Our latest publications

• Vuoskoski, Jonna Katariina (2019). Music, rowing, and the aesthetics of rhythm. The Senses & Society.  ISSN 1745-8927.  14, s 1- 14 . doi: 10.1080/17458927.2018.1525201
• Alarcón Diaz, Ximena (2019). Conceptual design for INTIMAL: a physical/virtual embodied system for Relational Listening. The Journal of Somaesthetics (JS).  ISSN 2445-6837.  4(2), s 6- 24 . doi: https://doi.org/10.5278/ojs.jos.v4i2.2393 Show summary

  This paper articulates the design for the first stage of INTIMAL: a physical/virtual embodied interactive system for relational listening in the context of human migration, set within the artistic practice of improvisatory telematic sonic performance. Informed by the Deep Listening experiences of nine Colombian migrant women in Europe and integrating Embodied Music Cognition Methods, INTIMAL draws upon sensorial experience in dreams, virtual spaces, and physical spaces to develop a holistic understanding of the body as an interface that keeps one’s memory of place. Technologies are intended to be used as mediations aiding the co-relations in listening for the sensing, processing and retrieval of an oral archive of other women’s testimonies from the Colombian civil war, while improvisers’ body movements, voices, and spoken words resonate with these voices. The author suggests how INTIMAL system could act as catalyst for creating new layers in the reconstruction and transformation of embodied memory, opening paths for individual and collective healing of feelings associated to the migratory experience and the armed conflict.

• Danielsen, Anne; Nymoen, Kristian; Anderson, Evan; Câmara, Guilherme Schmidt; Langerød, Martin Torvik; Thompson, Marc R. & London, Justin (2019). Where is the beat in that note? Effects of attack, duration, and frequency on the perceived timing of musical and quasi-musical sounds. Journal of Experimental Psychology: Human Perception and Performance.  ISSN 0096-1523.  45(3), s 402- 418 . doi: 10.1037/xhp0000611 Show summary

  The perceptual center (P-center) of a sound is typically understood as the specific moment at which it is perceived to occur. Using matched sets of real and artificial musical sounds as stimuli, we probed the influence of attack (rise time), duration, and frequency (center frequency) on perceived P-center location and P-center variability. Two different methods to determine the P-centers were used: Clicks aligned in-phase with the target sounds via the method of adjustment, and tapping in synchrony with the target sounds. Attack and duration were the primary cues for P-center location and P-center variability; P-center variability was found to be a useful measure of P-center shape. Consistent interactions between attack and duration were also found. Probability density distributions for each stimulus display a systematic pattern of P-center shapes ranging from narrow peaks close to the onset of sounds with fast attack and short duration, to wider and flatter shapes indicating a range synchronization points for sounds with slow attack and long duration. The results support the conception of P-centers as not simple time points, but "beat bins" with characteristic shapes, and the shapes and locations of these beat bins are dependent upon both the stimulus and the synchronization task.

• Gonzalez Sanchez, Victor Evaristo; Dahl, Sofia; Hatfield, Johannes Lunde & Godøy, Rolf Inge (2019). Characterizing movement fluency in musical performance: Toward a generic measure for technology enhanced learning. Frontiers in Psychology.  ISSN 1664-1078. . doi: 10.3389/fpsyg.2019.00084 Show summary

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

• Hawkins, Stan & Ålvik, Jon Mikkel Broch (2018). A-ha's "Take on Me": Melody, Vocal Compulsion, and Retroscoping, In Ciro Scotto; Kenneth M. Smith & John Brackett (ed.),  The Routledge Companion to Popular Music Analysis: Expanding Approaches.  Routledge.  ISBN 9781138683112.  Chapter 6.  s 77 - 94
• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter, In Gualtiero Volpe & Antonio Camurri (ed.),  Proceedings of the 5th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-6504-8.  Article No. 38. Show summary

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

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

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

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

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

View all works in Cristin

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

View all works in Cristin

• Høffding, Simon (2019). In the phenomenological workshop with “The Danish String Quartet":coping, mind-wandering and Amnesia.
• Guldbrandsen, Erling E. (2019). Å leve med Restless Legs Syndrome (RLS).
• Guldbrandsen, Erling E. (2019). Beethovens niende symfoni: Hvor går Oslo-Filharmonien. ballade.no.
• Guldbrandsen, Erling E. (2019). Et dykk i det undertrykte. Billy Budd av Benjamin Britten på Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  (4), s 34- 35
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Walderhaug, Bendik; Hole, Erik; Sørli, Anders Ruud; Ugstad, Magnus & Marcussen, Karsten (2019). Vet du aller helst.
• Oddekalv, Kjell Andreas (2019). Sinsenfist på x2.
• Høffding, Simon (2019). Moved in Museums: Activity and Passivity in Aesthetic Absorption.
• Jensenius, Alexander Refsum (2019). Dagens system tar ikke høyde for at folk skal kunne ta kurs på 0,2 studiepoeng. Men hvorfor ikke?. Khrono.no.  ISSN 1894-8995. Show summary

  Vi må legge til rette for mye raskere, enklere, og smidigere prosesser for å registrere, insentivere og belønne ulike former for mikroutdanning, skriver førsteamenuensis ved Universitetet i Oslo, Alexander Refsum Jensenius.

