu Leipzig: 8. Deutscher Edvard-Grieg-Kongress vom 15. bis 17. Oktober 2020 in Leipzig.  Gudrun Schröder Verlag.  ISBN 9783926196828.  Artikkel.  s 243 - 261
• Liebrand, Matthias; Solbakk, Anne-Kristin; Funderud, Ingrid; Buades-Rotger, Macià; Knight, Robert Thomas & Krämer, Ulrike M (2021). Intact Proactive Motor Inhibition after Unilateral Prefrontal Cortex or Basal Ganglia Lesions. Journal of Cognitive Neuroscience.  ISSN 0898-929X. . doi: 10.1162/jocn_a_01691
• Copiaco, Abigail; Ritz, Christian; Fasciani, Stefano & AbdulAziz, Nidhal (2021). Identifying Sound Source Node Locations Using Neural Networks Trained with Phasograms. Proceedings of IEEE International Symposium on Signal Processing and Information Technology (ISSPIT).  ISSN 2641-5542. . doi: 10.1109/ISSPIT51521.2020.9408643
• Granot, Roni; Spitz, Daniel H.; Cherki, Boaz R.; Loui, Psyche; Timmers, Renee; Schaefer, Rebecca S.; Vuoskoski, Jonna Katariina & Israel, Salomon (2021). “Help! I Need Somebody”: Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2021.648013 Full text in Research Archive.
• Karbasi, Seyed Mojtaba; Godøy, Rolf Inge; Jensenius, Alexander Refsum & Tørresen, Jim (2021). A Learning Method for Stiffness Control of a Drum Robot for Rebounding Double Strokes, In Dan Zhang (ed.),  2021 7th International Conference on Mechatronics and Robotics Engineering (ICMRE).  IEEE.  ISBN 978-0-7381-3205-1.  Paper.  s 54 - 58 Full text in Research Archive. Show summary

  In robot drumming, performing double stroke rolls is a key ability. Human drummers learn to play double strokes by just trying it several times. For performing it, a model needs to be learned to provide anticipatory commands during drumming. Joint stiffness plays a key role in rebounding double stroke task and should be considered in the model. We have introduced an interactive learning method for a drum robot to learn joint stiffness for rebounding double stroke task. The model is simulated for a 2-DoF robotic arm. The algorithm is simulated with 3 different drum kits to show the robustness of the learning approach. The simulation results also show significant compatibility with human performance results. In addition, the refined learning algorithm adjusts the stroke timing which is important for producing proper rhythms.

• Mangaoang, Áine (2021). “A reward rather than a right”: Facilitators’ perspectives on the place of music in Norwegian prison exceptionalism. Musicae Scientiae.  ISSN 1029-8649. . doi: 10.1177/10298649211014235
• Zickfeld, Janis Heinrich; van de Ven, Niels; Pich, Olivia; Schubert, Thomas; Vuoskoski, Jonna Katariina & Vingerhoets, Ad J.J.M. (2021). Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries. Journal of Experimental Social Psychology.  ISSN 0022-1031. . doi: 10.1016/j.jesp.2021.104137 Full text in Research Archive.
• Kjus, Yngvar (2021). License to stream? A study of how rights-holders have responded to music streaming services in Norway. The International Journal of Cultural Policy.  ISSN 1028-6632. Show summary

  This article rewinds a decade to reconstruct the arrival of streaming services and their impact on the music industry. It focuses on copyright holders and their experience with reaching out and getting paid via streaming, charting developments in the relationship between licensor and licensee such as the rise of direct licensing. The study is based on interviews with labels, publishers, collecting societies and interest organi- sations for composers and performers in Norway, where streaming caught on early. It finds that streaming services, with Spotify out in front, have led majors and indies to wage a war over rights and global market shares, while the ability of collecting societies to hang on to their bargaining cards now depends on the way in which on-demand access to music is legally defined. This article also concludes that, so far, these struggles have been easier on the composers than on the performers of music.

• White, Rebekah C.; Gasper, Giles E. M.; McLeish, Tom C. B.; Tanner, Brian K.; Harvey, Joshua S; Sønnesyn, Sigbjørn Olsen; Young, Laura K. & Smithson, Hannah E. (2021). Magnifying Grains of Sand, Seeds, and Blades of Grass: Optical Effects in Robert Grosseteste’s De iride (On the Rainbow) (circa 1228–1230). Isis.  ISSN 0021-1753.  112(1), s 93- 107 . doi: 10.1086/713724 Show summary

  In his treatise On the Rainbow (De iride), composed nearly four hundred years before the first known telescope, the English polymath Robert Grosseteste identified three striking optical effects: distant objects can be rendered close by; close-by large objects can be rendered small; and distant small objects can be rendered large. In the context of the history of optics, the first effect is especially striking. Grosseteste did not give details of the mechanisms underlying these effects but did mention the passage of rays through refraction in “diaphanous” or transparent bodies. While making no final claim that Grosseteste himself necessarily knew of or used lenses, this essay examines the coherence between the three optical effects described in Grosseteste’s treatise and two candidate proposals for the deployment of a single convex lens. A convex lens, deployed in different ways, is shown to produce all three of Grosseteste’s optical effects, in a manner strikingly aligned with the language that he uses to distinguish changes in the location and size of objects. The implications of this coherence for interpretations of On the Rainbow are discussed throughout the essay.

• Ravn, Susanne; Høffding, Simon & McGuirk, James Nicholas (2021). Improvisation: The competences of not being in control, In James Nicholas McGuirk; Susanne Ravn & Simon Høffding (ed.),  Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice.  Routledge.  ISBN 978-0367540210.  Introduction.  s 1 - 9
• Lartillot, Olivier (2021). Computational Musicological Analysis of Notated Music: a Brief Overview. Nota Bene.  ISSN 1891-4829.  15, s 142- 161 Full text in Research Archive. Show summary

  I present a short overview of computational methods for musicological analysis of notated music. We first need to clarify the various levels of computational representations of music: on one side, notated music, on the other, audio recordings, and in the middle, a note-level representa- tion of music performance where higher-level musical descriptions are absent. The article provides a synthetic and partial panorama of the different types of music analysis that have been systematised and auto- mated using computers. While pioneering works were mainly focused on statistical descriptions of the surface of music, other dimensions of music analysis such as harmony, metre and structure have been taken into consideration since. I conclude by sketching my personal vision of the future of computational music analysis.

• Peltola, Henna-Riikka & Vuoskoski, Jonna Katariina (2021). “I hate this part right here”: Embodied, subjective experiences of listening to aversive music. Psychology of Music.  ISSN 0305-7356. . doi: .o0rg.1/107.171/7073/0530753753652602099888596 Full text in Research Archive. Show summary

  Although the majority of previous research on music-induced responses has focused on pleasurable experiences and preferences, it is undeniable that music is capable of eliciting strong dislike and aversion as well. To date, only limited research has been carried out to understand the subjective experience of listening to aversive music. This qualitative study explored people’s negative experiences associated with music listening, with the aim to understand what kinds of emotions, affective states, and physical responses are associated with listening to aversive music. One hundred and two participants provided free descriptions of (1) musical features of aversive music; (2) subjective physical sensations, thoughts and mental imagery evoked by aversive music; (3) typical contexts where aversive music is heard; and (4) the similarities and/or differences between music-related aversive experiences and experiences of dislike in other contexts. We found that responses to aversive music are characterized by embodied experiences, perceived loss of agency, and violation of musical identity, as well as social or moral attitudes and values. Furthermore, two “experiencer types” were identified: One reflecting a strong negative attitude toward unpleasant music, and the other reflecting a more neutral attitude. Finally, we discuss the theoretical implications of our findings in the broader context of music and emotion research.

• Lartillot, Olivier; Nymoen, Kristian; Câmara, Guilherme Schmidt & Danielsen, Anne (2021). Computational localization of attack regions through a direct observation of the audio waveform. Journal of the Acoustical Society of America.  ISSN 0001-4966.  149(1), s 723- 736 . doi: 10.1121/10.0003374 Show summary

  This article addresses the computational estimation of attack regions in audio recordings. Previous attempts to do so were based on the reduction of the audio waveform into an envelope curve, which decreases its temporal resolution. The proposed approach detects the attack region directly from the audio waveform. The attack region is modeled as a line starting from a low-amplitude point and intersecting one of the local maxima according to two principles: (1) maximizing the slope, while favoring, at the same time, a higher peak if the slope remains only slightly lower and (2) dismissing initial attack regions of relatively low amplitude. The attack start position is fine-tuned by intersecting the attack slope with the audio waveform. The proposed method precisely pinpoints the attack region in cases where it is unambiguously observable from the waveform itself. In such cases, previous methods selected a broader attack region due to the loss of temporal resolution. When attack regions are less evident, the proposed method’s estimation remains within the range of results provided by other methods. Applied to the prediction of judgments of P-center localization [Danielsen, Nymoen, Anderson, C^amara, Langerød, Thompson, and London, J. Exp. Psychol. Hum. Percept. Perform. 45, 402–418 (2019)], the proposed method shows a significant increase in precision, at the expense of recall.

• Weisethaunet, Hans (2021). “Creating Maps, Generating Meanings: Music Criticism.” Chapter 8, 169-188, In Klaus Nathaus & Martin Rempe (ed.),  Musicking in Twentieth-Century Europe. A Handbook.  Walter de Gruyter (De Gruyter).  ISBN 978-3-11-064808-9.  Ch. 8.  s 169 - 188
• Stover, Chris (2021). The Queer Rhythm of Cecil Taylor's 'Enter Evening'. Deleuze and Guattari studies.  ISSN 2398-9777.
• Sønnesyn, Sigbjørn Olsen (2020). Word, Example, and Practice: Learning and the Learner in Twelfth-Century Thought. Journal of Medieval History.  ISSN 0304-4181.  46, s 513- 535
• Copiaco, Abigail; Ritz, Christian; Fasciani, Stefano & Abdulaziz, Nidhal (2020). An Application for Dementia Patient Monitoring with Sound Level Assessment Tool, In . IEEE (ed.),  2020 3rd International Conference on Signal Processing and Information Security (ICSPIS).  IEEE.  ISBN 978-1-7281-8998-7.  Conference Paper.
• Senn, Olivier; Amadeus Bechtold, Toni; Rose, Dawn; Câmara, Guilherme Schmidt; Du Vel, Nina; Jerjen, Rafael; Kilchenmann, Lorenz; Hoesl, Florian; BALDASSARRE, Antonio & ALESSANDRI, Elena (2020). Experience of Groove Questionnaire: Instrument Development and Initial Validation. Music Perception.  ISSN 0730-7829.  38(1), s 46- 65 . doi: 10.1525/MP.2020.38.1.46 Show summary

  MUSIC OFTEN TRIGGERS A PLEASURABLE URGE IN listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove. This study presents the Experience of Groove Questionnaire, a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents' urge to move (Cronbach's ¼ :92) and their experience of pleasure (¼ :97) while listening to music. The two scales are highly correlated (r ¼ :80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners' subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.

• Erdem, Cagri; Jensenius, Alexander Refsum; Glette, Kyrre; Krzyzaniak, Michael Joseph & Veenstra, Frank (2020). Air-Guitar Control of Interactive Rhythmic Robots. Proceedings of the International Conference on Live Interfaces (Proceedings of ICLI).  ISSN 2663-9041.  s 208- 210 Show summary

  This paper describes an interactive art installation shown at ICLI in Trondheim in March 2020. The installation comprised three musical robots (Dr. Squiggles) that play rhythms by tapping. Visitors were invited to wear muscle-sensor armbands, through which they could control the robots by performing ‘air-guitar’-like gestures.

• Bruford, Fred & Lartillot, Olivier (2020). Multidimensional similarity modelling of complex drum loops using the GrooveToolbox, In  Proceedings of the 21st International Society for Music Information Retrieval (ISMIR) Conference.  McGill-Queen's University Press.  ISBN 978-0-9813537-0-8.  KAPITTEL.  s 263 - 270 Full text in Research Archive. Show summary

  The GrooveToolbox is a new Python toolbox implementing various algorithms, new and pre-existing, for the analysis and comparison of symbolic drum loops, including rhythm features, similarity metrics and microtiming features. As part of the GrooveToolbox we introduce two new metrics of rhythm similarity and four features for describing the significant properties of microtiming deviations in drum loops. Based on a two-part perceptual evaluation, we show these four new microtiming features can each correlate to similarity perception, and be used with rhythm similarity metrics to improve personalized similarity models for drum loops. A new measure of structural rhythmic similarity is also shown to correlate more strongly to similarity perception of drum loops than the more com- monly used Hamming distance. These results point to the potential application of the GrooveToolbox and its new features in drum loop analysis for intelligent music production tools. The GrooveToolbox may be found at: https://github.com/fredbru/GrooveToolbox

• Lartillot, Olivier & Bruford, Fred (2020). Bistate reduction and comparison of drum patterns, In  Proceedings of the 21st International Society for Music Information Retrieval (ISMIR) Conference.  McGill-Queen's University Press.  ISBN 978-0-9813537-0-8.  KAPITTEL.  s 318 - 324 Full text in Research Archive. Show summary

  This paper develops the hypothesis that symbolic drum patterns can be represented in a reduced form as a sim- ple oscillation between two states, a Low state (commonly associated with kick drum events) and a High state (often associated with either snare drum or high hat). Both an onset time and an accent time is associated to each state. The systematic inference of the reduced form is formal- ized. This enables the specification of a rhythmic struc- tural similarity measure on drum patterns, where reduced patterns are compared through alignment. The two-state representation allows a low computational cost alignment, once the complex topological formalization is fully taken into account. A comparison with the Hamming distance, as well as similarity ratings collected from listeners on a drum loop dataset, indicates that the bistate reduction enables to convey subtle aspects that goes beyond surface-level com- parison of rhythmic textures.

• Hawkins, Stan & Nielsen, Nina (2020). Gaahl—Monster or Postmodern Prometheus? Masculinity, Class, and Norwegian Black Metal, In Ian Peddie (ed.),  The Bloomsbury Handbook of Popular Music and Social Class.  Bloomsbury Academic.  ISBN 978-1-5013-4536-4.  Chp. 9.  s 185 - 204
• Nielsen, Nanette (2020). Den musikalske etik, I: Øivind Varkøy & Henrik Holm (red.),  Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m..  Cappelen Damm Akademisk.  ISBN 9788202696818.  Kapittel 4.  s 61 - 77
• Nielsen, Nanette & Phillips-Hutton, Ariana (2020). Ethics, In Nanette Nielsen; Tomas McAuley; Jerrold Levinson & Ariana Phillips-Hutton (ed.),  The Oxford Handbook of Western Music and Philosophy.  Oxford University Press.  ISBN 9780199367313.  Chapter 13.
• Nielsen, Nanette; McAuley, Tomas & Levinson, Jerrold (2020). Introduction, In Nanette Nielsen; Tomas McAuley; Jerrold Levinson & Ariana Phillips-Hutton (ed.),  The Oxford Handbook of Western Music and Philosophy.  Oxford University Press.  ISBN 9780199367313.  Introduction.
• Mangaoang, Áine (2020). "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs, In Melanie L. Marshall & Martin Iddon (ed.),  Beyoncé: At Work, On Screen, and Online.  Indiana University Press.  ISBN 9780253052841.  Chapter 9.  s 189 - 225
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo; Laeng, Bruno; Vuoskoski, Jonna Katariina & Jensenius, Alexander Refsum (2020). Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music. Music & Science.  ISSN 2059-2043.  3 . doi: 10.1177/2059204320974216 Full text in Research Archive. Show summary

  Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predict the amount of spontaneous movement of the participants. Individual differences were measured using a set of questionnaires: Big Five Inventory, Interpersonal Reactivity Index, and Barcelona Music Reward Questionnaire. Liking ratings for the stimuli were also collected. The regression analyses show that Empathic Concern is a significant predictor of the observed spontaneous movement. We also found a relationship between empathy and the participants’ self-reported tendency to move to music.

• Aksnes, Hallgjerd (2020). Making Sense. Studi di estetica.  ISSN 0585-4733.  anno XLVIII(IV serie, 1/2020), s 299- 306 . doi: 10.7413/18258646122 Full text in Research Archive.
• Guldbrandsen, Erling E. (2020). Om den psykologiske realiteten av langstrakt musikalsk form: Et musikkfilosofisk forsøk, I: Øivind Varkøy & Henrik Holm (red.),  Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m..  Cappelen Damm Akademisk.  ISBN 9788202696818.  Kapittel 11.  s 191 - 214
• Xambó, Anna; Støckert, Robin; Jensenius, Alexander Refsum & Saue, Sigurd (2020). Learning to Code Through Web Audio: A Team-Based Learning Approach. Journal of The Audio Engineering Society.  ISSN 1549-4950.  68(10), s 727- 737 . doi: 10.17743/jaes.2020.0019 Full text in Research Archive. Show summary

  In this article, we discuss the challenges and opportunities provided by teaching programming using web audio technologies and adopting a team-based learning (TBL) approach among a mix of colocated and remote students, mostly novices in programming. The course has been designed for cross-campus teaching and teamwork, in alignment with the two-city master's program in which it has been delivered. We present the results and findings from (1) students' feedback; (2) software complexity metrics; (3) students' blog posts; and (4) teacher's reflections. We found that the nature of web audio as a browser-based environment, coupled with the collaborative nature of the course, was suitable for improving the students' level of confidence about their abilities in programming. This approach promoted the creation of group course projects of a certain level of complexity, based on the students' interests and programming levels. We discuss the challenges of this approach, such as supporting smooth cross-campus interactions and assuring students' preknowledge in web technologies (HTML, CSS, and JavaScript) for an optimal experience. We conclude by envisioning the scalability of this course to other distributed and remote learning scenarios in academic and professional settings. This is in line with the foreseen future scenario of cross-site interaction mediated through code.

• Poveda Yánez, Jorge & Jensenius, Alexander Refsum (2020). Computer-based synaesthesia and the design of complex methods to approach multimodal realities of dance and music through technology. An interview with Alexander R. Jensenius, Deputy-Director of the RITMO Centre of Excellence of the University of Oslo. Revista de Humanidades Digitales. . doi: 10.5944/rhd.vol.5.2020.27029 Show summary

  After producing ground-breaking computer-based tools to advance the study of human movement, such as the video-visualization techniques contained in the Musical-Gestures Toolbox, Alexander Refsum Jensenius has con-tinued to find more creative and analytical possibilities to intersect our understandings of music and dance. In the current context of technology-assisted misappropriation of tradi-tional songs and dances, I interviewed the Deputy Director of the RITMO Centre on how we might revert the link between new technol-ogies and intangible cultural heritage for the benefit of legitimate bearers. Furthermore, in this interview, Alexander out-lines the embodied and interdisciplinary ap-proach towards music that has grounded the course of his career but even more interesting-ly, he offers insights about the future of expe-riencing dance through technology and the possibility of dancing robots.

• Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2020). Exploring relationships between effort, motion, and sound in new musical instruments. Human Technology.  ISSN 1795-6889.  16(3), s 310- 347 . doi: 10.17011/ht/urn.202011256767 Full text in Research Archive. Show summary

  We investigated how the action–sound relationships found in electric guitar performance can be used in the design of new instruments. Thirty-one trained guitarists performed a set of basic sound-producing actions (impulsive, sustained, and iterative) and free improvisations on an electric guitar. We performed a statistical analysis of the muscle activation data (EMG) and audio recordings from the experiment. Then we trained a long short-term memory network with nine different configurations to map EMG signal to sound. We found that the preliminary models were able to predict audio energy features of free improvisations on the guitar, based on the dataset of raw EMG from the basic sound-producing actions. The results provide evidence of similarities between body motion and sound in music performance, compatible with embodied music cognition theories. They also show the potential of using machine learning on recorded performance data in the design of new musical instruments.

• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2020). Music as embodied experience. Human Technology.  ISSN 1795-6889. . doi: 10.17011/ht/urn.202011256763 Full text in Research Archive.
• Weisethaunet, Hans (2020). «Keeping time» vs. «making time»: Jon Christensen (1943–2020), Studia Musicologica Norvegica 46, 77-93. Studia Musicologica Norvegica.  ISSN 0332-5024.  46(1), s 77- 93 . doi: https://doi.org/10.18261/issn.1504-2960-2020-01-07 Full text in Research Archive.
• Mangaoang, Áine (2020). Scenes and Networks, In Áine Mangaoang (ed.),  Made in Ireland: Studies in Popular Music.  Routledge.  ISBN 9781138336032.  Part 3.  s 169 - 172
• Mangaoang, Áine (2020). Songs of Love: A Conversation with Neil Hannon (The Divine Comedy), In Áine Mangaoang (ed.),  Made in Ireland: Studies in Popular Music.  Routledge.  ISBN 9781138336032.  Chapter 19.  s 248 - 262
• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (2020). Popular Music in Ireland: Mapping the Field, In Áine Mangaoang (ed.),  Made in Ireland: Studies in Popular Music.  Routledge.  ISBN 9781138336032.  Introduction.  s 1 - 16
• Hawkins, Stan (2020). Personas in Rock: "We Will, We Will Rock You", In Allan Moore & Paul Carr (ed.),  The Bloomsbury Handbook of Rock Music Research.  Bloomsbury Academic.  ISBN 978-1-5013-3045-2.  Chapter 16.  s 239 - 254
• Endestad, Tor; Godøy, Rolf Inge; Sneve, Markus Handal; Hagen, Thomas; Bochynska, Agata Elzbieta & Laeng, Bruno (2020). Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain.. Frontiers in Human Neuroscience.  ISSN 1662-5161.  14 . doi: 10.3389/fnhum.2020.576888 Full text in Research Archive.
• Danielsen, Anne (2020). 'Keeping it real', 'Keeping it dandy'? Male blackness and the popular music mainstream, In Kai Arne Hansen; Freya Jarman & Eirik Askerøi (ed.),  Popular Musicology and Identity: Essays in Honour of Stan Hawkins.  Routledge.  ISBN 9781138322882.  Kapittel 7.
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms, In  AM '20: Proceedings of the 15th International Conference on Audio Mostly.  Association for Computing Machinery (ACM).  ISBN 978-1-4503-7563-4.  Musical Structure.  s 107 - 113 Full text in Research Archive. Show summary

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants’ head movement was recorded with an optical motion capture system.We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Zelechowska, Agata (2020). Poruszeni muzyką. Badania nad ruchem ciała w kontekście percepcji muzyki, I: Julia Kaleńska-Rodzaj & Maria Chełkowska-Zacharewicz (red.),  Psychologia Muzyki.  Wydawnictwo Naukowe PWN.  ISBN 9788301213374.  Chapter 5.  s 87 - 104
• Elovsson, Karl Anders (2020). Polyphonic pitch tracking with deep layered learning. Journal of the Acoustical Society of America.  ISSN 0001-4966.  148(1), s 446- 468 . doi: https://doi.org/10.1121/10.0001468 Show summary

  This article presents a polyphonic pitch tracking system that is able to extract both framewise and note-based estimates from audio. The system uses several artificial neural networks trained individually in a deep layered learning setup. First, cascading networks are applied to a spectrogram for framewise fundamental frequency (f0) estimation. A sparse receptive field is learned by the first network and then used as a filter kernel for parameter sharing throughout the system. The f0 activations are connected across time to extract pitch contours. These contours define a framework within which subsequent networks perform onset and offset detection, operating across both time and smaller pitch fluctuations at the same time. As input, the networks use, e.g., variations of latent representations from the f0 estimation network. Finally, erroneous tentative notes are removed one by one in an iterative procedure that allows a network to classify notes within a correct context. The system was evaluated on four public test sets: MAPS, Bach10, TRIOS, and the MIREX Woodwind quintet and achieved state-of-the-art results for all four datasets. It performs well across all subtasks f0, pitched onset, and pitched offset tracking.

• Lartillot, Olivier; Cancino-Chacón, Carlos & Brazier, Charles (2020). Real-Time Visualisation Of Fugue Played By A String Quartet, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  KAPITTEL.  s 115 - 122 Full text in Research Archive. Show summary

  We present a new system for real-time visualisation of music performance, focused for the moment on a fugue played by a string quartet. The basic principle is to offer a visual guide to better understand music using strategies that should be as engaging, accessible and effective as possible. The pitch curves related to the separate voices are drawn on a space whose temporal axis is normalised with respect to metrical positions, and aligned vertically with respect to their thematic and motivic classification. Aspects related to tonality are represented as well. We describe the underlying technologies we have developed and the technical setting. In particular, the rhythmical and structural representation of the piece relies on real-time polyphonic audio-to-score alignment using online dynamic time warping. The visualisation will be presented at a concert of the Danish String Quartet, performing the last piece of The Art of Fugue by Johann Sebastian Bach.

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Remiksens retrett? Innvirkningen av plattformers gjenkjenninsprosedyrer på mashups. Norsk Medietidsskrift.  ISSN 0804-8452.  3(2020) Full text in Research Archive. Show summary

  Mange av dagens internettplattformer bruker automatiske og algoritmiske verktøy for å gjenkjenne og moderere uønsket innhold, inkludert det som blir ansett for å krenke opphavsretten. Denne artikkelen undersøker hvordan slike gjennkjenningsprosedyrer påvirker mashup-musikk – en form for remiks som baserer seg på å kombinere (uautoriserte) utdrag av tidligere, gjenkjennelige musikkinnspillinger. På bakgrunn av intervjuer (n = 30) og en spørreundersøkelse (n = 92) med mashup-produsenter, viser vi at disse gjenkjenningsprosedyrene påvirker produsentenes kreative beslutninger og distribusjonsstrategier, og at de har en betydelig, negativ innvirkning på produsentenes generelle motivasjon for å lage mashups. Produsentenes innvendinger mot denne situasjonen vinner en viss gjenklang i de juridiske unntakene fra opphavsretten. Vi argumenterer imidlertid for at disse unntakene, som utgjør en juridisk «gråsone», ikke er lagt tilstrekkelig til rette for av plattformene. Plattformenes politisk-økonomiske makt gjør det dermed mulig for dem å «okkupere» og kontrollere denne gråsonen. Som en konsekvens er den praktiske anvendelsen av opphavsrettens unntak i denne settingen betydelig redusert.

• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar Ersland & Aareskjold-Drecker, Jon Marius (2020). Dynamic range processing and its influence on perceived timing in electronic dance music. Music Theory Online.  ISSN 1067-3040.  26(2), s 1- 13 . doi: 10.30535/MTO.26.2.3 Full text in Research Archive. Show summary

  In this article, we explore the extent to which dynamic range processing (such as compression and sidechain compression) influences our perception of a sound signal’s temporal placement in music. Because compression reshapes the sound signal’s envelope, scholars have previously noted that certain uses of sidechain compression can produce peculiar rhythmic effects. In this article, we have tried to interrogate and complicate this notion by linking a description of the workings and effects of dynamic range processing to empirical findings on the interaction between sound and perceived timing, and by analyzing multitracks and DAW project files, as well as released audio files, of selected EDM tracks. The analyses of the different EDM tracks demonstrated that sidechain compression affects the music in many possible ways, depending on the settings of the compressors’ parameters, as well as the rhythmic pattern and the sonic complexity of both the trigger signal and the sidechained signal. Dynamic range processing’s impact on groove and perceived timing indicates, in line with previous findings, that sound and timing interact in fundamental ways. Because of this interaction, then, we cannot limit ourselves to technical terms that describe how particular effects are achieved if we want to fully understand the grooves that are characteristic of EDM or other music. We must also consider how listeners experience these effects.

• Martin, Charles Patrick; Glette, Kyrre; Nygaard, Tønnes & Tørresen, Jim (2020). Understanding Musical Predictions With an Embodied Interface for Musical Machine Learning. Frontiers in Artificial Intelligence.  ISSN 2624-8212.  3(6) . doi: 10.3389/frai.2020.00006 Show summary

  Machine-learning models of music often exist outside the worlds of musical performance practice and abstracted from the physical gestures of musicians. In this work, we consider how a recurrent neural network (RNN) model of simple music gestures may be integrated into a physical instrument so that predictions are sonically and physically entwined with the performer's actions. We introduce EMPI, an embodied musical prediction interface that simplifies musical interaction and prediction to just one dimension of continuous input and output. The predictive model is a mixture density RNN trained to estimate the performer's next physical input action and the time at which this will occur. Predictions are represented sonically through synthesized audio, and physically with a motorized output indicator. We use EMPI to investigate how performers understand and exploit different predictive models to make music through a controlled study of performances with different models and levels of physical feedback. We show that while performers often favor a model trained on human-sourced data, they find different musical affordances in models trained on synthetic, and even random, data. Physical representation of predictions seemed to affect the length of performances. This work contributes new understandings of how musicians use generative ML models in real-time performance backed up by experimental evidence. We argue that a constrained musical interface can expose the affordances of embodied predictive interactions.

• Erdem, Cagri & Jensenius, Alexander Refsum (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation, In Romain Michon & Franziska Schroeder (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Birmingham City University.  ISBN 978-1-949373-99-8.  1.  s 477 - 482 Full text in Research Archive. Show summary

  This paper describes the ongoing process of developing RAW, a collaborative body–machine instrument that relies on `sculpting' the sonification of raw EMG signals. The instrument is built around two Myo armbands located on the forearms of the performer. These are used to investigate muscle contraction, which is again used as the basis for the sonic interaction design. Using a practice-based approach, the aim is to explore the musical aesthetics of naturally occurring bioelectric signals. We are particularly interested in exploring the differences between processing at audio rate versus control rate, and how the level of detail in the signal––and the complexity of the mappings––influence the experience of control in the instrument. This is exemplified through reflections on four concerts in which RAW has been used in different types of collective improvisation.

• Erdem, Cagri; Lan, Qichao; Fuhrer, Julian; Martin, Charles Patrick; Tørresen, Jim & Jensenius, Alexander Refsum (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  5.  s 177 - 184 Full text in Research Archive. Show summary

  In acoustic instruments, sound production relies on the interaction between physical objects. Digital musical instruments, on the other hand, are based on arbitrarily designed action--sound mappings. This paper describes the ongoing exploration of an empirically-based approach for simulating guitar playing technique when designing the mappings of 'air instrument' designs. We present results from an experiment in which 33 electric guitarists performed a set of basic sound-producing actions: impulsive, sustained, and iterative. The dataset consists of bioelectric muscle signals, motion capture, video, and audio recordings. This multimodal dataset was used to train a long short-term memory network (LSTM) with a few hidden layers and relatively short training duration. We show that the network is able to predict audio energy features of free improvisations on the guitar, relying on a dataset of three distinct motion types.

• Swarbrick, Dana; Kiss, Alex; Trehub, Sandra; Tremblay, Luc; Alter, David & Chen, Joyce (2020). HIIT the Road Jack: An Exploratory Study on the Effects of an Acute Bout of Cardiovascular High-Intensity Interval Training on Piano Learning. Frontiers in Psychology.  ISSN 1664-1078.  11(2154) . doi: 10.3389/fpsyg.2020.02154 Full text in Research Archive. Show summary

  Pairing high-intensity interval training (HIIT) with motor skill acquisition may improve learning of some implicit motor sequences (albeit with some variability), but it is unclear if HIIT enhances explicit learning of motor sequences. We asked whether a single bout of HIIT after non-musicians learned to play a piano melody promoted better retention of the melody than low-intensity interval training (LIIT). Further, we investigated whether HIIT facilitated transfer of learning to a new melody. We generated individualized exercise protocols by having participants (n = 25) with little musical training undergo a graded maximal exercise test (GXT) to determine their cardiorespiratory fitness (VO2peak) and maximum power output (Wmax). In a subsequent session, participants practiced a piano melody (skill acquisition) and were randomly assigned to a single bout of HIIT or LIIT. Retention of the piano melody was tested 1 hour, 1 day, and 1 week after skill acquisition. We also evaluated transfer to learning a new melody 1 week after acquisition. Pitch and rhythm accuracy were analyzed with linear mixed-effects modeling. HIIT did not enhance sequence-specific retention of pitch or rhythmic elements of the piano melody, but there was modest evidence that HIIT facilitated transfer to learning a new melody. We tentatively conclude that HIIT enhances explicit, task-general motor consolidation.

• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Timing Is Everything... Or Is It? Effects of Instructed Timing Style, Reference and Pattern on Drum Kit Sound in Groove-Based Performance. Music Perception.  ISSN 0730-7829.  38(1), s 1- 26 . doi: 10.1525/mp.2020.38.1.1 Full text in Research Archive. Show summary

  THIS STUDY REPORTS ON AN EXPERIMENT THAT tested whether drummers systematically manipulated not only onset but also duration and/or intensity of strokes in order to achieve different timing styles. Twenty-two professional drummers performed two patterns (a simple ‘‘back-beat’’ and a complex variation) on a drum kit (hi-hat, snare, kick) in three different timing styles (laid-back, pushed, on-beat), in tandem with two timing references (metronome and instrumental backing track). As expected, onset location corresponded to the instructed timing styles for all instruments. The instrumental reference led to more pronounced timing profiles than the metronome (pushed strokes earlier, laid-back strokes later). Also, overall the metronome reference led to earlier mean onsets than the instrumental reference, possibly related to the ‘‘negative mean asynchrony’’ phenomenon. Regarding sound, results revealed systematic differences across participants in the duration (snare) and intensity (snare and hi-hat) of strokes played using the different timing styles. Pattern also had an impact: drummers generally played the rhythmically more complex pattern 2 louder than the simpler pattern 1 (snare and kick). Overall, our results lend further evidence to the hypothesis that both temporal and sound-related features contribute to the indication of the timing of a rhythmic event in groove-based performance.

• Aminihajibashi, Samira; Hagen, Thomas; Andreassen, Ole Andreas; Laeng, Bruno & Espeseth, Thomas (2020). The effects of cognitive abilities and task demands on tonic and phasic pupil sizes. Biological Psychology.  ISSN 0301-0511.  156 . doi: 10.1016/j.biopsycho.2020.107945 Full text in Research Archive.
• Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  Paper. Full text in Research Archive. Show summary

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased betweensystem error rates. Both systems showed minimal withintrial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/midrange system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• Størvold, Tore (2020). Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”. Journal of Aesthetics and Culture.  ISSN 2000-4214.  12(1) . doi: 10.1080/20004214.2020.1761060 Full text in Research Archive. Show summary

  This article presents a musicological and ecocritical close reading of the song “Brennisteinn” (“sulphur” or, literally, “burning rock”) by the acclaimed post-rock band Sigur Rós. The song— and its accompanying music video—features musical, lyrical, and audiovisual means of registering the turbulence of living in volcanic landscapes. My analysis of Sigur Rós’s music opens up a window into an Icelandic cultural history of inhabiting a risky Earth, a condition captured by anthropologist Gísli Pálsson’s concept of geosociality, which emerged from his ethnography in communities living with volcanoes. Geosociality allows for a “down to earth” perspective that accounts for the liveliness of the ground below our feet. Likewise, in Sigur Rós’s “Brennisteinn”, we encounter a musical imagination of the geologic that poses a challenge to hegemonic concepts of nature founded on notions of equilibrium and permanence. The article culminates with a consideration of what such a geologically minded aesthetics can offer us in the age of the Anthropocene.

• Stupacher, Jan; Witek, Maria; Vuoskoski, Jonna Katariina & Vuust, Peter (2020). Cultural familiarity and individual musical taste differently affect social bonding when moving to music. Scientific Reports.  ISSN 2045-2322.  10 . doi: https://doi.org/10.1038/s41598-020-66529-1 Full text in Research Archive.
• Zelechowska, Agata; Gonzalez-Sanchez, Victor E.; Laeng, Bruno & Jensenius, Alexander Refsum (2020). Headphones or Speakers? An Exploratory Study of Their Effects on Spontaneous Body Movement to Rhythmic Music. Frontiers in Psychology.  ISSN 1664-1078.  11(698) . doi: 10.3389/fpsyg.2020.00698 Full text in Research Archive. Show summary

  Previous studies have shown that music may lead to spontaneous body movement, even when people try to stand still. But are spontaneous movement responses to music similar if the stimuli are presented using headphones or speakers? This article presents results from an exploratory study in which 35 participants listened to rhythmic stimuli while standing in a neutral position. The six different stimuli were 45 s each and ranged from a simple pulse to excerpts from electronic dance music (EDM). Each participant listened to all the stimuli using both headphones and speakers. An optical motion capture system was used to calculate their quantity of motion, and a set of questionnaires collected data about music preferences, listening habits, and the experimental sessions. The results show that the participants on average moved more when listening through headphones. The headphones condition was also reported as being more tiresome by the participants. Correlations between participants’ demographics, listening habits, and self-reported body motion were observed in both listening conditions. We conclude that the playback method impacts the level of body motion observed when people are listening to music. This should be taken into account when designing embodied music cognition studies.

• Danielsen, Anne & Hawkins, Stan (2020). The Quest of Princian Research. Popular music and society.  ISSN 0300-7766.  43(3), s 231- 236 . doi: 10.1080/03007766.2020.1757811
• Stover, Chris; Cachopo, João Pedro & Nickleson, Patrick (2020). Introduction, In Chris Stover; João Pedro Cachopo & Patrick Nickleson (ed.),  Rancière and Music.  Edinburgh University Press.  ISBN 9781474440226.  Introduction.  s 1 - 23
• Stover, Chris (2020). Rancière's Affective Impropriety, In Chris Stover; João Pedro Cachopo & Patrick Nickleson (ed.),  Rancière and Music.  Edinburgh University Press.  ISBN 9781474440226.  Chapter 10.  s 230 - 261
• Towse, Ruth (2020). Dealing with digital: the economic organisation of streamed music. Media, Culture and Society.  ISSN 0163-4437. . doi: https://doi.org/10.1177/0163443720919376 Full text in Research Archive. Show summary

  The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.

• Huron, David & Vuoskoski, Jonna Katariina (2020). On the enjoyment of sad music: Pleasurable Compassion Theory and the role of trait empathy. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2020.01060 Full text in Research Archive.
• Haugen, Mari Romarheim & Danielsen, Anne (2020). Effect of tempo on relative note durations in a performed samba groove. Journal of New Music Research.  ISSN 0929-8215. . doi: 10.1080/09298215.2020.1767655 Full text in Research Archive. Show summary

  Previous studies have revealed uneven duration patterns at the sixteenth note level of samba. In the present study, we investigated the influence of tempo on such sixteenth-note patterns in a performed samba groove.The results revealed an uneven duration pattern in all tempi. Interestingly, the shortest note becomes relatively shorter and the longest relatively longer as the tempo increases. We suggest that the differences in relative durations between tempi reflect the need to maintain the samba sixteenth note ‘template’ in all tempi: producing the samba ‘feel’ requires that relative durations have to be adjusted to tempo.

• Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum (2020). Student active learning in a two campus organisation. eLearning and Software for Education.  ISSN 2066-026X.  1, s 612- 620 . doi: 10.12753/2066-026X-20-080 Show summary

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21 century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• Danielsen, Anne & Hawkins, Edgar Stanley (2020). “The Right Amount of Odd”: Vocal Compulsion, Structure, and Groove in Two Love Songs from Around the World in a Day. Popular music and society.  ISSN 0300-7766.  43(3) . doi: 10.1080/03007766.2020.1757814 Full text in Research Archive. Show summary

  In this music-analytic interpretation of two love songs from Prince’s Around the World in a Day album, we investigate the properties of groove, arrangement, and vocality, all of which contribute to the artist’s inimitable signature. With a disciplinary grounding in musicology, we demonstrate ways whereby musical features are associated with meaning in recorded songs. Underlying the approach is the notion that it is in the music where Prince’s ingenuity mainly lies. The analysis is informed by an understanding of the technological ramifications of the process on the part of Prince and his audio engineer Susan Rogers.

• Hagen, Anja Nylund (2020). Music in Streams: Communicating Music in the Streaming Paradigm, In Michael Filimowicz & Veronika Tzankova (ed.),  Reimagining Communication: Mediation (1st Edition).  Routledge.  ISBN 9781138498914.  Kapittel 13.  s 210 - 225 Show summary

  Chapter 13 – Anja Nylund Hagen’s ‘Music in Streams: Communicating Music in the Streaming Paradigm’ – looks at how streaming services have come to play such a major role in the culture industry, reaching vast audiences via a relatively new channel of information flows. The chapter focuses on music streaming and how streaming platforms are reshaping music industry practices and audience engagement.

• Brennan, Matt & Devine, Kyle (2020). The cost of music. Popular Music.  ISSN 0261-1430.  39(1), s 43- 65 . doi: 10.1017/S0261143019000552
• Eriksen, Asbjørn Øfsthus (2020). Benötigen wir eine weitere Durchsicht von Edvard Griegs Gesamtausgabe? Über zwei verschwundene Takte in Lualåt, Op. 73 Nr. 7. Die Musikforschung.  ISSN 0027-4801.  73(1), s 47- 54
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Effects of instructed timing on electric guitar and bass sound in groove performance. Journal of the Acoustical Society of America.  ISSN 0001-4966.  147(2), s 1028- 1041 . doi: 10.1121/10.0000724 Show summary

  This paper reports on two experiments that investigated the expressive means through which musicians well versed in groove-based music signal the intended timing of a rhythmic event. Data were collected from 21 expert electric guitarists and 21 bassists, who were instructed to perform a simple rhythmic pattern in three different timing styles—“laidback,” “on-the-beat,” and “pushed”—in tandem with a metronome. As expected, onset and peak timing locations corresponded to the instructed timing styles for both instruments. Regarding sound, results for guitarists revealed systematic differences across participants in the duration and brightness [spectral centroid (SC)] of the guitar strokes played using these different timing styles. In general, laid-back strokes were played with a longer duration and a lower SC relative to on-the-beat and pushed strokes. Results for the bassists indicated systematic differences in intensity (sound-pressure level): pushed strokes were played with higher intensity than on-the-beat and laid-back strokes. These results lend further credence to the hypothesis that both temporal and sound-related features are important indications of the intended timing of a rhythmic event, and together these features offer deeper insight into the ways in which musicians communicate at the microrhythmic level in groove-based music.

• Akca, Merve; Laeng, Bruno & Godøy, Rolf Inge (2020). No Evidence for an Auditory Attentional Blink for Voices Regardless of Musical Expertise. Frontiers in Psychology.  ISSN 1664-1078.  10 . doi: 10.3389/fpsyg.2019.02935 Full text in Research Archive. Show summary

  Background: Attending to goal-relevant information can leave us metaphorically “blind” or “deaf” to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with expertise and objects types in the auditory modality. Methods: Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results: The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importantly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion: The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances.

• Llorens, Anaïs; Funderud, Ingrid; Blenkmann, Alejandro Omar; Lubell, James; Foldal, Maja Dyhre; Leske, Sabine Liliana; Huster, Rene; Meling, Torstein Ragnar; Knight, Robert T; Solbakk, Anne-Kristin & Endestad, Tor (2020). Preservation of Interference Effects in Working Memory After Orbitofrontal Damage. Frontiers in Human Neuroscience.  ISSN 1662-5161.  13, s 1- 15 . doi: 10.3389/fnhum.2019.00445 Full text in Research Archive. Show summary

  Orbitofrontal cortex (OFC) is implicated in multiple cognitive processes, including inhibitory control, context memory, recency judgment, and choice behavior. Despite an emerging understanding of the role of OFC in memory and executive control, its necessity for core working memory (WM) operations remains undefined. Here, we assessed the impact of OFC damage on interference effects in WM using a Recent Probes task based on the Sternberg item-recognition task (1966). Subjects were asked to memorize a set of letters and then indicate whether a probe letter was presented in a particular set. Four conditions were created according to the forthcoming response ("yes"/"no") and the recency of the probe (presented in the previous trial set or not). We compared behavioral and electroencephalography (EEG) responses between healthy subjects (n = 14) and patients with bilateral OFC damage (n = 14). Both groups had the same recency pattern of slower reaction time (RT) when the probe was presented in the previous trial but not in the current one, reflecting the proactive interference (PI). The within-group electrophysiological results showed no condition difference during letter encoding and maintenance. In contrast, event-related potentials (ERPs) to probes showed distinct within-group condition effects, and condition by group effects. The response and recency effects for controls occurred within the same time window (300-500 ms after probe onset) and were observed in two distinct spatial groups including right centro-posterior and left frontal electrodes. Both clusters showed ERP differences elicited by the response effect, and one cluster was also sensitive to the recency manipulation. Condition differences for the OFC group involved two different clusters, encompassing only left hemisphere electrodes and occurring during two consecutive time windows (345-463 ms and 565-710 ms). Both clusters were sensitive to the response effect, but no recency effect was found despite the behavioral recency effect. Although the groups had different electrophysiological responses, the maintenance of letters in WM, the evaluation of the context of the probe, and the decision to accept or reject a probed letter were preserved in OFC patients. The results suggest that neural reorganization may contribute to intact recency judgment and response after OFC damage.

• Danielsen, Anne (2020). Desktop production and groove, In Simon Zagorski-Thomas & Andrew Bourbon (ed.),  The Bloomsbury Handbook of Music Production.  Bloomsbury Academic.  ISBN 9781501334047.  chapter 17.
• Jones, Ellis Nathaniel (2020). Book review: Popular Music in the Post-Digital Age. Popular Music.  ISSN 0261-1430.  39(1), s 146- 148 . doi: https://doi-org.ezproxy.uio.no/10.1017/S0261143020000045
• Harvey, Joshua S; Smithson, Hannah E.; Siviour, Clive R.; Gasper, Giles E. M.; Sønnesyn, Sigbjørn Olsen; McLeish, Tom C. B. & Howard, David K. (2019). A Thirteenth-Century Theory of Speech. Journal of the Acoustical Society of America.  ISSN 0001-4966.  146, s 937- 947
• Støckert, Robin; Jensenius, Alexander Refsum; Xambó, Anna & Brandtsegg, Øyvind (2019). A case study in learning spaces for physical-virtual two-campus interaction. European Journal of Higher Education IT – EJHEIT.  ISSN 2519-1764.  1 Full text in Research Archive. Show summary

  In this paper we present results from our ongoing project Student Active Learning in a Two campus Organization(SALTO). This is funded as part of the Norwegian University of Science and Technology’s (NTNU) Teaching Excellence scheme. The initiative consists of a portfolio of development measures, with the purpose of developing innovative approaches to learning, teaching and assessment. The aim of SALTO is to develop pedagogical strategies for the two-campus master’s program Music, Communication and Technology(MCT). This is a joint program between NTNU and the University of Oslo, with the students being split between the cities of Trondheim and Oslo 500 km apart. The program is built around a shared physical-virtual space -the Portal -with a range of high-quality audiovisual technologies. The SALTO project focuses on how the Portal can be used for all activities in the program, with an emphasis on human-computer interaction, resource sharing and collaboration. This is done by students and teachers exploring educational, methodological, and technological solutions together. As such, the SALTO project uses the Portalas a "living lab", which is constantly evolving and being optimized for student-active learning scenarios. In this paper, we present and discuss three cases from the first year of the project: (1) The MCT Opening Ceremony, (2) A "Christmas concert" between to upper secondary schools in Trondheim and Oslo, (3) An intensive workshop-based course with a mix of preparations, lectures and hands-on exercises. The three cases do in various ways present some of the challenges and possibilities of two-campus teaching.

• Stover, Chris (2019). Deterritorialize Yourself! Four Meta-musical Vignettes for John Rahn. Perspectives of New Music.  ISSN 0031-6016.  57(1-2), s 255- 285
• Alarcón Diaz, Ximena & Jensenius, Alexander Refsum (2019). “Ellos no están entendiendo nada” [“They are not understanding anything”]: embodied remembering as complex narrative in a Telematic Sonic Improvisation, In Morten Søndergaard & Laura Beloff (ed.),  Proceedings of RE:SOUND 2019.  British Computer Society (BCS).  Chapter. Full text in Research Archive. Show summary

  INTIMAL is a physical-virtual system for relational listening, exploring the role of the body as interface that keeps memory of place in migratory contexts. The system is developed to integrate the body movements of performers (and their voices) with an oral archive. The system has been informed and tested by nine Colombian migrant women in Europe in a telematic performance between the cities of Oslo, Barcelona and London. In the performance a “complex narrative” emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged. We reflect on how this distributed embodied expression—through technological mediated sound and movement interactions—might further aid processes of collective remembering and catharsis, in a context of conflict and gendered migration.

• Copiaco, Abigail; Ritz, Christian; Abdulaziz, Nidhal & Fasciani, Stefano (2019). Identifying Optimal Features for Multi-channel Acoustic Scene Classification, In Eesa M Bastaki & Husameldin Mukhtar (ed.),  2019 2nd International Conference on Signal Processing and Information Security (ICSPIS).  IEEE.  ISBN 978-1-7281-3873-2.  Conference Paper.
• Luniewska, Magdalena; Chyl, Katarzyna; Debska, Agnieszka; Banaszkiewicz, Anna; Zelechowska, Agata; Marchewka, Artur; Grabowska, Anna & Jednorog, Katarzyna (2019). Children With Dyslexia and Familial Risk for Dyslexia Present Atypical Development of the Neuronal Phonological Network. Frontiers in Neuroscience.  ISSN 1662-4548.  13, s 1- 19 . doi: 10.3389/fnins.2019.01287 Full text in Research Archive.
• Stover, Christopher (2019). Contextual Theory, or Theorizing Between the Discursive and the Material. Analytical Approaches to World Music.  ISSN 2158-5296.  7(2) Full text in Research Archive.
• Stover, Christopher (2019). A música como pesquisa nômade (Music as nomad research). Atos de pesquisa em educação.  ISSN 1809-0354.  14(3) Full text in Research Archive.
• Lan, Qichao & Jensenius, Alexander Refsum (2019). QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies, In Anna Xambo Sedo; Sara R. Martin & Gerard Roma (ed.),  Proceedings of the International Web Audio Conference.  NTNU.  1. Full text in Research Archive. Show summary

  QuaverSeries consists of a domain-specific language and a single-page web application for collaborative live coding in music performances. Its domain-specific language borrows principles from both programming and digital interface design in its syntax rules, and hence adopts the paradigm of functional programming. The collaborative environment features the concept of 'virtual rooms', in which performers can collaborate from different locations, and the audience can watch the collaboration at the same time. Not only is the code synchronised among all the performers and online audience connected to the server, but the code executing command is also broadcast. This communication strategy, achieved by the integration of the language design and the environment design, provides a new form of interaction for web-based live coding performances.

• Xambo Sedo, Anna; Støckert, Robin; Jensenius, Alexander Refsum & Saue, Sigurd (2019). Facilitating Team-Based Programming Learning with Web Audio, In Anna Xambo Sedo; Sara R. Martin & Gerard Roma (ed.),  Proceedings of the International Web Audio Conference.  NTNU.  Paper.  s 2 - 7 Full text in Research Archive. Show summary

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Wallace, Benedikte; Martin, Charles Patrick & Nymoen, Kristian (2019). Tracing from Sound to Movement with Mixture Density Recurrent Neural Networks, In Grisha Coleman (ed.),  Proceedings of the 6th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-7654-9.  Artikkel. Show summary

  In this work, we present a method for generating sound-tracings using a mixture density recurrent neural network (MDRNN). A sound-tracing is a rendering of perceptual qualities of short sound objects through body motion. The model is trained on a dataset of single point sound-tracings with multimodal input data and learns to generate novel tracings. We use a second neural network classifier to show that the input sound can be identified from generated tracings. This is part of an ongoing research effort to examine the complex correlations between sound and movement and the possibility of modelling these relationships using deep learning.

• Bromham, Gary; Moffat, David; Barthet, Mathieu; Danielsen, Anne & Fazekas, György (2019). The Impact of Audio Effects Processing on the Perception of Brightness and Warmth, In  AM'19: Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ.  Association for Computing Machinery (ACM).  ISBN 9781450372978.  Research article.  s 183 - 190 Show summary

  It is not uncommon to hear musicians and audio engineers speak of warmth and brightness when describing analog technologies such as vintage mixing consoles, multitrack tape machines, and valve compressors. What is perhaps less common, is hearing this term used in association with retro digital technology. A question exists as to how much the low bit rate and low-grade conversion quality contribute to the overall brightness or warmth of a sound when processed with audio effects simulating early sampling technologies. These two dimensions of timbre are notoriously difficult to define and more importantly, measure. We present a subjective user study of brightness and warmth, where a series of audio examples are processed with different audio effects. 26 participants rated the perceived level of brightness and warmth of various instrumental sequences for 5 different audio effects including bit depth reduction, compression and equalisation. Results show that 8 bit reduction tends to increase brightness and decrease warmth whereas 12 bit reduction tends to do the opposite, although this is very much dependent on the instrument. Interestingly, the most significant brightness changes, due to bit reduction, were obtained for bass sounds. For comparison purposes, instrument phrases were also processed with both an analogue compressor and an equalisation plugin to see if any subjective difference was noticed when simulating sonic characteristics that might be associated with warmth. Greater significance was observed when the sound excerpts were processed with the plugins being used to simulate the effects of bit depth reduction.

• Novovic, Milos (2019). Fighting European ‘Copyright Tourism’: Lessons from Defamation Laws. European Review of Private Law.  ISSN 0928-9801.  27(5), s 949- 971 Show summary

  In the recent cases of Pinckney and Hejduk, the ECJ revised European rules on jurisdiction over online copyright infringement disputes – making it possible for claimants to bring their lawsuits in virtually any European country. Due to the application of lex loci protectionis, this choice of venue also affects the law applicable to disputes. This article shows that this results in a substantial forum shopping risk, despite safety mechanisms built into the ECJ judgments. It explains that forum shopping is not inherently bad, but that it creates major problems for copyright laws, given its potential to shift the balance between the authors and exploiters of the work. In an attempt to identify a possible solution, this article turns to the substantive implementation of de minimis principle in Principles on Conflict of Laws in Intellectual Property (CLIP) Principles. The success of this approach is illustrated through the field of media law, and specifically, the way in which United Kingdom solved the problem of libel tourism. Examining the substantive requirement of ‘serious harm’ found in the UK Defamation Act of 2013, the article proposes amending national copyright laws as to state that absent showing of the intention to target a certain Member State by the online infringing activity or, alternatively, a ‘serious harm’ suffered on its territory, no copyright infringement is to be found. This way, forum shopping in online copyright infringement cases may be stopped in its tracks, before it becomes a rampant practice in Europe

• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance, In Arthur Flexer; Geoffroy Peeters; Julián Urbano & Anja Volk (ed.),  Proceedings of the 20th International Society for Music Information Retrieval Conference, ISMIR 2019.  International Society for Music Information Retrieval.  ISBN 9781732729919.  F-17.
• Skaansar, Jo Fougner; Laeng, Bruno & Danielsen, Anne (2019). Microtiming and Mental Effort. Onset Asynchronies in Musical Rhythm Modulate Pupil Size. Music Perception.  ISSN 0730-7829.  37(2), s 111- 133 . doi: 10.1525/mp.2019.37.2.111 Full text in Research Archive. Show summary

  The present study tested two assumptions concerning the auditory processing of microtiming in musical grooves (i.e., repeating, movement-inducing rhythmic patterns): 1) Microtiming challenges the listener's internal framework of timing regularities, or meter, and demands cognitive effort. 2) Microtiming promotes a “groove” experience—a pleasant sense of wanting to move along with the music. Using professional jazz musicians and nonmusicians as participants, we hypothesized that microtiming asynchronies between bass and drums (varying from −80 to 80 ms) were related to a) an increase in “mental effort” (as indexed by pupillometry), and b) a decrease in the quality of sensorimotor synchronization (as indexed by reduced finger tapping stability). We found bass/drums-microtiming asynchronies to be positively related to pupil dilation and negatively related to tapping stability. In contrast, we found that steady timekeeping (presence of eighth note hi-hat in the grooves) decreased pupil size and increased tapping performance, though there were no conclusive differences in pupil response between musicians and nonmusicians. However, jazz musicians consistently tapped with higher stability than nonmusicians, reflecting an effect of rhythmic expertise. Except for the condition most closely resembling real music, participants preferred the on-the-grid grooves to displacements in microtiming and bass-succeeding-drums-conditions were preferred over the reverse.

• Godøy, Rolf Inge (2019). Musical Shape Cognition, In Mark Grimshaw; Mads Walther-Hansen & Martin Knakkergaard (ed.),  The Oxford Handbook of Sound and Imagination, Volume 2.  Oxford University Press.  ISBN 9780190460242.  Chapter 12.  s 237 - 258 Show summary

  Rolf Inge Godøy focusses on how notions of shape, understood as geometric figures and images stemming from body-motion, metaphors, graphic representation, and so forth, can be associated with the production and perception of music. Central to the chapter is the understanding that shape cognition is not only deeply rooted in the human experience of music and in specific musical imagery, but also that it has the potential to enhance our understanding of music as a phenomenon in general. Godøy also discusses how musical shape cognition, given that it is becoming increasingly more feasible to analyze with new technology, can contribute to various domains of music-related research, and, further, that it can be highly valuable to practical applications in musical and multimedia artistic creation.

• Maasø, Arnt & Hagen, Anja Nylund (2019). Metrics and decision-making in music streaming. Popular Communication - The International Journal of Media and Culture.  ISSN 1540-5702. . doi: 10.1080/15405702.2019.1701675 Full text in Research Archive. Show summary

  Music streaming enables the tracking of listening behavior in more detail than any previous music-distribution format. While it is well known that streaming services collect troves of data, little is known about how stakeholders, including managers or label executives, make metric-based decisions and how they understand the impact of algorithms. The article uses anonymized interviews with music industry professionals, exploring how they use metrics in streaming services and examining their decision-making processes. The analysis concludes that they rely on a growing volume of data when making decisions about what to promote, and how. Nevertheless, most of the stakeholders focused on fairly simple metrics, such as salient spikes that were noticeable “at a glance.” When discussing these !ndings, we draw attention to the reinforcing feedback loops between metrics, data-based decisions and algorithms, questioning whether data!cation acts to intensify trending events and di"usion of new music.

• Vohra, Manohar & Fasciani, Stefano (2019). PYNQ-Torch: a framework to develop PyTorch accelerators on the PYNQ platform. IEEE International Symposium on Signal Processing and Information Technology (ISSPIT).  ISSN 2162-7843. . doi: 10.1109/ISSPIT47144.2019.9001806
• Copiaco, Abigail; Ritz, Christian H; Fasciani, Stefano & Abdulaziz, Nidhal (2019). Scalogram Neural Network Activations with Machine Learning for Domestic Multi-channel Audio Classification. IEEE International Symposium on Signal Processing and Information Technology (ISSPIT).  ISSN 2162-7843. . doi: 10.1109/ISSPIT47144.2019.9001814
• Kjus, Yngvar (2019). The Use of Copyright in Digital Times: A Study of How Artists Exercise Their Rights in Norway. Popular music and society.  ISSN 0300-7766. . doi: 10.1080/03007766.2019.1698206 Full text in Research Archive. Show summary

  How do artists use copyright to further their creative ends? To approach this question, this article focuses on the relationship between artists’ appropriation of digital technology and exertion of their rights. In particular, it relates the evolving range of production tools and distribution services to the ways in which artists currently create musi- cal works and seek to exploit their economic as well as moral rights. Interviews with eighteen artists in Norway reveal a series of technology- mediated challenges to the ownership of one’s work, the recognition of one’s authorship, and one’s remuneration that demonstrate the need for open discussion of the ethical aspects of copyright in music.

• 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 Full text in Research Archive. 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 Braae & 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 Full text in Research Archive. 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: 10.18261/issn.1504-2960-2019-01-07 Full text in Research Archive.

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• McGuirk, James Nicholas; Ravn, Susanne & Høffding, Simon (ed.) (2021). Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice. Routledge.  ISBN 978-0367540210.
• Devine, Kyle & Boudreault-Fournier, Alexandrine (ed.) (2021). Audible Infrastructures: Music, Sound, Media. Oxford University Press.  ISBN 9780190932640.  304 s.
• Nielsen, Nanette; McAuley, Tomas; Levinson, Jerrold & Phillips-Hutton, Ariana (ed.) (2020). The Oxford Handbook of Western Music and Philosophy. Oxford University Press.  ISBN 9780199367313.  1100 s.
• Stover, Chris; Cachopo, João Pedro & Nickleson, Patrick (ed.) (2020). Rancière and Music. Edinburgh University Press.  ISBN 9781474440226.  396 s.
• Mangaoang, Áine (ed.) (2020). Made in Ireland: Studies in Popular Music. Routledge.  ISBN 9781138336032.  296 s. Show summary

  Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth and twenty-first century Irish popular music. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Industries and Historiographies; Roots and Routes; and Scenes and Networks.

• Bradley, Catherine (2020). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press.  ISBN 1561592390.  10 s.
• Gasper, Giles E. M.; Sønnesyn, Sigbjørn Olsen; Panti, Cecilia; McLeish, Tom C. B.; Smithson, Hannah E.; Lewis, Neil; Healy-Varley, Margaret; Thomson, David; Polloni, Nicola; Harvey, Joshua S; Siviour, Clive R.; Campi, Luigi; Coleman, John; El-Bizri, Nader; Lawrence-Mathers, Anne; Howard, David M. & Cunningham, Jack P. (2019). Knowing and Speaking: Robert Grosseteste's De Artibus Liberalibus, 'On the Liberal Arts', and De Generatione Sonorum, 'On the Generation of Sounds'. Oxford University Press.  ISBN 978-0-19-880551-9.  535 s.

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• Ganis, Francesco; Dahl, Sofia; Câmara, Guilherme Schmidt & Danielsen, Anne (2021). Beat precision and perceived danceability in drum grooves. Show summary

  Musicians can place the time-position of events with high precision and according to personal preference, genre and tempo [1]. For instance, the swing ratio is not kept constant, but it is systematically adapted to a global tempo [2]. In contemporary music, drummers can achieve a specific feel by manipulating the timing of rhythms in different ways and placing event onsets earlier or later compared to the time reference [1]. These small adjustments in time are also referred to as micro-timing variations. The aim of this study was to investigate the influence of micro-timing variations in live-played rhythms on the perceived danceability and timing precision. The stimuli were chosen from Câmara et al. [1] where drummers were playing two different patterns with different timing styles (laid-back, pushed, on-beat). Two drummers’ performances were selected based on their reported average systematic timing. These 12 recordings were mixed with the instrumental backing track (bass and guitar) heard by the drummers to form the stimuli. Forty participants (M = 28.23 years, SD = 11.80), 28 males and 12 females, with varying musical background were recruited via social media (Facebook pages, groups and direct messages to chat groups). Participants were sent a link to the online listening test using Google Forms with modifications that presented the stimuli as embedded videos. Each video started with a prompt to wear headphones followed by 4 bars of groove for a total of 11 seconds (with a static image). For each page, the participant was presented with a reference track (on-beat timing) and a “beat” track (laid-back or pushed timing) and asked to rate the perceived danceability from 1 (not danceable at all) to 5 (very danceable). Additionally, listeners were asked to compare the beat with the reference track and indicate whether this was pushed (ahead), laid-back (behind) or on-beat (synced with) the reference in terms of timing. Preliminary results indicate that micro-timing variations affect the perceived danceability. On-beat patterns were rated with the highest danceability, followed by laid-back and pushed styles. The drummer that obtained the highest danceability rating for the laid-back performance is also the one that was mainly recognized as on-beat performer. As expected, identification of timing (ahead, behind or on) proved to be difficult. Using the instrumental backing track as a time reference could possibly have made the task even harder for untrained listeners. Future research could address this by comparing danceability ratings for the grooves mixed with different backing tracks. References [1] G. S. Câmara, K. Nymoen, O. Lartillot, and A. Danielsen, “Timing Is Everything…Or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance,” Music Percept., vol. 38, no. 1, pp. 1–26, Sep. 2020, doi: 10.1525/mp.2020.38.1.1. [2] H. Honing and W. B. de Haas, “Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming,” Music Percept., vol. 25, no. 5, pp. 471–476, Jun. 2008, doi: 10.1525/mp.2008.25.5.471.

• Câmara, Guilherme Schmidt; Sioros, George & Danielsen, Anne (2021). Mapping timing and intensity strategies in drum-kit performance via hierarchical clustering and phylogenetic visualizations. Show summary

  Background and Aim: Findings from performance timing experiments have shown that drummers are able to systematically play stroke onsets significantly earlier and later than an instructed on-the-beat performance (Câmara et al., 2020; Danielsen et al., 2015), and purportedly able to further control the degree of onset asynchrony between the various constituent instruments of the drum-kit (Câmara and Danielsen, 2019). Previous investigations have focused on comparing average statistical trends of onset timing between timing styles across entire groups of drummers. In this study, we map performance strategies present at the individual participant level and categorize the different archetypical ways in which drummers express different timing styles. We focus on the onset asynchrony and intensity of strokes between drum-kit instruments, and in relation to a metrical grid, and hypothesize that drummers employ consistent strategies to achieve different desired timing styles, choosing different instruments (snare/kick/hi-hat) in the rhythmic pattern to generate in-sync, late, and early timing performances. Methods: In a previous experiment (Câmara et al., 2020), twenty-two drummers were instructed to play a basic “back-beat” pattern along to a metronome and a pre-recorded instrumental track in three different timing conditions: laid-back, on-the-beat, and pushed. Here, we conduct a hierarchical cluster analysis of various onset and intensity features in this data set, combined with phylogenetic tree visualizations to provide an overview of the strategies used by the drummers to distinguish laid-back/pushed from on-the-beat performances. Furthermore, we encode the features of the onset or intensity clusters into microtiming archetypes that visually summarize the general characteristics of the drummers’ strategy in each cluster. Results: Overall, three overarching onset strategies were used to distinguish pushed/laid-back from on-the-beat performances: (1) strong “general earliness/lateness” strategies: most instruments are consistently played earlier/later in time relative to the grid; (2) subtler “early/late flam” strategies: most instruments are played synchronously with the grid but at least one instrument is played distinctively early/late ; and (3) even subtler “ambiguously early/late compound sound” strategies: two instruments are played synchronously in relation to each other as a compound sound, but one instrument is played synchronous with the grid and the other is played early/late. While no clear intensity manipulation patterns emerged to exclusively distinguish laid-back/pushed timing, they serve as a means of enhancing or diminishing the effect of intentionally produced asynchronies. Conclusion: Results indicate that performers utilize a range of inter-instrument onset timing and intensity relationships to express microrhythmic feel in groove performance, that is, different drummers use different means to achieve the same desired feel. Implications: The novel methods developed in this study may be applied to analysis of commercial recordings to provide insight into the idiomatic timing–sound strategies of influential performers and/or genres/styles more generally. References: Câmara, G. S., & Danielsen, A. (2019). Groove. In A. Rehding & S. Rings (Eds.), The Oxford handbook of critical concepts in music theory (pp. 271–294). Oxford University Press. Câmara, G. S., Nymoen, K., Lartillot, O., & Danielsen, A. (2020). Timing Is Everything . . . or Is It? Effects of Instructed Timing Style, Reference, and Pattern on Drum Kit Sound in Groove-Based Performance. Music Perception, 38(1), 1–26. Danielsen, A., Waadeland, C. H., Sundt, H. G., & Witek, M. A. G. (2015). Effects of instructed timing and tempo on snare drum sound in drum kit performance. Journal of the Acoustical Society of America, 138(4), 2301–2316.

• Masu, Raul; Melbye, Adam Pultz; Sullivan, John & Jensenius, Alexander Refsum (2021). NIME Eco Wiki: A Crash Course. Show summary

  In this workshop, hosted by the three NIME environmental officers, participants will be introduced to the NIME Eco Wiki, a repository for addressing environmental and sustainability issues within the NIME community. During the workshop, the participants will discuss how practices on the communal as well as the individual level may become more sustainable and they will create new additions and ideas for the Wiki.

• Jensenius, Alexander Refsum (2021). NOR-CAM - En veileder for vurdering i akademiske karriereløp. Show summary

  UHRs arbeidsgruppe for åpen evaluering har siden 2019 jobbet med en veileder for vurdering i akademiske karriereløp. Veilederen er nå ferdig, og arbeidsgruppen foreslår et mer fleksibelt og helhetlig rammeverk for arbeidet med vurdering i akademiske karriereløp. Ambisjonen har vært å utvikle en veileder der mer åpenhet, større bredde i vurderingene, og med helhetlige vurderinger som motsats til ensidig bruk av indikatorer står sentralt.

• Jensenius, Alexander Refsum (2021). NOR-CAM - A framework for recognition and rewards in academic careers. Show summary

  A working group appointed by Universities Norway (UHR) was mandated to recommend guiding principles for the assessment and evaluation of research(ers) in light of the transition to Open Science. This working group proposes a more flexible and holistic framework for recognition and rewards in academic research assessment. The ambition has been to develop a guide that adopts three core principles for assessment: more transparency, greater breadth, and comprehensive assessments as opposed to one-sided use of indicators.

• Masu, Raul; Melbye, Adam Pultz; Sullivan, John & Jensenius, Alexander Refsum (2021). NIME and the Environment: Toward a More Sustainable NIME Practice. Show summary

  This paper addresses environmental issues around NIME research and practice. We discuss the formulation of an environmental statement for the conference as well as the initiation of a NIME Eco Wiki containing information on environmental concerns related to the creation of new musical instruments. We outline a number of these concerns and, by systematically reviewing the proceedings of all previous NIME conferences, identify a general lack of reflection on the environmental impact of the research undertaken. Finally, we propose a framework for addressing the making, testing, using, and disposal of NIMEs in the hope that sustainability may become a central concern to researchers.

• De Caro-Barek, Veruska & Støckert, Robin (2021). FROM PANIC TO PLANNING: EXTENDING THE NOTION OF PRESENCE TO CREATE SUSTAINABLE DIGITAL LEARNING ENVIRONMENTS. Show summary

  The transition from physical learning spaces to fully digital learning environments in annus horribilis 2020 has challenged Institutions and educators in re-thinking teaching in a time of crisis. E-learning is now phasing out from the initially "Fight-or-Flight" mode in handling panic during the first lockdowns and is currently trying to cope with the pandemic from a more sustainable long-time perspective. Issues have been enlightened concerning teaching and learning on a broader scale, focusing on the need to reconsider traditional teaching practices that nowadays seem not only obsolete but often incompatible with online teaching and learning. It is crucial to give the students flexibility and several possibilities in how, when, and where they engage with their Institution, curriculum, tasks, and peers. Nevertheless, there is a need for a clear structure or framework to aid and guide the students, providing shared arenas for feedback, teamwork, peer learning and social interaction in both physical, hybrid and fully digital learning environments. Through these contact points, we can build a sense of co-presence and mutual understanding between educators and learners to remove barriers that prevent learning. The notion of "presence" has often been discussed and used as an argument in the comparison between "on campus" and online education, strengthening the position of those who deem e-learning to be less useful and less engaging, namely because of the lack of physical presence. However, Institutions and educators need to recognize the current "state of things" as a part of the new norm and a point of no return. It is a question about combining the qualities of physical "in locus" education and the potential of digital learning in a post-pandemic world. By sharing first impressions from a research project at the Norwegian University of Science and Technology (NTNU), this paper attempts to balance and re-direct the discussion towards extending the notion of presence and human interaction to develop sustainable digital learning environments independently of the pandemic situation.

• Jensenius, Alexander Refsum (2021). Hvordan bygge og videreutvikle en internasjonal, interdisiplinær forskningsgruppe?.
• Jensenius, Alexander Refsum (2021). The experience of time and space in human standstill.
• Holbrook, Ulf A. S. (2021). Transpositional Structures #1. Show summary

  Ulf A. S. Holbrook er en kunstner som jobber med lyd i ulike medier, som inkluderer komposisjon, installasjon, improvisasjon, programmering, tekst og akademisk forskning. Med en interesse for representasjonen av sted, rom og tid gjennom lyd jobber han med metoder som spatial audio (multikanals lyd-reproduksjon), feltopptak og spesialskrevet programvare. Dette betyr at Kunstpunkt Lista denne gangen danner utgangspunktet for en lydinstallasjon som i stor grad baserer seg på lydopptak fra nærområdet. Vi håper dette vil gi publikum en ny og bredere opplevelse av lyd som en fysisk del av landskapet. Ulf A.S. Holbrook har også tidligere arbeidet på Lista som del av Sørlandsutstillingens 50 årsjubileum i 2019.

• Vuoskoski, Jonna Katariina (2021, 01. mai). Deeply Human: Sad Songs. [Radio].  BBC World Service.
• Hawkins, Stan (2021). Popular Music Books in Process Series - "In Concert: Performing Musical Persona" with Phil Auslander and Stan Hawkins.
• Patricia, Detmering & Pleiss, Martin (2021). Aporia. Show summary

  APORIA is a virtual world for VR (Oculus/Vive) and mixed reality that speculates on the sociological processes behind open and closed societies. The work took inspiration from 'Crowds and Power' by Elias Canetti. The behavioural dynamics elaborated in the book are reproduced by the 60 individuals in the VR experience. They inhabit the world of APORIA as human avatars, moving and acting according to artificial intelligence algorithms. APORIA’s residents can take decisions and actions on their own. Some of them behave in a close-minded way, preferring to build walls and following a strong order principle. The other half is more tolerant, moving freely and unrestrictedly. Every one of them follows his own daily routine, until a disturbing factor is randomly introduced: another human avatar unknown to the others, a stranger. The response by the residents of APORIA may differ. Groups are formed and dispersed. Leaders are appointed and released. The social dynamics coming into play become the central focus of the work.

• Lepczynski, Tanja & Pleiss, Martin (2021, 09. mars). Virtuell Virtuos. #10 Künstliche Intelligenz in der VR-Kunst. [Internett].  Spotify (Podcast). Show summary

  [Original language: German] When we put on VR glasses for an immersive experience, artificial intelligence (AI) is often not far away. AI is said to have immense abilities, so why not use it to create works of art? In this episode of "Virtuell Virtuos" we talk to Martin Pleiß about AI in VR art. Martin researches human perception and co-designed and programmed the VR art work "Aporia" by Patricia Detmering. Among other things, he explains the difference between algorithms and AI, and why AI can only ever be as intelligent as its creator.

• Mangaoang, Áine (2021). Review of How Belfast Got the Blues: A Cultural History of Popular Music in the 1960s. Noel McLaughlin and Joanna Braniff. Estudios Irlandeses.  ISSN 1699-311X.  16, s 298- 301 . doi: https://doi.org/10.24162/EI2021-10084
• Bradley, Catherine (2021). Red Notes and New Motets: Fragments from a Medieval Music Book in Stockholm.
• Bradley, Catherine (2021). Fragments from a Medieval Motet Manuscript in Stockholm: Musical Notation and Lost Polyphony around 1300.
• Guldbrandsen, Erling E. (2021). Tendenser i NRKs musikkdekning – en kritisk gjennomgang. Aftenposten.no.
• Guldbrandsen, Erling E. (2021). En kritisk gjennomgang av NRKs musikkdekning. Invitert innlegg i Kringkastingsrådet.
• Danielsen, Anne (2021). Groove.
• Danielsen, Anne & Mokkelbost, Erlend (2021, 02. mars). Intervju om soulmusikk til Øyapodcast. [Internett].
• Danielsen, Anne; Jemterud, Torkild & Brodal, Per (2021, 26. februar). Abels tårn. [Radio].  NRK P2.
• Danielsen, Anne (2021). RITMO: Senter for tverrfaglig forskning på rytme, tid og bevegelse, UiO.
• Bradley, Catherine (2021). Authorship in the Late Thirteenth-Century Motet: Adam de la Halle and Petrus de Cruce.
• Sørbø, Solveig Isis & Haugen, Mari Romarheim (2021, 23. februar). Om telespringar, samba, musikkforskning og låtskriving. [Radio].  Solveigs Speisa Musikk, RadiOrakel.
• Sioros, George (2021). Groove, meter and syncopation: a cognitive perspective..
• Erdem, Cagri (2021, 02. mars). Noise and Smoke: Disruptive Adventures in Jazz and New Music. [Radio].  Açık Radyo 95.0.
• Kwak, Dongho Daniel (2021). Sound Box. Show summary

  Sound box (acoustic chamber) designed and constructed for small scale testing/experiment.

• Lan, Qichao & Kwak, Dongho Daniel (2021). Musical performance on GLICOL at Oslo Life Science Conference. Show summary

  From the "Music for stem cells: Aiming to cure diabetes with sound waves" Oslo Life Science Conference event.

• Kwak, Dongho Daniel (2021). Presentation at Oslo Life Science Conference event. Show summary

  From the "Music for stem cells: Aiming to cure diabetes with sound waves" Oslo Life Science Conference event.

• Zelechowska, Agata & Pileberg, Silje (2021, 08. februar). Some music makes it impossible to stand still. [Internett].
• Zelechowska, Agata & Pileberg, Silje (2021, 29. januar). Denne musikken gjør at du ikke klarer å stå i ro. [Internett].
• Zelechowska, Agata & Pileberg, Silje (2021, 11. januar). Some music makes it impossible to stand still. [Internett].
• Karbasi, Seyed Mojtaba; Godøy, Rolf Inge; Jensenius, Alexander Refsum & Tørresen, Jim (2021). A Learning Method for Stiffness Control of a Drum Robot for Rebounding Double Strokes. Show summary

  In robot drumming, performing double stroke rolls is a key ability. Human drummers learn to play double strokes by just trying it several times. For performing it, a model needs to be learned to provide anticipatory commands during drumming. Joint stiffness plays a key role in rebounding double stroke task and should be considered in the model. We have introduced an interactive learning method for a drum robot to learn joint stiffness for rebounding double stroke task. The model is simulated for a 2-DoF robotic arm. The algorithm is simulated with 3 different drum kits to show the robustness of the learning approach. The simulation results also show significant compatibility with human performance results. In addition, the refined learning algorithm adjusts the stroke timing which is important for producing proper rhythms.

• Jensenius, Alexander Refsum & Holm, Hege (2021, 11. februar). Hva får oss ut på dansegulvet?. [Radio].  NRK P1. Show summary

  Hva får oss ut på dansegulvet? Det er forsket på hva som skal til for at vi beveger oss til musikk. Det er helt spesielle rytmer som får kroppen vår til å bevege seg, enten vi vil eller ei. Professor med bakgrunn både fra musikk, fysikk og matematikk forklarer.

• Kjus, Yngvar (2021, 27. januar). Har internett gjort det vanskeligere å lykkes i musikkbransjen?. [Radio].  NRK P2 - Studio 2. Show summary

  Selv om de fleste er enige i at strømmetjenester og sosiale medier er viktig for å nå et globalt publikum, kan også de samme plattformene begrense mulighetene for artister i dag. Forskere ved Univesitetet i Oslo mener musikkbransjen er rammet av digital ambivalens.

• Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt (2021). Musikk, opphavsrett og internett. Show summary

  Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30. På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet. Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter). Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no. Seminarprogrammet: Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30) Velkommen og kort presentasjon av seminaret og prosjektet - Forhandlinger om opphavsrett, Yngvar Kjus - Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen - Opphavsrettslige utfordringer, Olav Torvund Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00) Keynotes: - Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis? - Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo) Panel: - Kathrine Synnes Finnskog (Music Norway) - Ole Henrik Antonsen (NOPA) - Erik Brataas (Arctic Rights, Amplify:Creatives) Vel møtt!

• Devine, Kyle (2021, 16. januar). Greening the Net. [TV].  https://www.channelnewsasia.com/news/video-on-demand/greenin.
• Devine, Kyle (2021). Cloud Illusions. CTM Magazine.
• Devine, Kyle (2021). Building Back Better. The Wire.  443
• Zelechowska, Agata & Pileberg, Silje (2021, 11. januar). Some music makes it impossible to stand still. [Internett].
• Kjus, Yngvar (2021, 15. januar). Strømming gjør det vanskeligere å lykkes i musikkbransjen enn noensinne. [Internett].  www.hf.uio.no/imv/forskning/aktuelt.
• Jensenius, Alexander Refsum & Sørbø, Solveig Isis (2021, 19. januar). Lyd, stillhet, bevegelse og stillstand. [Radio].  Radiorakel. Show summary

  Solveigs Speisa Musikk

• Jensenius, Alexander Refsum & Finnset, Knut Anders (2021, 20. januar). Uenighet om UiOs nettsider: - Advarer kolleger mot å bruke dem.  Uniforum. Show summary

  Nettsidene til UiO har blitt for store i omfang og må ryddes opp i. Forskere frykter at aktiviteter skal forsvinne for alltid, men UiO lover å ikke slette innhold uten godkjenning fra instituttene.

• Bradley, Catherine (2021). Fragments from A Medieval Motet Manuscript in Stockholm: Perspectives for Theory and Analysis.
• Danielsen, Anne (2021). What is rhythm? What is micro rhythm?.
• Guldbrandsen, Erling E. (2020). Romantikkens musikkfilosofi. Om Peder Chr. Kjerschows musikktenkning – bind 4 av "Musikktenkningens historie".
• Sønnesyn, Sigbjørn Olsen (2020). Egil Kraggerud, De antiquitate regum Norwagiensium (On the Old Norwegian Kings). Edited with translation and commentary (Oslo: Novus Press, 2018). Historisk Tidsskrift (Norge).  ISSN 0018-263X.  99(2), s 160- 163
• Sønnesyn, Sigbjørn Olsen (2020). Laura Cleaver, Illuminated History Books in the Anglo-Norman World, 1066–1272 (Oxford: Oxford University Press, 2018). Journal of British Studies.  ISSN 0021-9371.  59(2), s 410- 411
• Sønnesyn, Sigbjørn Olsen (2020). Kven skal vakte etikken til etikkvaktarane sjølve?. Khrono.no.  ISSN 1894-8995.
• Sioros, George (2020). Comparing the timing of repetitive human movements.
• Erdem, Cagri (2020). RAW v2.
• Erdem, Cagri (2020). RAW.
• Erdem, Cagri (2020). RAW.
• Erdem, Cagri (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation.
• Erdem, Cagri (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks.
• Erdem, Cagri; Arikan, Gorkem; Uret, Umit; Olgun, Gokce Mine & Odabasi, Ipek (2020, 10. mai). A.I.D on AIR (biweekly). [Radio].  Root Radio.
• Erdem, Cagri & Arikan, Gorkem (2020, 23. juli). Mashed Potatoes (biweekly program). [Radio].  Root Radio.
• Godøy, Rolf Inge (2020). Musical Intermittency. Show summary

  One major topic in music perception, music analysis, music information retrieval and related domains, is how listeners parse continuous streams of sound into more discontinuous chunks. One possible source of such parsing could be in the so-called intermittency of motor control and effort in sound-producing body motion. In my talk, I'll focus on my ongoing research exploring such intermittency in musical experience.

• Godøy, Rolf Inge (2020). Understanding intermittency in sound-producing body motion. Show summary

  One major topic in music perception, music analysis, and music information retrieval, is how listeners parse continuous streams of sound into more discontinuous chunks. One possible source of such parsing could be in the so-called intermittency of motor control and effort in sound-producing body motion. In my talk, I'll focus on our ongoing research exploring such intermittency in experiences of music.

• Kwak, Dongho Daniel (2020). Physiological signals (series 1): Heartbeats and respiration models on MAX/MSP. Show summary

  Synthesized sound development with controllable parameters aimed to be used as cellular stimuli in ABINO project.

• Kwak, Dongho Daniel (2020). HTH Enrichment Seminar: Effect of mechanical vibration stress in cell culture on human induced pluripotent stem cells.
• Kwak, Dongho Daniel (2020). HTH Enrichment Seminar: Introduction to data sonification.
• Kwak, Dongho Daniel (2020). Food & Paper: Music for cells?!. Show summary

  Music for cells. Is there such a thing? Why do we want to use sound to manipulate, regulate or change certain conditions in our body, and something even as small as human cells? The use of sound and music to provide beneficial effect on biological being or on human is not a novel idea. Ancient Greek and Romans have already recognized this fascinating relationship. In our modern days, there have been uprising interests in mechanobiology among the cell biologists. A favourable use of sound is evident in numerous experiments reporting the responses of biological cells to audio and music stimuli. The prospective medical benefits of investigating correlations between sound and cellular responses are promising for the life sciences. However, although a considerable amount of literature is available, many of them are case- and cell-specific and there is still a lack of comprehensive understanding of the relationship between employed sound stimuli and different responses of biological cells under examination.

• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Food & Paper: Virtually Together: Concerts during the Coronavirus. Show summary

  Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Oddekalv, Kjell Andreas (2020). Food & Paper: Metre-on-metre interactions – analysing the rhythms of rap flows.
• Smetana, Monika; Bishop, Laura & Stepniczka, Irene (2020). Dialogue in music therapy piano partner-play improvisations: First results from an exploratory feasibility study.
• Stepniczka, Irene; Bishop, Laura & Smetana, Monika (2020). Meaningful situations during “partner-play” improvisations: A feasibility study applying a mixed methods approach.
• Swarbrick, Dana; Khoparzi, Abhinay; Bell, Renick; Erdem, Cagri & Sørbø, Solveig Isis (2020). MusicLab 5: Lockdown Rave. Show summary

  In the 5th edition of MusicLab we presented an online algorave (algorithmic rave)! Prominent algoravers Renick Bell and Khoparzi improvised live-coded music on their computers from their respective locations in Japan and India, while the audience danced to the rave music in their homes all over the world. This event was also the launch of the MusicLab App!

• Holbrook, Ulf A. S. (2020). Tessellation Rift.
• Holbrook, Ulf A. S. (2020). Playdate.
• Zelechowska, Agata (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music. Show summary

  This dissertation examines the phenomenon of spontaneous movement responses to music. It attempts to grasp and illustrate the complexity of this behaviour by viewing it from different perspectives. Unlike most previous studies on music and body movement, it places the focus on barely visible manifestations of movement, such that can happen when listening to music while standing still. The point of departure is a reflection on movement responses to music, and why such responses are considered a universal human phenomenon. This is followed by a discussion on different approaches to studying how music `inspires' movement, and an overview of different factors that can potentially contribute to the emergence of movement responses to music. The first goal of the empirical research is to verify the common conception that `music makes us move' and examine whether such a movement response can be involuntary. Three of the five included papers show that music can, indeed, make people move, even when they try to stand as still as possible. The second goal is to explore different factors that contribute to movement responses to music. Throughout the included papers, several topics are examined, including rhythmic complexity, tempo, music genres, individual differences, playback systems, and others. The theoretical chapters show how these topics fit into three broader categories of music experience components: music, listener, and context. Overall, the results suggest that several factors seem to increase movement responses to music: the clear underlying pulse in the sound stimuli, the rhythmic complexity, a tempo around 120 beats per minute, listening on headphones rather than speakers, and high empathy of the listener.While this dissertation leaves many questions open, its main contribution is in bridging some gaps in the literature on musicrelated body movement. It also broadens up the perspective on why, how, and when music moves us.

• Høffding, Simon (2020). Series of Four, MusicLab Copenhagen.
• Høffding, Simon (2020). Dufrenne and Dewwey on Being Moved.
• Høffding, Simon (2020). Sammen i Musikken – fri improvisation som en unik social begivenhed?.
• Akca, Merve (2020). Insan Sesi Ayrimi/Human Voice Distinction. Popular Science Turkey.
• Câmara, Guilherme Schmidt (2020). Original concert performance with funk/soul ensemble "Baba Soul & The Professors of Funk", Jazz Fest Trondheim 2020.
• Lilleslåtten, Mari; Câmara, Guilherme Schmidt & Danielsen, Anne (2020, 28. oktober). Hva du synes er bra musikk avgjøres på noen tusendels sekunder. [Internett].  Forskning.no.
• Lan, Qichao (2020). GLICOL: Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet.
• Lan, Qichao (2020). Developing QuaverSeries in Sema Ecosystem.
• Lan, Qichao (2020). QuaverSeries in Sema Ecosystem. Show summary

  In this project, QuaverSeries live coding language is reimplemented in Sema Ecosystem. The syntax remains identical while the previous audio engine Tone.js is replaced by the one in Sema.

• Lan, Qichao (2020). Performing with QuaverSeries in Sema Ecosystem. Show summary

  QuaverSeries is a live coding language that explores the balance between minimalism and readability in live coding language syntax design. It adopts a parenthesis-free syntax and forms a left-to-right typing flow. It was first implemented with Ohm.js and Tone.js, but in this new branch of QuaverSeries, it is reimplemented with Sema Live Coding Language Ecosystem and focuses on signal modulation. In this performance, the performer will be improvising on sound synthesis and seek to arrive at a self-playing state.

• Lan, Qichao & Jensenius, Alexander Refsum (2020). Embodied Pattern Writing in Live Coding.
• Kraugerud, Emil (2020). Come Closer: Acousmatic Intimacy in Popular Music Sound. Full text in Research Archive. Show summary

  When intimacy is mentioned in music reviews, daily speech, and research on music—when a voice or other sound is described as “intimate,” for example—it might at first be understood as synonymous to perceived proximity. Yet it implies much more, including several engaging aspects of close interpersonal relations or interactions. This dissertation examines this experience of intimacy when one listens to music recordings, and the role of record production in triggering such an experience. I refer to this specific sense of intimacy as acousmatic intimacy in order to distinguish it from the intimacy that one experiences in everyday interpersonal encounters. I investigate this notion through a combination of literary reviews, sound analyses, and interviews with recordists, all informed by my overall hermeneutic approach. The aim of the dissertation is to conceptualize “acousmatic intimacy” as a theoretical approach to the sensation of intimacy that may be experienced when one listens to music recordings—that is, when the origins of the sounds (musicians and instruments) are absent. Such a sensation is often triggered by what musicians and recordists do in the process of making the recordings. As such, the dissertation provides qualitative insight into some of the ways in which listeners connect to music, and, more specifically, into the role of recordists in influencing listeners’ interpretation of musical meaning. The concept of acousmatic intimacy may eventually serve as a useful hermeneutic analytical framework for analyzing recorded music, and for understanding listening processes and production strategies.

• Stover, Chris (2020). “Timelines and their contexts: affect, improvisation, call and response.” (Accepted; conference postponed due to COVID-19). Show summary

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• Stover, Chris (2020). “Affect and sonic de/territorialization, or Music(ology) between bodies.” (Accepted; conference postponed due to COVID-19).
• Devine, Kyle (2020, 25. oktober). The Hidden Costs of Streaming Music. [Radio].  Radio New Zealand: Sunday Morning.
• Devine, Kyle (2020, 02. november). Classical Music and Climate Change. [Radio].  BBC Radio 3: Music Matters.
• Devine, Kyle (2020). Decomposed: Political Ecologies of Music.
• Devine, Kyle (2020). Renewable Heritage: Footprints of the Future.
• Devine, Kyle (2020). Decomposed: Political Ecologies of Musical Culture.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2020). Gangsta Norvegicum.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud; Walderhaug, Bendik; Nergaard, Erik De Torres & Lars, Skaland (2020). Sinsenfist med Erik De Torres - Baller med stroller (musikkvideo). [Video ].
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud; Walderhaug, Bendik & Sand, Gudmund (2020). Sinsenfist med Sinsenprinsen - Ring 3 (musikkvideo). [Video ].
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud; Walderhaug, Bendik & Nergaard, Erik De Torres (2020). Sinsenfist med Erik De Torres - Baller med stroller.
• Bruford, Fred & Lartillot, Olivier (2020). Multidimensional similarity modelling of complex drum loops using the GrooveToolbox. Show summary

  The GrooveToolbox is a new Python toolbox implementing various algorithms, new and pre-existing, for the analysis and comparison of symbolic drum loops, including rhythm features, similarity metrics and microtiming features. As part of the GrooveToolbox we introduce two new metrics of rhythm similarity and four features for describing the significant properties of microtiming deviations in drum loops. Based on a two-part perceptual evaluation, we show these four new microtiming features can each correlate to similarity perception, and be used with rhythm similarity metrics to improve personalized similarity models for drum loops. A new measure of structural rhythmic similarity is also shown to correlate more strongly to similarity perception of drum loops than the more com- monly used Hamming distance. These results point to the potential application of the GrooveToolbox and its new features in drum loop analysis for intelligent music production tools. The GrooveToolbox may be found at: https://github.com/fredbru/GrooveToolbox

• Nohr, Magnus & Herrebrøden, Henrik (2020, 20. november). Tester og testtilbakemeldinger som direkte bidragsytere til dypere læring blant studenter. [Internett].  https://www.youtube.com/watch?v=ZcoM38ubi0Q.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud; Walderhaug, Bendik & Honnstad, Tobias (2020). Sinsenfist med Sinsenprinsen - Ring 3.
• Guldbrandsen, Erling E. (2020). Teflonretorikk. scenekunst.no. . doi: http://www.scenekunst.no/sak/teflonretorikk/
• Lossius, Trond; Parkins, Andrea; Holbrook, Ulf A. S.; Hernandez, Katt; Wells, Craig; Bunnskog, Magnus & Wrangö, Magnus (2020). FRST 2020 / Puls Concert #8. Show summary

  Lydinstallasjon og konsert kuratert av Trond Lossius. Program: [A] Lydinstallasjon Andrea Parkins: Studio Drawing, [B] Konsert: [B1] Ulf A. S. Holbrook: Tessalation rift, [B2] Katt Hernadez: Vart ska dom ta vägen nu?, [B3] Craig Wells: Mood Swing, [B4] Trond Lossius: Edgelands.

• Brøvig-Hanssen, Ragnhild (2020). A Doubled Now: Parody Theories.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar Ersland (2020). Timing in Electronic Dance Music.
• Brøvig-Hanssen, Ragnhild (2020). “Parody in the Age of Remix and Takedowns”.
• Zelechowska, Agata (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music.
• Zelechowska, Agata (2020). What is musical entrainment?.
• Zelechowska, Agata; Jensenius, Alexander Refsum; Laeng, Bruno & Vuoskoski, Jonna Katariina (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music. Full text in Research Archive.
• Dybsand, Øyvin (2020). Johan Halvorsen in Leipzig: His Study Time and Later Contacts with C. F. Peters.
• Smedsrud, Morten Skipenes; Nordmark, Kristin Nagy & Aksnes, Hallgjerd (2020). En reise til musikkens indre. Apollon : Forskningsmagasin for Universitetet i Oslo.  ISSN 0803-6926.  30. årgang(3/2020), s 18- 21
• Aksnes, Hallgjerd; Fuglestad, Svein & Koksvik, Ingvild (2020). «...alt går så fort og skal være flinkt...»: Affordanser i GIM-programmet The Romantic Piano.
• Backe Madsen, Lars & Kraugerud, Emil (2020, 18. desember). Holder Bøhler og Northug musikkfaglig mål? Vi har spurt ekspertene.  Dagens Næringsliv.
• Hui, Alan (2020). Revenue assignment in music sampling: the challenge of who owns and who owes. Show summary

  More about the conference and paper here: https://www.hf.uio.no/iakh/english/research/projects/creative-intellectual-property-rights/events/changing-regimes-of-authorships-.html

• Jensenius, Alexander Refsum & Danielsen, Anne (2020). UiOs nettsider er en viktig forskningsinfrastruktur. Uniforum.  ISSN 1891-5825. Show summary

  Det er underlig at UiO så aktivt går inn for å slette tilgjengelig informasjon om vår egen kultur og historie. Vi er enig i at det er behov for å rydde opp i nettsidene, men mener at fokuset bør ligge på rydding og kvalitetssikring fremfor sletting, skriver Alexander Refsum Jensenius og Anne Danielsen i RITMO.

• Caglar, Yurdal & Erdem, Cagri (2020). Bahçe. [CD].
• Jensenius, Alexander Refsum (2020). Some Challenges of Citizen Science for Universities. Show summary

  The potential of Citizen Science is high on the agenda in the discussion on the future of academic research. The European Commission’s Communication “A new ERA for Research and Innovation”, published in September 2020, states that “[...] the engagement of citizens, local communities and civil society will [help] achieve greater social impact and increased trust in science.” Citizens can contribute in diverse ways, ranging from data collection over data analysis to co-designing projects, and thereby bring academic research and its outcomes closer to society. However, Citizen Science also accentuates ethical and legal questions about ownership of the research process and outcomes, and poses challenges in terms of safeguarding research quality. Addressing these challenges and using the opportunities of Citizen Science will require universities to take the lead and consider the place of Citizen Science within their institutional strategies, as well as the support they offer to research staff. Engaging in inclusive and transparent science, Citizen Science and Open Science are becoming increasingly intertwined. Currently, Citizen Science is described by the European Commission as “both an aim and enabler of Open Science”. This joint workshop will discuss themes around institutional support for Citizen Science and offers an opportunity to transfer and share knowledge. The aim is to exchange experiences, lessons learnt, and explore common challenges. To support Citizen Science, the online workshop will discuss tools, guidelines and good practices from Open Science experiences as well. Participating universities will have the opportunity to share expertise, coordinate efforts and exchange advice on services, tools and legal and ethical issues.

• Gonzalez, Victor; Zelechowska, Agata & Jensenius, Alexander Refsum (2020). MICRO Motion capture data from groups of participants standing still to auditory stimuli (2015). Show summary

  This project contains head movement data recorded from groups of participants asked to stand as still as possible and presented with a series of auditory stimuli. Data was collected in units of mm with a Qualisys motion capture system at 100Hz. Data was collected at the University of Oslo on March 12th 2015 from a total of 108 participants. Code to read and process these files has been made publicly available.

• Vuoskoski, Jonna Katariina (2020, 03. desember). Vad lyssnar folk på i Borgå, Karis och Jakobstad?. [Internett].  https://svenska.yle.fi/artikel/2020/12/04/vad-lyssnar-folk-p.
• Hui, Alan (2020). Revenue Assignment and Value Sharing in Music Sampling: Who Owns and Who Owes?.
• Bradley, Catherine (2020). A New Type of Musical Notation ca. 1300: Decoding Red Notes in a Fragment from Stockholm.
• Danielsen, Anne (2020). Interdisciplinary music research. Show summary

  In this keynote I will discuss interdisciplinarity as a methodological approach in music studies. I begin by outlining different forms of collaboration across disciplines. Then I will share my experiences with designing and leading the project TIME: Timing and Sound in Musical Microrhythm, funded by the NFR-TOPPFORSK scheme. The project draws on a wide variety of disciplines that have been central to the study of rhythm in music and explores a broad methodological palette: from musical analysis and aesthetic interpretation, to qualitative interviews, controlled experiments and cross-cultural comparative approaches. I will focus on how different methods can be combined to provide richer answers to the same research questions, and how to organize research to achieve collaboration across traditions. The challenges facing interdisciplinary research will also be addressed. In the last part of the lecture, the focus will be on interdisciplinarity across disciplines based on our experiences of running the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo, where music scholars collaborate with researchers from other fields, such as informatics and cognitive psychology.

• Hagen, Anja Nylund; Molde, Audun; Nathaus, Klaus & Mitrovic, Minja (2020). Panel: “The Impacts of the Covid-19 crisis on the cultural and creative sectors”.
• Hagen, Anja Nylund (2020, 19. november). Kan datamaskiner lage hitmusikk?. [TV].  NRK Nyhetsmorgen. Show summary

  Hva skjer når kunstig intelligens blir del av musikkproduksjonen?

• Hagen, Anja Nylund (2020, 23. november). DDE med direktestrøyma julemusikal. [TV].  Dagsrevyen, NRK1. Show summary

  Strømmekonserter produseres i ny form fram mot jul. Er formatet liv laga for framtiden?

• Weisethaunet, Hans (2020). “Music & Cultural Theory: Ph.d. Seminar-lecture”.
• Weisethaunet, Hans (2020). «Musikkritikken som felt».
• Weisethaunet, Hans (2020). «Populærmusikkens historiografi – Norge».
• Hawkins, Stan (2020). Approaching queerness in popular music.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 19. november). Musikk laget av algoritmer utfordrer musikkbransjen: – Det er klart vi er bekymret. [Internett].  NRK.no. Show summary

  Frank Sinatra har kommet med en ny sang 22 år etter sin død. Eller, har han egentlig det?

• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 19. november). Musikk laget av kunstig intelligens. [TV].  NRK Dagsrevyen.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 19. november). Kan en datamaskin lage den neste megahiten?. [Radio].  NRK P2.
• Weisethaunet, Hans (2020). “ECM 1970-2020.” Public Seminar. Victoria – Nasjonal Jazzscene. med Jan Ole Otnæs og Jan Omdahl.
• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually together: Concerts during the coronavirus. Show summary

  Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Hawkins, Stan & Stuen, Eivend Augst Westad (2020, 13. november). Stan Hawkins: Fra samtidskomponist til popforsker.  KILDEN.
• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually Together: Concerts during the Coronavirus. Show summary

  Background Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. Aims We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Method Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. Results 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. Conclusions This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Quarantine Concerts.
• Hawkins, Stan (2020). Keynote address: On a Journey to the End of Playfulness: Queerness and Music. Show summary

  Susanna Välimäki’s writings have been pathbreaking in decoding and upsetting the dominant-hegemonic positioning of gendered identity in popular music. Her research into LGBTIQ activism in Finnish pop music reveals that 5-15% of the population of Finland belong to minority groups, and that queer music-making abounds in both mainstream and underground practices. Indeed, queer lives on display in pop, occupy spaces for thinking about the possibility of futurity and activist music research. As well as the musical genres that traditionally fall into the queer zone, queer artists play a major role in the ‘public agenda’. I argue for queerness as a survival strategy for people functioning within and outside the mainstream. Queer pop is characterised by transformative politics, where experiencing fun or playfulness also demands ethical awareness of the pervasive problem of discrimination.

• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (2020). Made in Ireland booklaunch.
• Mangaoang, Áine (2020). Creative freedom? The place of music in Norwegian prisons.
• Mangaoang, Áine & Western, Thomas James (2020). Music, Sound, and Power in Contemporary Places of Detention.
• Mangaoang, Áine (2020). Music, Sound, and Power in Contemporary Places of Detention: Ethno-Activist Approaches in Ireland, Greece, Norway (panel).
• Mangaoang, Áine; O'Flynn, John; Ó Briain, Lonán; Jones, Jaime & Dillane, Aileen (2020). Made in Ireland: Notes from a small island (panel).
• Mangaoang, Áine (2020). Retromania? Problematizing Popular Music Heritage Futures.
• Mangaoang, Áine (2020). Music video on the margins: Performing citizenship on YouTube.
• Mangaoang, Áine (2020). "Listen to the song here in my heart”: Beyoncé, YouTube and Signed Songs.
• Herrebrøden, Henrik (2020). "Hva var det jeg sa?". Dagbladet.  ISSN 0805-3766.
• Herrebrøden, Henrik (2020). Lyd for folk i bevegelse.
• Hagen, Anja Nylund (2020, 02. november). Det store skillet mellom digitale vinnere og tapere. [Internett].  ballade.no. Show summary

  Deler av norsk musikkbransje ser på strømming og digitale plattformer med stjerner i øynene. Andre ser bare utfordringer. Ytterpunktene skildres i fersk forskning – og skillene mellom musikksjangerne er store.

• Hagen, Anja Nylund (2020, 05. mars). Ny rapport: - Digitaliseringen i musikkbransjen må profesjonaliseres. [Internett].  KulturPlot. Show summary

  røyt 10 år etter at strømmetjenestene ble innført, sliter fortsatt norske artister og bransjeledd med å utnytte denne teknologien. Rapporten «Digital ambivalens», som er utarbeidet av forskere fra Universitetet i Oslo og Telemarksforsking, gir et bilde av den norske musikkbransjen før korona og omtrent 10 år etter at strømming ble vanlig.

• Hagen, Anja Nylund (2020, 05. november). – Vi kunne vært verdensledende. [Internett].  ballade.no. Show summary

  Norsk musikk må følges av bedre forhandlere når den skal ut i verden. Vinduet som verdensledere på strømming er i ferd med å lukkes for Norge. Slik lyder reaksjonene på fersk forskning om digitale utfordringer.

• Hawkins, Stan (2020). "Made in Ireland" book launch - keynote address.
• Silva, Sembapperumaarachchige & Jensenius, Alexander Refsum (2020). Sonification of Standstill Recordings. Show summary

  The goal of this thesis was to develop and experiment with a set of sonification tools to explore participant data from standstill competitions. Using data from the 2012 Norwegian Championship of Standstill, three sonification models were developed using the Max/MSP programming environment. The first section of the thesis introduces sonification as a method for data exploration and discusses different sonification strategies. Momentary Displacement of the position was derived from the position data and parameter mapping methods were used to map the data features with sound parameters. The displacement of position in the XY plane or the position changes along the Z-Axis can be mapped either to white-noise or to a sine tone. The data variables control the amplitude and a filter cut-off frequency of the white noise or the amplitude and frequency of the sine tone. Moreover, using sound spatialization together with sonification was explored by mapping position coordinates to spatial parameters of a sine tone. A “falling” effect of the standing posture was identified through the sonification. Also audible were the participants’ breathing patterns and postural adjustments. All in all, the implemented sonification methods can be effectively used to get an overview of the standstill dataset.

• Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård (2020). Norsk musikkbransje – digitale pionerer i ambivalens. ballade.no. Show summary

  Norsk musikkbransje var blant de første i verden i å omstille seg til digital musikkdistribusjon. Men klarer de digitale pionerene å utnytte mulighetene til sin fordel?

• Hagen, Anja Nylund (2020, 01. oktober). Topper lister: - Helt vilt Norske Delara rager på hitlistene i Tyskland, Sveits og Østerrike..  Dagbladet. Show summary

  - Det er ganske crazy det som skjer nå. Det føles helt vilt at noe man har laget i studioet i Oslo har gjort det så bra internasjonalt. Det sier R&B-sanger Amanda Delara Nikman (23), best kjent som Delara, til Dagbladet. Siden fredag har singelen hennes «Checka» vært innom andreplassen på Spotify-listene i Tyskland, og tredjeplassen i Østerrike og Sveits.

• Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård (2020). Digital ambivalens. Norsk musikk i internasjonale markeder. Show summary

  Rapporten Digital ambivalens gir et deskriptivt bilde av den norske musikkbransjen før korona, og omtrent 10 år etter at streaming ble mainstream. Resultatene bygger på spørreundersøkelsen Norsk musikk i internasjonale markeder som fikk 555 svar, fordelt på skapere og utøvere av norsk musikk, samt aktører i plateselskap, management, musikkforlag, booking med mer, til sammen omtalt som mellomledd. Ved å se på hvordan norsk musikkbransje opererer internasjonalt og bruker medier i arbeidet med musikk, bekrefter undersøkelsen at det er utstrakt profesjonell aktivitet med norsk musikk i mange deler av verden. Digitaliseringen er viktig for å nå et globalt publikum, og legger til rette for nye typer eksport. Mens en nesten samstemt norsk musikkbransje anerkjenner sosiale medier og strømmetjenesters betydning i distribusjon og formidling av norsk innspilt musikk, danner rapporten samtidig et inntrykk av at dette ikke skjer uten tvetydighet og motstridende erfaringer. Bransjen er rammet av digital ambivalens.

• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter..
• Kjus, Yngvar (2020). The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
• Kraugerud, Emil & Dæhlen, Marte (2020, 17. oktober). Hvorfor føles Stein Torleif Bjellas musikk så nær?. [Internett].  forskning.no.
• Hui, Alan (2020). English Translation of Pelham v Hütter Press Release 46/20 (including decision), German Federal Court of Justice, I ZR 115/16 - Metal on Metal IV, 30 April 2020. IPKat.
• Bradley, Catherine (2020). Review of Musical Culture in the World of Adam de la Halle. Ed. Jennifer Saltzstein. Revue de musicologie.  ISSN 0035-1601.  106(2), s 491- 494
• Bradley, Catherine (2020). Scattered Songs in Scandinavia: Fragments from A Medieval Motet Manuscript​ in Stockholm. Show summary

  https://www.mf.no/en/om-mf/arrangementer/mf-casr-lunch-catherine-bradley

• Bradley, Catherine (2020). New Fragments from a Medieval Motet Manuscript in Stockholm.
• Bradley, Catherine (2020). Scattered Songs in Stockholm: New Fragments from A Medieval Motet Manuscript.
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2020). MICRO Motion capture data from groups of participants standing still to auditory stimuli (2012). Show summary

  This dataset comprises head motion observations collected as part of an experiment in which a group of people were asked to stand still for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with music. Head motion was captured in units of mm at 100Hz using a Qualisys infra-red optical system. The experiment was carried out at the University of Oslo on March 8th 2012 from a total of 113 participants. Code to read and process these files is available. The paper corresponding to the work is Jensenius et al., "The Musical Influence on People's Micromotion when Standing Still in Groups", Proceedings of the 14th Sound and Music Computing Conference (2017).

• Haugen, Mari Romarheim (2020). "Brain in Research(ers)" Panel.
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Redaktører for spesialnummer om musikk og medier. Norsk Medietidsskrift.  ISSN 0804-8452.  27(3) . doi: 10.18261/ISSN.0805-9535-2020-03-01
• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Lyden av digitalisering: Preludium om musikk og medier. Norsk Medietidsskrift.  ISSN 0804-8452.  27(3), s 1- 10
• Haugen, Mari Romarheim (2020). Musical performance.
• Lartillot, Olivier & Toiviainen, Petri (2020). Read about the Matlab MIRtoolbox.. Young Acousticians Network (YAN) Newsletter.  (92), s 4- 10 Show summary

  MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyväskylä, Finland) You can also check out the MIRtoolbox website at: shorturl.at/oA038

• Lartillot, Olivier & Toiviainen, Petri (2020, 09. september). Read about the Matlab MIRtoolbox.. [Internett].  Young Acousticians Network Newsletter. Show summary

  MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyväskylä, Finland) You can also check out the MIRtoolbox website at: shorturl.at/oA038

• Brøvig-Hanssen, Ragnhild & Smedsrud, Morten Skipenes (2020, 15. september). Algoritmene lammer kreativiteten. [Fagblad].  Apollon.
• Lartillot, Olivier & Bruford, Fred (2020). Bistate reduction and comparison of drum patterns. Show summary

  This paper develops the hypothesis that symbolic drum patterns can be represented in a reduced form as a sim- ple oscillation between two states, a Low state (commonly associated with kick drum events) and a High state (often associated with either snare drum or high hat). Both an onset time and an accent time is associated to each state. The systematic inference of the reduced form is formal- ized. This enables the specification of a rhythmic struc- tural similarity measure on drum patterns, where reduced patterns are compared through alignment. The two-state representation allows a low computational cost alignment, once the complex topological formalization is fully taken into account. A comparison with the Hamming distance, as well as similarity ratings collected from listeners on a drum loop dataset, indicates that the bistate reduction enables to convey subtle aspects that goes beyond surface-level com- parison of rhythmic textures.

• Jensenius, Alexander Refsum; Erdem, Cagri; Kwak, Dongho Daniel; Rahman, Habibur; Glette, Kyrre; Krzyzaniak, Michael Joseph; Lan, Qichao & Fasciani, Stefano (2020). Strings On-Line. Show summary

  An interactive art installation presented during the International Conference on New Interfaces for Musical Expression (NIME) 2020.

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Show summary

  ‘Mashup’ is a form of music that, in its use of samples from existing popular music recordings, has often been seen as an exemplar of the participatory cultural environment that many expected the internet to foster. It is a musical form that remains widely produced and consumed today. However, the contemporary internet is a complex environment for media distribution, with dominant platforms making use of a wide range of automatic and algorithmic regulatory tools in order to police, monitor, and remove unwelcome content – including that which is seen, rightly or wrongly, as copyright infringing. Drawing on recent empirical research on and with mashup producers – including 30 semi-structured interviews and an extensive survey (n=92) – this article explores the impact of platform regulation on mashup music today. It concludes that current regulation has significant stifling effects on this kind of remix creativity, including a substantial impact on where mashup producers distribute their music, on the aesthetics of their music, and – most pertinently – on their overall motivation to create. Having outlined these key findings, we argue that the ‘shutdown’ status of mashup producers raises profound questions concerning the balance between regulating online content in terms of protecting the artists’ rights, and cultivating participation and culturally valuable artistic expression. As such, this paper offers a timely contribution to scholarship on the complex relationship between popular music and new media in its critical exploration of internet’s detection algorithms and their implications for mashup music and cultural participation more generally.

• Brøvig-Hanssen, Ragnhild (2020). Presentasjon av MASHED-prosjektet.
• Brøvig-Hanssen, Ragnhild (2020). Mashup Music, Intertextuality, and Copyright.
• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Khrono.no.  ISSN 1894-8995. Show summary

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen.

• Jones, Ellis Nathaniel; Mangaoang, Áine & de Boise, Sam (2020). Panel discussion: online participatory music cultures today.
• Jones, Ellis Nathaniel (2020). Mashups, musicians, and majors: the politics of participatory culture today.
• Jones, Ellis Nathaniel (2020). The historical role of ‘mashup culture’ in envisioning a democratic media environment.
• Malec, Monika & Zelechowska, Agata (2020, 03. august). Pocztówka dźwiękowa. [Radio].  Polskie Radio Lublin.
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms. Show summary

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants’ head movement was recorded with an optical motion capture system.We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Danielsen, Anne (2020). Groove studies.
• Jemterud, Torkild; Danielsen, Anne; Brodal, Per; Løvvik, Ole Martin; Goodwin, Morten & Knudsen, Pål Moddi (2020, 28. august). Abels tårn: En følsom AI tester visesang. [Radio]. Show summary

  Kan en AI lage bedre tekster enn en visesanger? Og bedre drinker enn en bartender? Vi tester begge deler. Prøvekanin er Pål Moddi Knudsen. En AI har tygd seg gjennom de gamle tekstene hans, og spytta ut en splitter ny. Dessuten - Hvorfor hører man bare bassen fra festen ved siden av? - Konsentrer man seg bedre med musikk? - Løper man raskere med musikk? - Hvorfor har vi så ulik musikksmak? - Hvorfor er Moddis gitar alltid sur? - Hvor varmt blir det i en peisovn? I panelet Visesanger Pål Moddi Knudsen Datalog Morten Goodwin Musikkviter Anne Danielsen Fysiker Ole Martin Løvvik Hjerneforsker Per Brodal

• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Uniforum.  ISSN 1891-5825. Show summary

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.

• Hui, Alan (2020). An introduction to the copyright law of music.
• Kjus, Yngvar (2020). Book Review: "Women in the Studio: Creativity, Control, and Gender in Popular Music Sound Production", by Paula Wolfe. Popular Music.  ISSN 0261-1430.  39(2), s 373- 375 . doi: https://doi.org/10.1017/S0261143020000306
• Jensenius, Alexander Refsum (2020). Hvorfor er åpen forskning bedre forskning?.
• Hagen, Anja Nylund (2020). Krise og kreativitet - musikkbransjen og koronapandemien 2020. Show summary

  Rapporten Krise og kreativitet i musikkbransjen - koronapandemien 2020 kartlegger de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen. Anja Nylund Hagen (PhD) fra Institutt for musikkvitenskap, Universitetet i Oslo, er en av forskerne bak rapporten. Hun legger frem de viktigste elementene fra rapporten i første bolk av årets Pseminar.

• Hagen, Anja Nylund (2020, 20. juli). Artister slipper låter i forkant av album. [Radio].  Nyhetsmorgen, P2. Show summary

  Distribusjon av musikk via strømmetjenester gjør det fordelaktig å slippe flere enkeltlåter framfor et album med mange låter samtidig.

• Hagen, Anja Nylund (2020, 20. juli). Strømmetjenestene former hvordan musikk slippes. [TV].  Dagsrevyen, NRK1. Show summary

  Det er lettere å holde publikums bevissthet ved like, når musikk slippes som flere singler, spredt over tid.

• Hagen, Anja Nylund (2020, 20. juli). Derfor kommer ny musikk i mye større grad som enkeltsingler. [Internett].  nrk.no. Show summary

  Musikkstrømmetjenestenes inntog i norsk musikkbransje har gjort at musikkbransjeaktørene og artistene har måtte omstille seg til hvordan publikum skal få tak i musikken, sier forsker Anja Nylund Hagen, ved institutt for musikkvitenskap ved Universitetet i Oslo.

• Hagen, Anja Nylund (2020, 24. august). Festivalsjef: – Strømmekonsertene er kommet for å bli.  Aftenposten. Show summary

  Nordmenn bruker mindre tid på digitale kulturopplevelser nå enn i vår. Men nesten én av tre vil betale for det.

• Jensenius, Alexander Refsum & Andersson, Bård (2020, 12. august). Umulig å stå stille til musikk.  KulturPlot. Show summary

  Nå er det bevist: Det finnes en indre danseløve i oss alle. Ny forskning viser dessuten at den musikken som ikke får det til å rykke i dansefoten er norsk.

• Kraugerud, Emil (2020). Musikkens intimitet. ballade.no.
• Eriksen, Asbjørn Øfsthus (2020). Rapport om gjennomgåelse av Edvard Grieg: Samlede verker, bind 1 (1977) og del av bind 2 (1986).
• Jensenius, Alexander Refsum & Lilleslåtten, Mari (2020, 25. juni). You just can’t stand still. [Internett].  HF-aktuelt. Show summary

  Not moving to dance music is near impossible, according to new research.

• Jensenius, Alexander Refsum & Lilleslåtten, Mari (2020, 05. juni). Du klarer faktisk ikke å stå stille. [Internett].  HF-aktuelt. Show summary

  Å ikke bevege seg til dansemusikk, er så godt som umulig, viser ny forskning.

• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Hvor vanskelig er det egentlig å la være å bevege seg til fengende musikk?. [TV].  NRK Dagsrevyen.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Klarer du å stå stille til favorittlåta di?. [Internett].  NRK.no.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Forskning om danselyst. [Radio].  NRK P2.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Nesten umulig å stå i ro til musikk. [Radio].  NRK P2.
• Jensenius, Alexander Refsum & Svendsen, Njord Vegard (2020, 17. juli). Meiner forskarar må ha rett til å «klippe og lime» frå publiserte artiklar.  Khrono. Show summary

  - Vi må komme bort frå tanken om at ein publisert forskingsartikkel er ein digital versjon av ein papirartikkel, meiner musikkforskar Alexander Refsum Jensenius.

• Hagen, Anja Nylund (2020, 30. juni). Artister sprer musikken sin på TikTok. [TV].  Dagsrevyen, NRK1. Show summary

  Norske artister tar ikke i bruk TikTok i stor grad, men det blir muligens mer av det.

• Hagen, Anja Nylund (2020, 30. juni). Fra TikTok til strømmetoppen. [Radio].  Nyhetsmorgen, P2. Show summary

  TikTok som promoteringsverktøy i musikkbransjen

• Hagen, Anja Nylund (2020, 30. juni). Forsker tror man vil se flere artister på TikTok. [Internett].  nrk.no. Show summary

  Melodi Grand Prix-vinneren lager egne danser til singlene sine på TikTok og oppfordrer folk til å slenge seg på. Det har vist seg være en vei til strømmetoppen for andre artister.

• Støckert, Robin (2020). Learning and teaching in a distributed environment. Show summary

  Higher Education Session with EUNIS and SCHOMS: Learning and Teaching in a Distributed Environment. Look at award‑winning examples of hybrid and distance learning and talk about how universities across Europe are adapting their existing technologies in the face of the COVID‑19 pandemic.

• Hawkins, Stan (2020). Keynote IASPM Conference: Staging the Spectacle: The Dandyist Theatrics of Jacques Dutronc. Show summary

  Theatricality is a recalibration of everyday life. It is part of every performance. It gives credence to popular music and its cultural and political traditions. This presentation opts for an interdisciplinary and intertextual approach in a bid to argue the inextricable links between theatricality, musical personae, and identity. Popular music studies has come a long way in complementing the scholarship of major opera, film, and musical scholars, which has led to an abundance of work on personae, agency, and the problems of authenticity. To show how popular music performances function as powerful arbitrations of the ‘natural’ as much as the artistic, I discuss how masculinity was forged by a Mod sensibility in the 1960s. My focus falls primarily on Paris. If Serge Gainsbourg was considered the Leonard Cohen of French pop music, then Jacques Dutronc (1943) was most definitely le dandy cool, the Gallic Bob Dylan.

• Oddekalv, Kjell Andreas (2020). IMV PhD Midway Assessment for Kjell Andreas Oddekalv.
• Oddekalv, Kjell Andreas (2020). Brakkeskole: Kjell Andreas Oddekalv forskar på rapflow.
• Oddekalv, Kjell Andreas (2020). METRE MEETS METRE – HOW DO WE HEAR, ANALYSE AND LISTEN TO RAP FLOWS?.
• Oddekalv, Kjell Andreas (2020). Food & Paper: Metre on metre - a theoretical framework for rap analysis.
• Oddekalv, Kjell Andreas (2020). When Metre meets Metre: Rhythmic Ambiguity and Flexibility in Rap Flows.
• Hagen, Anja Nylund (2020, 12. juni). Krise i musikkbransjen. [Fagblad].  musikknyheter.no. Show summary

  Strømmekonserter forsterker problemet

• Gran, Anne-Britt; Linn-Birgit, Kampen Kristensen; Molde, Audun; Hagen, Anja Nylund & Booth, Peter (2020). Krise og kreativitet i musikkbransjen – koronapandemien 2020. Show summary

  På oppdrag fra Musikkindustriens Næringsråd, og medfinansiert av Norsk kulturråd og de regionale Musikkontorene, har BI Centre for Creative Industries (BI:CCI) gjennomført en stor spørreundersøkelse i musikkbransjen i forbindelse med koronapandemien. Formålet var å kartlegge de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen. Prosjektansvarlig har vært prof. Anne-Britt Gran (BI:CCI), med Linn-Birgit Kampen Kristensen (BI:CCI) som prosjektkoordinator, Peter Booth (BI:CCI) som analyseansvarlig, Audun Molde (Høyskolen Kristiania) og Anja Nylund Hagen (Musikkvitenskap, UiO) som eksperter på musikkbransjen.

• Danielsen, Anne (2020). Musical listening, micro-time.
• Danielsen, Anne (2020). Does genre expertise modulate micro level synchronisation to musical sounds?. Show summary

  Musical synchronization may be achieved with greater or lesser precision. Previous research has shown that acoustic factors systematically influence where a musician places one sound in relation to another in order to hear them as perfectly synchronized. However, it remains unclear how synchrony is affected by musical enculturation. In this talk, Anne Danielsen will present results from a comparative study where expert musicians and producers from jazz, folk music, and EDM/hip-hop did click alignment and tapping to different musical and quasi-musical sounds.

• Danielsen, Anne (2020). Råd og tips for søkere til SFF V.
• Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting. Show summary

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased between-system error rates. Both systems showed minimal within-trial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/mid-range system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• Kjus, Yngvar & Hagen, Anja Nylund (2020). Music on (and in) demand: Negotiating and competing in streaming. Show summary

  This keynote asks what kind of negotiations that take place as music is made available for streaming and how the various players of the music business maneuver the competition in globalized markets. It presents findings from an industry-wide survey (N=556) and 35 qualitative interviews featuring Norwegian musicians, composers and intermediaries across different genres and roles. The aim is to highlight key developments in the practices and prospects of music streaming in recent years, both for creators and other industry professionals. The presenters are both part of the research project Music on demand: Economy and copyright in a digitised cultural sector (MUSEC), funded by the KULMEDIA program of the Research Council of Norway.

• Lartillot, Olivier; Cancino-Chacón, Carlos & Brazier, Charles (2020). Real-Time Visualisation Of Fugue Played By A String Quartet. Show summary

  We present a new system for real-time visualisation of music performance, focused for the moment on a fugue played by a string quartet. The basic principle is to offer a visual guide to better understand music using strategies that should be as engaging, accessible and effective as possible. The pitch curves related to the separate voices are drawn on a space whose temporal axis is normalised with respect to metrical positions, and aligned vertically with respect to their thematic and motivic classification. Aspects related to tonality are represented as well. We describe the underlying technologies we have developed and the technical setting. In particular, the rhythmical and structural representation of the piece relies on real-time polyphonic audio-to-score alignment using online dynamic time warping. The visualisation will be presented at a concert of the Danish String Quartet, performing the last piece of The Art of Fugue by Johann Sebastian Bach.

• Guldbrandsen, Erling E. (2020, 09. juni). Righard Wagner: Die Meistersinger von Nürnberg https://operaen.no/forestillinger/tirsdagskonserten/fbclid=IwAR1p0pjlpeOq3UPOq9ehBvpOQ8TlPcqZmFfTIqsg7UE2SQDPcPVjGDo9uAw. [Internett].  Operaen.no.
• Swarbrick, Dana (2020, 02. juni). Nyhetsmorgen - radio (https://radio.nrk.no/serie/nyhetsmorgen/NPUB32010920?fbclid=IwAR07rA_odCCwd4tiHJDMLoNp7BWteHgosBJw9qi7_jna0u2SXbZJ5zw0OGk#t=1h14m30s). [Radio].  NRK radio.
• Swarbrick, Dana (2020, 02. juni). Koronakonsertene har 2 millioner avspillinger - Kan være utfordrende for artistene. [Internett].  NRK.
• Krzyzaniak, Michael Joseph; Veenstra, Frank; Erdem, Cagri; Glette, Kyrre & Jensenius, Alexander Refsum (2020). Interactive Rhythmic Robots.
• Guldbrandsen, Erling E. (2020, 07. mai). https://ofo.no/no/mellomspill. [Internett].  Oslo Philharmonic Orchestra.
• Herrebrøden, Henrik (2020). Psykologiske utfordringer ved skadeopphold, I: Ingrid Eitzen; Siri Marte Hollekim-Strand & Harald Markussen (red.),  Idrettsfysioterapeuten. Breddeidrett - toppidrett - aktivitetsmedisin.  Cappelen Damm Akademisk.  ISBN 9788202621414.  Kapittel 24.  s 351 - 360
• Hui, Alan (2020). 21 and illegal in all states? The German Pelham court confirms when sampling is illegal. IPKat.
• Hagen, Anja Nylund (2020, 22. mai). De som får folk til å danse sammen. [Internett].  ballade.no. Show summary

  – Det er ikke engang vits å sende en mail innenfor Ring 3, sier «bygderockerne» i Hardhaus. Men band utenfor storbyene er nå mer populære enn sine byrivaler og strømmer stort.

• Hagen, Anja Nylund (2020, 20. mai). Norske artister bruker TikTok for å spre musikken sin. [Radio].  NRK P1, Dagens. Show summary

  Norske artister bruker TikTok for å spre musikken sin. Gjest: Anja Nylund Hagen Gjest: Ulrikke Brandstorp Programleder: Mathias Nylenna

• Hagen, Anja Nylund (2020, 19. mai). TikTok som maktfaktor i musikkbransjen. [Radio].  Studio 2, NRK P2. Show summary

  Intervju om hvordan musikken står sentralt i det sosiale nettverket TikTok som nå begynner å bli en maktfaktor å regne med i musikkbransjen.

• Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum (2020). Student active learning in a two campus organisation. Show summary

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21st century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• Weisethaunet, Hans (2020). IMPROVISASJONS-PRAKSIS med Knut Reiersrud. Interview lecture.
• Weisethaunet, Hans (2020). Writing Music Criticism: A dialogue with Rob Young, editor of Wire magazine.
• Weisethaunet, Hans (2020). «Georg «Jojje» Wadenius: Blod, svette og tårer». Jazznytt.  ISSN 0332-7248.  253(1), s 42- 49
• Hawkins, Stan (2020, 23. april). Maskulinitet er i endring i norsk black metal.  KILDEN.
• Jensenius, Alexander Refsum (2020). Video Visualization Strategies at RITMO.
• Jensenius, Alexander Refsum (2020). Hvordan bruke video som ressurs i digital undervisning?. Show summary

  Bli med og snakk om hvordan vi legger om vår undervisning i disse dager, denne gang med fokus på video. LINK og undervisere ved UiO vil bidra med faglige innlegg, etterfulgt av åpen erfaringsdeling og spørsmål & svar.

• Jensenius, Alexander Refsum & Svendsen, Njord Vegard (2020, 14. april). Spelelystene.  Khrono. Show summary

  For somme er ein arbeidsdag utan musikk utenkeleg.

• Hagen, Anja Nylund (2020, 07. april). Spotifys makt vokser i takt med nye lyttevaner. [Internett].  forskning.no.
• Hagen, Anja Nylund (2020, 27. mars). Hvilken musikk hører vi på i karantene?. [Radio].  NRK P2.
• Hagen, Anja Nylund (2020, 24. mars). Hva gjør musikere når de ikke kan spille konserter?. [Internett].  UiO: Det humanistiske fakultet. Sosiel medier. Show summary

  Hva gjør musikere når de ikke kan spille konserter? Anja Nylund Hagen deler HF-forskning hjemmefra: Om Spotifys makt i musikkbransjen og hva som må til for å tjene penger som musiker i dag.

• Hagen, Anja Nylund (2020, 17. mars). Spotifys makt vokser i takt med nye lyttevaner. [Internett].  UiO: Det Humanistiske Fakultet. Show summary

  På bare ti år har strømmegiganten Spotify tatt over musikkmarkedet. Nå styrer de din musikksmak og artistenes økonomi.

• Aubinet, Stéphane (2020). The Craft of Yoiking: Philosophical Variations on Sámi Chants. Full text in Research Archive. Show summary

  The yoik is a vocal technique practised by the Sámi of Northern Europe. It relies on circular melodies, chanted in everyday life and a cappella, with or without lyrics. Each melody evokes a particular being, usually a person, an animal species, or a place. ‘Yoiking them’ is a way of making them present, exploring an attachment, and unfolding memories. The yoik is considered by many of its practitioners as a gift received from the environment, a mysterious craft that they come to know through personal experience and experimentation. This thesis is based on conversations with yoikers, active in either the ‘traditional’ or ‘modern’ practices, and an apprenticeship in the craft of yoiking. It constitutes a series of essays, or ‘philosophical variations’, aimed at taking the yoik seriously and unfolding some of its philosophical affordances. As in the musical variations on popular melodies by classical composers, writing the yoik in variation means hosting it within another practice bearing its own constraints and possibilities. Practices of yoiking and writing are thus put in a dialogue at times converging, at times diverging, but always intended to be mutually stimulating. Various voices from social anthropology, ethnomusicology, psychology, theology, ethology, and the history of philosophy join the dialogue along the way. The variations are ‘philosophical’ in that each of them creates one concept: horizon, enchantment, creature, depth, echo, primordial. Each concept seeks to capture a layer of depth perceived in the yoik’s practice: (1) the risks of metamorphosis; (2) the chants of animals and the wind; (3) the creation of yoiks as outgrowths of the sensuous world; (4) the inner landscapes of humans; (5) the resurgence of past memories and of the dead; (6) the roots of human chants in a chthonic, original past; and (n) the power of repetition and interruption.

• Brøvig-Hanssen, Ragnhild (2020). Slutten på mashup musikk?. Show summary

  På starten av 2000-tallet eksploderte internett med såkalte mashup-videoer som utelukkende besto av samples fra tidligere musikkinnspillinger. De siste årene har vi sett en nedgang i mashups samtidig som flere internett-plattformer har tatt i bruk algoritmiske verktøy for å regulere innholdet på nettsidene, blant annet innhold som bruker opphavsberettiget materiale uten tillatelse. Har dette en sammenheng? Hvordan opplever mashup produsentene selv disse nye reguleringsverktøyene som har blitt tatt i bruk, og hvordan stiller denne musikken og disse reguleringsveiktøyene seg i forhold til opphavsrett?

• Haugen, Mari Romarheim & Kleppe, Synnøve Sudbø (2020, 05. mars). Bortebuaren.  Bø Blad.
• Hagen, Anja Nylund (2020). Norske musikkforlag: Muligheter og utfordringer. Show summary

  flere år har musikkforlag vært mindre synlig i norsk musikkbransje. Den seneste tiden har forlagsvirksomhet vært i fremdrift, likevel vet store deler av norsk musikkbransje fortsatt ganske lite om hva et musikkforlag gjør. Norske musikkrettigheter er attraktivt for sterke internasjonale aktører som utfordrer forlagsvirksomhet i Norge. Hva skal til for at norsk musikkforlagsvirksomhet skal styrkes i norsk musikkbransje? Panelet innledes av Anja Nylund Hagen som er postdoktor ved Institutt for musikkvitenskap på Universitetet i Oslo. Hun skal vise til resultater fra forskningsprosjektet Music on Demand: Økonomi og opphavsrett i en digitalisert kulturbransje (UiO), som har undersøkt hvilke muligheter og utfordringer norske musikkforlag har for å utvikles og styrkes. Undersøkelsen har blant annet vist til at det er store kunnskapshull om hva forlag gjør og at gamle myter henger igjen. I dette panelet diskuterer norske musikkforlag hvordan de arbeider i Norge, og hva som skal til for å øke kunnskapen om og synligheten til norske musikkforlag. Panel: Philip Ruud (Cassette Publishing) Wendi Pendeza Kazonza (GILT) Stine Lieng (Warner Chappell Music Norway) Moderator: Anja Nylund Hagen (postdoktor ved Institutt for musikkvitenskap, Universitetet i Oslo)

• Hagen, Anja Nylund (2020). Bylarm: Å utvikle en artistkarriere i en digital økonomi. Show summary

  I 2019 initierte Kulturrådet det treårige utviklingsprosjektet Kulturøkonomi. Prosjektet har som mål å utvikle en styrket og helhetlig satsing på kulturøkonomi, kunstnerøkonomi og kreativ næring. Kulturøkonomiprosjektet ønsker å forstå hvordan kunstnere og institusjoner kan øke sine inntekter og nå ut til et større og bredere publikum. I denne bolken ser vi nærmere på hvilke muligheter norske artister har for å øke sine inntekter fra strømming, og ved å dykke ned i suksesshistorien til Astrid S tar vi praten om hvordan man bygger en vellykket musikkarriere. Sesjonen avsluttes med en panelsamtale der vi diskuterer hvilke muligheter og utfordringer det nye digitale musikkmarkedet skaper. Medvirkende: Sveinung Rindal (The Orchard), Halvor Marstrander (Interstellar Management) og Henning Mongstad (Kulturrådet). Paneldeltakere: Sveinung Rindal (The Orchard), Erle Strøm (HES), Hanne Hukkelberg (artist), Marte Thorsby (IFPI Norge). Moderator: Anja Nylund Hagen (Universitetet i Oslo (UiO).

• Devine, Kyle (2020, 01. februar). Drecksmusik. [Tidsskrift].  enorm—Magazin für gesellschaftlichen Wandel.
• Devine, Kyle (2020, 28. februar). Emissions Possible: Streaming Music Swells Carbon Footprints.  Al Jazeera.
• Devine, Kyle (2020). Polluted Streams: The Environmental Costs of Analog and Digital Formats.
• Høffding, Simon (2020). shared musical absorption: A Phenomenological case study with the Danish string quartet.
• Danielsen, Anne (2020). Exploring the Hu/Machine: Shaping beats in contemporary African-American popular music.
• Krzyzaniak, Michael Joseph; Kwak, Dongho Daniel; Veenstra, Frank; Erdem, Cagri; Wallace, Benedikte; Jensenius, Alexander Refsum & Glette, Kyrre (2020). Dr. Squiggles rhythmical robots. Show summary

  Dr. Squiggles is an interactive musical robot that we designed, that plays rhythms by tapping. It listens for tapping produced by humans or other musical robots, and attempts to play along and improvise its own rhythms based on what it hears.

• Devine, Kyle (2020, 14. februar). Tutkimus: Musiikin kuuntelu striimattuna jättää isomman hiilijalanjäljen kuin cd- tai vinyylilevyt huippuaikoinaan.  Yle.
• Devine, Kyle (2020). Disco Downer. The Guardian Weekly.  ISSN 0958-9996.  202(8), s 24- 25
• Devine, Kyle (2020). Carbon Footprints of Music.
• Devine, Kyle (2020, 14. februar). Moni kuvittelee, että cd-levyistä luopuminen on ympäristöteko – Tutkija selvitti, että musiikin kuuntelun hiilijalanjälki on nyt suurempi kuin koskaan.
• Brøvig-Hanssen, Ragnhild (2020). Playful Rhythms and Mosaic Flow. Show summary

  Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.

• Devine, Kyle (2020). Rethinking Music Ecosystems.
• Devine, Kyle (2020, 05. februar). What is the Human and Environmental Cost of Music?. [Internett].  New Books in Critical Theory Podcast.
• Devine, Kyle (2020, 05. februar). The Vinyl Revival is Hurting the Environment, says Canadian Musicologist. [Radio].  Q (CBC Radio One).
• Devine, Kyle (2020). Nightmares on Wax: The Environmental Impact of the Vinyl Revival. The Guardian.  ISSN 0261-3077.
• Mari, Lilleslåtten & Høffding, Simon (2020, 24. januar). De dyktigste musikerne kan spille uten å tenke. [Internett].  https://www.uio.no/ritmo/aktuelt/aktuelle-saker/2020/de-dykt.
• Guldbrandsen, Erling E. (2020). Pierre Boulez III: Musical construction – musical listening.
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Introduksjon til seminar om musikk og medier i den digitale tiden.
• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Slutten på remix? Spenningsforholdet mellom mashup-musikk og automatiske reguleringsverktøy.
• Hawkins, Stan (2020). Keynote Paper: Dandified Personas in Pop Music.
• Fasciani, Stefano; Jensenius, Alexander Refsum; Støckert, Robin & Xambó, Anna (2020). The MCT Portal: an infrastructure, a laboratory and a pedagogical tool.
• Kelkar, Tejaswinee (2020, 10. januar). NTT: Noen forsker på musikk helt på ekte - Jazznytt. [Tidsskrift].
• Kjus, Yngvar (2020, 07. januar). Vil ha opphavsretten ut av lukkede rom. [Fagblad].  Ballade.no. Show summary

  Kunne bandkonfliktene vi kjenner fra media og rettsvesenet de siste årene vært unngått? Møt forskeren som mener han har løsninga, etter å ha intervjuet norske artister om deres forhold til den komplekse opphavsretten.

• 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.
• Zeiner-Henriksen, Hans T. (2019). Analysing the Popular: Corporeal Engagement in the Experience of Music.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Honnstad, Tobias (2019). Sinsenfist med Sinsenprinsen - Ring 3.
• Mangaoang, Áine (2019). Soundscapes of Utopia: The Place of Music in Norwegian Prisons.
• Mangaoang, Áine (2019). Hearing Halden: A Case Against Nordic Prison Exceptionalism.
• Mangaoang, Áine (2019). Book Presentation.
• Mangaoang, Áine (2019). Dangerous Mediations.
• Herrebrøden, Henrik (2019). Mental effort in expert motor performers.
• Stover, Chris (2019). Introduction. Perspectives of New Music.  ISSN 0031-6016.  57(1-2), s 7- 10
• Brøvig-Hanssen, Ragnhild (2019). Music Listening - Meso time.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and it's aesthetics.
• Nielsen, Nanette & Høffding, Simon (2019). Absorption in Schizophrenia, Music and Mystical Experience.
• Nielsen, Nanette & Høffding, Simon (2019). A Musical Matter of Mind.
• Danielsen, Anne (2019). The Expanding Present (panel member).
• Danielsen, Anne & Nymoen, Kristian (2019). Where is the beat in that note?.
• Kverndokk, Kristin; Danielsen, Anne; Hellstenius, Jon Henrik & Orning, Tanja (2019, 27. oktober). Om språk og musikk. Spillerom søndag (NRK). [Radio].  NRK P2.
• Danielsen, Anne (2019). The impact of digitization on rhythm and groove in African-American popular music. Show summary

  Rhythm and groove are at the heart of many African-American musical traditions. In this lecture, I will discuss the ways in which creative use of new digital technology has changed how music sounds. As my examples I will use contemporary African-American popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon how sound processing can be used to alter the perceived timing of rhythmic events.

• Danielsen, Anne (2019). Workshop on microrhythmic analysis and groove.
• Halmrast, Tor (2019). Cepstrum for Rhythm Detection.
• Danielsen, Anne (2019). Utfordringer og løsninger for et tverrfakultært SFF.
• Watne, Åshild (2019). Sang og lyrespill i Kristiansand domkirke.
• Erdem, Cagri (2019). RAW: A Muscle-based instrument.
• Størvold, Tore (2019). Dissonant Landscapes: Nature and the Musical Imagination of Iceland. Show summary

  During the 2000s and 2010s, Iceland signaled a strong presence in the world through its music. Since the turn of the millennium, no other cultural activity or art form has been more important for shaping impressions of the island in the global imagination. And along with music, various notions of nature have permeated narratives of the Icelandic nation. Consequently, the intersection of music and concepts of nature is the primary research focus in this thesis, which develops existing critical musicological methods to encompass perspectives from ecocriticism and the environmental humanities. In this thesis, I attempt to illuminate cultural aspects of contemporary Iceland by way of analyzing specific examples of music from the mid-2000s to the mid-2010s, a period of upheavals in Icelandic society. The economic crash of 2008 would loom large over the following decade, which was characterized by a renewed actuality of nature-themed representations of the country as the exponential growth of the tourist sector came to the rescue of the national economy. Focusing on this period, the thesis provides a detailed insight into how music and concepts of nature coalesce to assume specific functions in the recent history of a small nation – from “interior” nation building to “exterior” nation branding. The thesis consists of case studies of music analysis, with examples drawn from both classical and popular genres. The artists and composers studied in the thesis include Mugison, Valgeir Sigurðsson, Björk, Sigur Rós, Jóhann Jóhannsson, Ólafur Arnalds, and Anna Þorvaldsdóttir. Implementing a hermeneutic method, the details of musical texts are taken as the springboard for a broad, interdisciplinary account of contemporary Iceland and its position in the global imagination. Central to this account is music’s powerful ability to articulate concepts of nature in various ways. As such, the thesis contributes to a textual direction in ecomusicology, seeking to evaluate the capacity of musical aesthetics in transforming ways of thinking about nature in the age of climate change. In six chapters, the analyses reveal a range of musical techniques and compositional decisions that musicians employ to configure nature differently, and thus provide different vantage points for hearing the relationship between humans and their environment.

• Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore (2019). First Things First.
• Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle (2019). Dragging the Lake.
• Guldbrandsen, Erling E. & Nielsen, Nina (2019). Hvorfor hater jeg julemusikk - hvorfor elsker jeg julemusikk. Panelsamtale.
• Knutsen, Paul & Guldbrandsen, Erling E. (2019). Roald Amundsens ansvar for Knutsens og Tessems død. Om polarekspedisjonen til Nordøstpassasjen 1918–1919. Foredrag ved Paul Knutsen.
• Guldbrandsen, Erling E. (2019). Restless Legs Syndrome. Presented at Oslo Brain Council Conference 2019, 01.07.2019, Lillestrøm.
• Guldbrandsen, Erling E. (2019, 24. februar). https://www.nettavisen.no/livsstil/erling-har-rastlose-bein---du-kan-ikke-tenke-deg-hvor-desperat-du-blir/3423595201.html.  nettavisen.no.
• Guldbrandsen, Erling E. (2019). Pierre Boulez II: Post-War Modernism and Tradition. Theory and practice.
• Guldbrandsen, Erling E. (2019). Pierre Boulez I: Music and text. Pli selon pli - portrait de Mallarmé.
• Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Lubell, James; Leske, Sabine Liliana; Llorens, Anaïs; Funderud, Ingrid; Collavini, Santiago; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Bekinschtein, Tristan; Kochen, Silvia; Knight, Robert T & Endestad, Tor (2019). Human brain network involved in auditory deviance detection: Evidence from intracranial EEG recordings. Show summary

  The neural network underlying human auditory deviance detection is not fully understood. To address this, we recorded intracranial EEG from 22 adult patients with drug resistant epilepsy undergoing presurgical monitoring who had depth electrodes implanted in all brain lobes (1193 channels in total). Patients passively heard a stream of bilaterally presented tones while reading. We used the Optimum-1 paradigm, that consisted of 300 standard tones interleaved with 300 randomly presented deviant tones per block. Patients completed between 3 to 10 blocks. Deviant tones differed from standards in: 1) intensity (louder or softer), 2) frequency (higher or lower), 3) sound source location (right or left), 4) a shorter duration, or 5) a silent gap in the middle of the tone (Näätänen et al., 2004). Electrode coordinates were obtained from coregistered MRI and CT images using iElectrodes toolbox (Blenkmann et al., 2017). Channels were bipolar referenced and high frequency band activity (HFA) analytic amplitude signal was obtained using the Hilbert transform (75-145 Hz). Compared to the baseline period, significant HFA responses to tones in general were observed in 31% of the channels. We used an ANOVA to quantify the HFA response variance across trials that could be explained by the different factors of the stimuli: Intensity, Laterality, Frequency, Duration and Gap. We estimated the amount of explained variance by using ?2 (Siegel et al., 2015). Eighteen % of the channels showed a significant increase of the condition-specific explained variance. Some channels showed condition-specific activations to one particular deviant, while others showed activations to a combination of two or more deviants. The channels showing responses to tones in general and condition-specific effects were mostly observed bilaterally in temporal cortex. Frontal, anterior cingulate, and parietal cortices were also involved to a lesser extent. Our results, in line with the predictive coding framework, reveal that a distributed brain network is involved in auditory processing and deviance detection.

• Zelechowska, Agata & Lokna, Maria (2019, 30. juli). Vi er konstant absorbert i en annen verden.
• Brøvig-Hanssen, Ragnhild (2019). Mashups as Bisociative.
• Sandvik, Bjørnar Ersland (2019). Grids, Waveforms, and “Blocks” of Sound: On the Increased Segmentation of Musical Content in Digital Music Production.
• Halmrast, Tor (2019). THE TIMBRE OF FLUTTER ECHOES, AND THE COMPOSITION “FLUTR”. Show summary

  Video: http://tor.halmrast.no/ICM2019Halmrast_Flutter.m4v

• Halmrast, Tor (2019). Oslo I Smug-trioen.
• Halmrast, Tor (2019). FLUTR.
• Halmrast, Tor (2019). FLUTR for 24 ch Audio (4 quadro + 20 Ambisonics loudspeakers). Show summary

  For info: http://tor.halmrast.no/ICM2019Halmrast_Flutter.m4v

• Halmrast, Tor (2019). Reverberation Influences the Attack.
• Halmrast, Tor (2019). A VERY SIMPLE WAY TO SIMULATE THE TIMBRE OF FLUTTER ECHOES IN SPATIAL AUDIO.
• Halmrast, Tor (2019). Timbre and Duration of Attack Depend on the Amount of Reverberation.
• Stover, Chris (2019). Structural Analysis, In Janet Sturman (ed.),  SAGE Encyclopedia of Music and Culture.  Sage Publications.  ISBN 1483317757.  Encyclopedia entry.  s 138 - 141
• Stover, Chris (2019). Rhythm and Meter, In Janet Sturman (ed.),  SAGE Encyclopedia of Music and Culture.  Sage Publications.  ISBN 1483317757.  Encyclopedia entry.  s 1825 - 1832
• Stover, Chris; Borca, Karen & Taylor, Cecil (2019). Unit Structures.
• Stover, Chris (2019). Sun Ra’s Fletcher Henderson.
• Stover, Chris (2019). Guattari's Sonorous Affect.
• Stover, Chris (2019). Four Assemblages for Improvising Chamber Quartet.
• Stover, Chris (2019). Four Assemblages for Improvising Chamber Quartet.
• Stover, Chris (2019). Jazz and the Constitution of Social Identity.
• Stover, Chris (2019). 'As gesture jazz became…': the genealogical role of Cecil Taylor’s standards.
• Stover, Christopher (2019). Musical interaction—between desire and enunciation.
• Haugen, Mari Romarheim & Habbestad, Ida (2019, 18. februar). Å studere dei små detaljane. Kva kan teknologi for rørslesporing bidra med i skildring av folkedansen?. [Tidsskrift].  Folkemusikk. Magasinet for folkemusikk og folkedans.
• Swarbrick, Dana; Kiss, Alex; Tremblay, Luc; Sabiston, Catherine; Trehub, Sandra; Alter, David & Chen, Joyce (2019). HIIT the Road Jack: The Effects of Exercise on Piano Learning.
• Lan, Qichao; Cagri, Erdem & Jensenius, Alexander Refsum (2019). Performing with QuaverSeries Live Coding Environment.
• Lan, Qichao (2019). QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies.
• Xambo Sedo, Anna; Støckert, Robin; Jensenius, Alexander Refsum & Saue, Sigurd (2019). Facilitating Team-Based Programming Learning with Web Audio. Show summary

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Jensenius, Alexander Refsum (2019). Musikkteknologi som døråpner til bedre forståelse. Show summary

  I seminaret vil du få presentert eksempler på hvordan musikkteknologi kan brukes i undervisning, både i små og store grupper. Både akustisk og elektronisk musikkteknologi fungerer godt for å forklare prinsipper også utenfor regulær musikkundervisning. I dette seminaret får du vite hvordan matematikk kan forklares med små synthesizere, fysikk med strengeinstrumenter og kroppskontroll med interaktiv musikk. Dette er prinsipper som kan tas i bruk med enkle virkemidler. Seminaret vil kunne være relevant for deg som ønsker tips til alternative tilnærminger overfor elever som strever med læring.

• Jensenius, Alexander Refsum (2019). Experimenting with Open Research Experiments. Show summary

  Is it possible to do experimental music research completely openly? And what can we gain by opening up the research process from beginning to end? In the talk I will present MusicLab, an open research project at the University of Oslo. The aim is to explore new methods for conducting research, research communication, and education. Each MusicLab event is organized around a public music performance, during which we collect data from both musicians and audience members. Here we explore different types of sensing systems that work in real-world contexts, such as breathing, heartbeat, muscle tension, or motion. The events also contain an edutainment element through panel discussions as well as "data jockeying" in the form of live data analysis. The collected data is made publicly available, and forms the basis for further analysis and publications after the event. Opening up the research process is conceptually, practically, and technologically challenging for everyone involved. The benefit is that it has helped us solve a number of issues when it comes to GDPR and copyright. It has also pushed our research in directions that we previously had never thought about, and helped us communicate this to new users.

• Jones, Ellis Nathaniel (2019). The historical role of ‘mashups’ in envisioning a democratic media environment. Show summary

  At the time of its emergence in the mid-2000s, many scholars and commentators saw ‘mashup’ music – the re-combining of recognizable samples from existing pop songs into new works – as emblematic of the digital age. Mashups were enabled by easy-to-use production software and, more importantly, the global distributive capacity of online networks, and as such became a repository for hopes (and fears) that the internet would bring about a radical re-working of relations between ‘everyday’ creativity and the cultural industries, especially in the realm of copyright. In this paper, I argue for the historical relevance of mashups by inverting this standard narrative of technological enablement. Rather than showing how mashups utilised the internet, I suggest that the more lasting legacy is how the internet utilised mashups. I employ the sociological concept of ‘articulation’ to show how the aesthetic characteristics of mashups were put to work in order to present the emerging social web as a specific kind of participatory media environment. Crucially, mashups helped to suggest that participation in and through ‘new media’ might necessarily entail the ‘borrowing’ of old media – legally or otherwise. This helped lobbyists like the Electronic Frontier Foundation frame existing media rights holders as luddites attempting to hold back a (purportedly unstoppable) tide of vernacular creativity. It also suggested that the archetypal form of online culture was particularly immaterial (mashups seemed devoid of ‘physical’ embodied sound-making) and particularly easy to make, helping to characterise online culture as particularly un-laboured (and unpaid) semiotic play.

• Bishop, Sophie & Jones, Ellis Nathaniel (2019). Just a folk theory? User understandings of algorithms as media critique. Show summary

  It is becoming commonplace in social media studies to refer to users’ “everyday” understandings of algorithms as “folk theories”. In this paper we suggest this concept offers a restrictive view of both algorithms and the people who engage with them. Our theoretical contribution to the study of online participation draws on our empirical research on cultural production and platformisation, using cases from influencer cultures, DIY musicians and mashup artists. The literature on folk theories often positions everyday engagement with algorithms as individualistic and complicit; we argue that algorithmic practices are often agentic acts of resistance. Implicit in the “folk theory” concept is the premise that there exists an authoritative, falsifiable understanding of how algorithms “actually” operate, about which users are either guessing, mistaken or uninformed. It is true that most users don’t know how algorithms operate in technical terms. But considering algorithms as socio-cultural phenomena expands the remit of what folk theories might address. The pertinent issue may not so much be about how algorithms work, as what purposes they serve, and for whom. Going by this socio-cultural definition, platform users’ so-called “folk theories” are often highly astute, and involve nuanced understandings of the power dynamics and economic incentives in play. Our point is not just that the folk theory concept can be patronizing (especially when our own scholarly understandings of algorithms are hardly comprehensive) but that it conceives of users “readings” of algorithms in personal–psychological terms, when they might be more fruitfully conceptualized as critical engagements with media power.

• Hui, Alan (2019). Norwegian copyright limitations and exceptions following Pelham v Hütter.
• Holbrook, Ulf A. S. (2019). Footprints of Creatures.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2019). Sinsenfist fister julen inn 2019.
• Jensenius, Alexander Refsum & Lieungh, Erik (2019, 28. desember). #26 Music Research. [Radio].  Open Science Talk. Show summary

  In this episode, we talk about Music Research, and how it is to practice open research within this field. Our guest is Alexander Jensenius, Associate Professor at the Department of Musicology - Centre for Interdisciplinary Studies in Rhythm, Time and Motion (IMV) at the University of Oslo. He is also behind MusicLAb, an event-based project where data is collected, during a musical performance, and analyzed on the fly.

• Weisethaunet, Hans (2019). “Is fieldwork about doing interviews?” NMH (Norwegian Academy of Music) ph.d. seminar, guest lecture.
• Weisethaunet, Hans (2019). Opponent, ph.d. avhandling, Smith, Erica: Collective Management Organisations (CMOs), Digital Disruption and Small Developing Economies: The Case of the Caribbean Music Industry, UiA.
• Watne, Åshild & Baur, Eckhard (2019). Jubileumskonsert i Oslo Konserthus med Kampen Janistjar, Wenche Myhre, IMV Vokalensemble m.fl.
• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance.
• Høffding, Simon (2019). Not being there: an analysis of expertise induced amnesia.
• Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Lubell, James; Leske, Sabine Liliana; Llorens, Anaïs; Funderud, Ingrid; Collavini, Santiago; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Bekinschtein, Tristan; Kochen, Silvia; Knight, Robert T. & Endestad, Tor (2019). Human brain network involved in auditory deviance detection: Evidence from intracranial EEG recordings.
• Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid; Foldal, Maja Dyhre; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Knight, Robert Thomas; Danielsen, Anne; Endestad, Tor & Solbakk, Anne-Kristin (2019). Auditory prediction and prediction error in self-generated tones.
• Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid; Foldal, Maja Dyhre; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Knight, Robert Thomas; Danielsen, Anne; Endestad, Tor & Solbakk, Anne-Kristin (2019). Action-based auditory predictions. Show summary

  Sensory consequences of actions are predicted by the brain via an internal forward model to prepare sensory cortical areas, referred to as motor prediction. In a similar vein, the predictive coding framework suggests that perception is based on internal models making predictions about sensory events, based on statistical probabilities of the stimuli. In the current study we investigated action-based sensory predictions. We used a self-paced, two-choice random generation task, infrequently inducing deviant outcomes of voluntary action. Participants repeatedly pressed a right and a left button normatively associated with a 70 ms long 1 kHz and 2 kHz tone, respectively. Occasional deviants occurred, inverting the learned button-tone association. Participants were instructed that their button presses should be random, at a regular but self-paced tempo of one press per 1-2 s, and that they should press both buttons with equal probability. They were informed that the tones are task-irrelevant. We used intracranial EEG (iEEG) data recorded from 10 adult patients with electrodes localized in frontal and temporal lobes. The patients had drug resistant epilepsy and were undergoing presurgical monitoring via implanted stereotactic electrodes. Electrode coordinates and anatomical labels were obtained from coregistered MRI and CT images using iElectrodes toolbox. Initial results indicate that violations of action intentions modulated high frequency band activity (HFA, 75-145 Hz) in distributed brain regions including temporal and prefrontal cortices.

• Lartillot, Olivier (2019). A comprehensive framework for computational music analysis. Show summary

  During this presentation, Dr. Olivier Lartillot will give an overview of MIRtoolbox - a Matlab application enabling the extraction of a large range of audio and musical descriptions from recordings. MIRtoolbox is designed to be easy to use both for teaching at any level and for advanced research in musicology, signal analysis and music cognition. One initial aim of MIRtoolbox was to study the relationship between musical features and emotions evoked by music. MIRtoolbox focuses on signal-processing-based approaches that offer limited understanding of music. Lartillot is also developing computational methods for the analysis of notated music, starting from motivic analysis and aiming at building a comprehensive framework where audio and score are combined together.

• Godøy, Rolf Inge (2019). Constraint-based musical expression - John Blacking Memorial Lecture, European Seminar of Ethnomusicology (ESEM), Durham University, September 5, 2019. Show summary

  The focus of my talk is on how various human and instrumental constraints shape musical expression. There can be no doubt that the repertoire of musical expression is vast, as is the variety of musical instruments and associated kinds of human sound-producing body motion. Yet there are obvious constraints on what sounds traditional musical instruments can produce (e.g. a flute cannot sound like trombone, a piano cannot sound like an oboe), and needless to say, also constraints on human sound-producing body motion (e.g. need for breathing, need for rests, limits to speed), engendering constraint-based idioms (easy and well-sounding vs. difficult and not so well-sounding snippets on instruments). This may all seem rather trivial, but the crucial point is to see how constraints are carried into musical expression and strongly influence it, even to the point that we expect such constraints in music. And: that musical expression is constraint-based does not diminish its value; it is rather a testimony to extensive human agency in music. It can be argued that human body motion constraints actually shape salient perceptual features of musical sound, first of all in what we perceive as motion and contour patterns in music, as well as in various details of articulation. Taking constraints into account amounts to a more holistic approach to musical expression by focusing on musical sound as produced by human body motion, or focusing on what I have previously called motormimetic features in musical experience. This perspective is a departure from Western abstract notions of pitch and duration in favor of holistic sound and body motion features in music, a shift of perspective I believe was also a recurrent topic for John Blacking.

• Oddekalv, Kjell Andreas (2019). Likeins, likeins, men annleis – ulike språk/rytme-interaksjonar i rap.
• Hagen, Anja Nylund (2019). Norsk musikkbransje og eksport.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus & Hole, Erik (2019, 15. november). Rapkjefta - Episode 5. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2019, 18. oktober). Rapkjefta - Episode 4. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Walderhaug, Bendik & Sørli, Anders Ruud (2019, 20. september). Rapkjefta - Episode 3. [Radio].  Ordentlig Radio.
• Kelkar, Tejaswinee (2019). Spatial and Bodily Metaphors as means for Musical Sense-making.
• Kelkar, Tejaswinee (2019). WoNoMute LittleBits Workshop.
• Kelkar, Tejaswinee (2019). Girl Music Tech Camp. Show summary

  Vi inviterer elever fra videregående skole til å lære mer om musikkteknologi. Du får muligheten til å teste ulike instrumenter og synth'er, vil lære å programmere dine egne lyder, og forstå noen av prinsippene som ligger til grunn for digital lyd og musikk. Kurset avholdes hver dag i høstferien fra kl 10-14, og vi vil gå gjennom forskjellige temaer: Lydopptak og redigering Lydanalyse Lydmekking Lydprogrammering Sammenstilling av det hele Planen er å jobbe så praktisk som mulig. Vi legger opp til jam-sessions underveis, samt mulighet for lydopptak med ulike verktøy. Den siste dagen blir det en liten konsert hvor vi setter alt sammen. I løpet av uken får du møtt andre jenter som er opptatt av musikkteknologi, og får snakket med studenter ved Institutt for musikkvitenskap. Du vil også få omvisning i studioer og lab'er og høre litt om den spennende forskningen som foregår ved instituttet.

• Kelkar, Tejaswinee; Erdem, Cagri & Lan, Qichao (2019). Utopia.
• Kelkar, Tejaswinee (2019). Improverk: Chicago Connections + Kelkar & Shrestha.
• Alarcón Diaz, Ximena; Boddie, Paul; Erdem, Cagri; Aandahl, Eigil; Andersen, Elias Sukken; Dahl, Eirik; Lesteberg, Mari & Jensenius, Alexander Refsum (2019). Sensing Place and Presence in an INTIMAL Long-Distance Improvisation. Show summary

  INTIMAL is an interactive system for relational listening, which integrates physical-virtual interfaces for people to sonically improvise between distant locations. The aim is to embrace two key aspects in the context of human migration: the sense of place and the sense of presence. This paper reflects on the use of INTIMAL in a long-distance improvisation between the cities of Oslo, Barcelona and London in May 2019. This improvisation was performed by nine Colombian migrant women, who had been involved in a research process using the Deep Listening® practice developed by Pauline Oliveros. Here we describe the performance setting and the implementation of the first two interfaces of the system: MEMENTO, an “embodied” navigator of an oral archive of Colombian women’s testimonies of conflict and migration; and RESPIRO, a sonification system that transmits and sonifies live, breathing signals between distant locations. We reflect on how the two interfaces facilitated and challenged the improvisers’ listening experiences and connections.

• Guldbrandsen, Erling E. (2019). Flere kvinnelige dirigenter trengs. ballade.no. Show summary

  Selvsagt kan flere kvinner inkluderes i filosofiens historie. Og i musikkens og litteraturens historie. Selvsagt kan historie omskrives, omprioriteres, problematiseres og formuleres på etterskudd og på nytt. Det må den, uavlatelig, uansett. Trodde noen at historien(e) var avsluttet og skrevet i stein, verdifritt, nøytralt og objektivt, uten innslag av interesser og maktkamp, blinde flekker, perspektiver og fortolkning fram til nå? Det har slått meg at jeg jobber på noen av de mest tilbakeliggende saksfeltene som fins når det gjelder kjønnsbalanse. Musikkhistorie, komponisthistorie, litteraturhistorie, filosofiens historie. Orkesterdirigenter, gud bedre. Vis meg et felt hvor mannsdominansen har vært større helt fram til i dag. Lite av dette er naturgitt, for å si det sånn. De mennene som skriver (på Facebook og elsewhere) at vi ser “filosofiens slutt” og “undergang” når man bringer inn andre stemmer, tekster og perspektiver enn de vante og etablerte, oppviser vel ikke nevneverdig bevegelighet i tenkningen. Selv om tenkning altså er temaet de tar opp. Virkningshistorie er ett problem. Kvinnelige bidragsytere som ikke er blitt lest og kommentert av senere tenkere opp gjennom tradisjonen, mangler en virkningshistorie så langt. Sant nok. Så hva gjør man da? Fortsetter å fortie dem av samme grunn? Jeg vil heller si at det er all grunn til å bringe dem inn i debatten jo før jo heller. Fortidens strukturer er et annet problem. Det anføres som et historisk problem at siden kvinner vitterlig ikke fikk bekle lærestoler og professorater, og ikke engang slapp inn på lærestedene, så er det et beklagelig, men uavvendelig faktum at de heller ikke kan ha bidratt. Men det spørsmålet er først og fremst empirisk. Bedre å begynne å lete dem fram, da, enn å la saken ligge. Kvalitet er et tredje problem. Det menes og hevdes at mennene dominerer fordi bidragene deres holder høyere kvalitet enn kvinnenes. Oj. Det er litt av en påstand. Den krever belegg og avprøving fra tilfelle til tilfelle. Igjen er det bare å gå i gang. Bringer man nye tenkere inn, vil de rett som det er kunne påvirke, ikke bare etterfølgerne, men også sine forgjengere, fordi de endrer måten vi blir i stand til å lese forgjengerne på. Dette er Jorge Luis Borges’ gamle poeng. Eksempler? Jeg skal ta ett, fra et uventet felt. Den yngre, kvinnelige dirigenten Elena Schwarz fortolker visse sentrale verker innen vestlig kunstmusikk mer nyansert og raffinert enn de fleste andre dirigenter jeg kjenner til i nåtiden. Perspektivet er et annet. Ikke hørt om henne? Da lurer jeg på hva det kan komme av. For dårlig kvalitet? Neppe. Kjør debatt.

• Guldbrandsen, Erling E. (2019). Gustav Mahlers Åttende symfoni - Die Sinfonie der Tausend.
• Guldbrandsen, Erling E. (2019). Han var en større dirigent enn vi kanskje helt fikk med oss i Norge. Mariss Jansons (1943-2019). Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.  s 40- 40 Show summary

  En smertelig nyhet møtte oss på søndag. Dirigenten Mariss Jansons er gått bort. Han ble 76 år. Han døde i går natt i St. Petersburg. Mariss Jansons (1943–2019) var en større dirigent enn vi kanskje helt fikk med oss i Norge. Han vil bli stående. Han ruver helt der oppe i de blå høyder. Som musiker hadde han dette romantiske suget som kunne løfte interpretasjonen til det helt usedvanlige. Årene hans med Oslo-Filharmonien (1979–2002) ble avgjørende for OFO, for byen og for norsk musikkliv, med ringvirkninger langt forbi det øyeblikket da han sa opp og reiste, etter en forgjeves kamp for å skaffe orkesteret bedre arbeidsbetingelser og et bedre konserthus. Han var en musikalsk idealist som fikk det for trangt i provinsbyen Oslo. Gjennom sin inngående lytting og grundighet, sin særegne blanding av intuisjon og arbeid, inspirasjon og disiplin, løftet han orkesteret til et nivå det aldri tidligere hadde vært i nærheten av. OFO ble i en periode omtalt som et av de seks beste orkestre i verden. Med Jansons’ hjerteproblemer har vi lenge fryktet for hans livslengde. Under Puccinis La Bohème holdt han på å dø på podiet i Oslo i 1996. Hans far døde faktisk av hjertet, på podiet under en konsert med Hallé Orchestra. Mariss var sønn av den latviske dirigenten Arvid Jansons og hadde jødisk mor, sangeren Iraīda Jansons. Han ble født under krigen, mens moren lå i dekning utenfor Riga, i skjul for nazistene. Som ung studerte han fiolin, bratsj, klaver og direksjon i Leningrad, og kom til å samarbeide tett med Jevgenij Mravinskij, som ledet Leningrad-filharmonien i femti år, 1938–88, og som preget orkesteret i den grad at han – som det ble sagt – kunne få hele fiolingruppen til å spille et svakere pianissimo enn én enkelt fiolin kunne makte alene! Jansons ble selv en orkesterbygger, og det er derfor dobbelt sørgelig at han senere så seg nødt til å forlate Oslo. I Wien studerte Jansons direksjon med Hans Swarowsky, som ledet dirigentklassen ved Wiener Musikakademie helt fra krigens slutt i 1946 og til 1975. Swarowsky var elev av komponistene Schönberg og Webern, og ble lærer for en dirigentgenerasjon som omfattet Zubin Mehta, Claudio Abbado, Ivàn Fischer, Peter Schneider og Giuseppe Sinopoli. Det er litt av noen navn. Med sine idealer om "Werktreue", presisjon og saklighet var Swarowsky preget av etterkrigstidens nøkterne stil, i en reaksjon mot det man oppfattet som "romantiske" overdrivelser med subjektiv frasering og tempofluktuasjoner. Jansons gikk imidlertid videre og ble en langt mer betydelig dirigent enn sin lærer, mykere og varmere i klang og mer fleksibel i artikulasjon. Han lærte mye under studiene med Herbert von Karajan i Salzburg, men ble helt og fullt seg selv. Mariss ble selv lærer for en rad med vesentlige dirigenter, blant annet latviske Andris Nelsons, og la stor intensitet i arbeidet med yngre musikere og ungdomssymfoniorkestre i Europa. Mariss Jansons kom aldri tilbake til Oslo-Filharmonien, heller ikke i jubileumsåret 2019. Han sa nei. Skuffelsene fra sist lå nok tungt over ham. Han var sjefdirigent for Pittburgh SO fra 1997, og fra 2004 overtok han Concertgebouworkest i Amsterdam etter Riccardo Chailly. Samtidig ble han sjefdirigent for Sinfonieorchester des Bayerischen Rundfunks i München (i tradisjonen fra Eugen Jochum, Colin Davis, Rafael Kubelik og Lorin Maazel). Han ledet dermed to av de viktigste orkestrene i Europa, og han gjorde det på et nivå som ytterligere styrket deres posisjon. Så hva har vi med oss videre, fra Mariss-epoken i norsk musikkliv? Vi har ettervirkningene, med et OFO som fortsatt er et orkester i toppklasse. Nivået har flere av etterfølgerne til Jansons ivaretatt og videreutviklet, ikke minst Jukka-Pekka Saraste, etter mitt syn. Vi har Jansons’ plateinnspillinger med OFO. De rager, ikke minst innen hans sentrale repertoar, med Tsjajkovskij, Sjostakovitsj, Mahler. Orkesterkonserter er

• 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). Digitalisering som utfordring for kulturindustriene.
• 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 and the digitalised music industry. Show summary

  The term "Superstar Economy" refers to a theory stating that while digitaliization creates opportunites, it also demands vast resources in order to be a part of it. Will the digital economy give us less diversity? Or does it simply provide easier access to music, literature and movies, making art more profitable? For Arts Council Norway, this is a debate that needs both a national and a European perspective. And we start off by exploring two interesting aspects of the Norwegian cultural sphere: Despite being a small country with a small language market, a large number of books are written and published in Norway. Authors, publishers, bookstores and other industry actors are important for the scope and quality of production and distribution of Norwegian literature. But if the literature is to develop as it should, there must also be an active and committed literature policy. Meanwhile, Norway is a leading country when it comes to digitalization and streaming music. Recent numbers show that 9 out of 10 Norwegians are streaming music, and more than half are paying for these services. In 2017, 85 % per cent of sales revenue for recorded music in Norway came from streaming. Can the Norwegian literary policies and the Norwegian digital consumption of culture learn anything from each other? And what can we learn from the main players in the cultural sector themselves? In Frankfurt on October 18th, we will hear from Norwegian and international experts, writers and academics.

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