• Jensenius, Alexander Refsum (2019). Towards Convergence in Research Assessment. EARMA Link Magazine.  s 14- 14 Show summary

  Open Science is on everyone’s lips these days. There are many reasons why this shift is necessary and wanted, and also several hurdles. One big challenge is the lack of incentives and rewards. Underlying this is the question of what we want to incentivize and reward, which ultimately boils down to the way we assess research and researchers. This is not a small thing. After all, we are talking about the cornerstone of people’s careers, whether an inspiring academic gets a job, promotion, and project funding.

• Hagen, Anja Nylund & Kjus, Yngvar (2019). Musikkbransjen i strømmingens tidsalder..
• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Show summary

  Musikkstrømmetjenester, sosiale medier og innsikt fra digitale plattformer er sentralt i dagens musikkdistribusjon og musikkproduksjon, men hvordan erfares den digitale virkeligheten for musikkbransjens aktører? Dette får vi svar på når resultater fra en stor spørreundersøkelse fra forskningsprosjektet MUSEC (UiO) for første gang presenteres. Omtrent 600 musikkbransjeaktører på tvers av sjangere, roller og virksomheter har deltatt i spørreundersøkelsen, som ble avsluttet i januar 2019. Resultatene viser hvordan musikkbransjen erfarer digitaliseringen med vekt på musikkeksport, endrede pengestrømmer, forhandlingsmuligheter og behovet tilskuddsordninger. Et funn viser for eksempel at 9 av 10 mener de som styrer strømmetjenestes spillelister har stor makt i dagens musikkbransje. Slik avdekker studien hvordan organisering, makt- og tillitsforhold også forskyves i en musikkbransje som blir stadig mer digital og global.

• Oddekalv, Kjell Andreas (2019). Konsert med Sinsenfist - Rockeklubben i Porsgrunn.
• Clauder, Ingvo; Tveit, Anders; Evensen, Terje & Lossius, Trond (2019). In a Now.
• Kjus, Yngvar & Hagen, Anja Nylund (2019). Musikkbransjen i strømmetiden.
• Nymoen, Kristian (2019). Musikalske maskiner.
• Høffding, Simon & Wallot, Sebastian (2019). Physiological correlates of musical absorption – a mixed methods approach.
• Edwards, Peter (2019, 18. februar). Frahmtiden er ny-klassisk.  Vårt Land.
• Brøvig-Hanssen, Ragnhild (2019). Presentation of the MASHED-project.
• Brøvig-Hanssen, Ragnhild; Jones, Ellis Nathaniel & Perrett, Josh (2019). Invitation video for survey participation related to the research project MASHED: Mashup Music, Copyright, and Platform Regulation. [Video ].
• Brøvig-Hanssen, Ragnhild; Jones, Ellis Nathaniel; Hui, Alan; Perrett, Josh & Manning, Maddie (2019). Promo video of the research project MASHED: Mashup Music, Copyright, and Platform Regulation. [Video ].
• Lartillot, Olivier (2019). The MIRAGE project.
• Weisethaunet, Hans (2019). «Tomasz Stańko: Det siste intervjuet». Jazznytt.  ISSN 0332-7248.  249, s 40- 45
• Weisethaunet, Hans (2019). Interview lecture: A dialogue with John Surman.
• Alarcón Diaz, Ximena (2019). Seminario Transdisciplinar: voz, memoria, violencia, comunidad, prácticas artísticas. Show summary

  This is a network project.

• Vuoskoski, Jonna Katariina (2019, 14. februar). Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad?. [Internett].  https://www.youtube.com/watch?v=SHipCeYasYY.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata; Glette, Kyrre & Nymoen, Kristian (2019). Self-playing Guitars. Show summary

  In this installation we explore how six self-playing guitars can entrain to each other. When they are left alone they will revert to playing a common pulse. As soon as they sense people in their surroundings they will start entraining to other pulses. The result is a fascinating exploration of a basic physical and cognitive concept, and the musically interesting patterns that emerge on the border between order and chaos.

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

  Musical engagement (music-making, listening and dancing) involves and fosters a number of processes that are associated with empathy, such as emotional contagion, embodied resonance, entrainment, and social bonding. One example of such a process is the feeling of ‘being moved’ – a powerful, rewarding experience often accompanied by chills, tears, and a sense of connection. In the past few years, ‘being moved’ has attracted increasing research interest as a distinct emotional response with prosocial functions and motivations – also in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). ‘Being moved’ is typically characterized as a mixed or predominantly positive emotion, with joy and sadness as its main ingredients. In the context of music listening, feelings of being moved are closely related to empathic personality traits, and have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). Building on empirical evidence from my recent work, I will argue that the experiences of ‘being moved’ in the context of music listening are inherently social responses with prosocial motivations and functions.

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

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

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

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

• Danielsen, Anne (2019). Classic Album Sundays: Aretha Franklin (paneldeltakelse).
• Guldbrandsen, Erling E. (2018). Dødsboet er fullt av spørsmål. Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.
• Alarcón Diaz, Ximena (2018, 01. september). Case Study - in The Digital Musician Third Edition, by Andrew Hugill. [Internett].  http://andrewhugill.com/thedigitalmusician/alarcon.html.
• Lartillot, Olivier (2018). The MiningSuite 0.10 (first beta version). Show summary

  The MiningSuite is a free open-source and comprehensive Matlab framework for the analysis of signals, audio recordings, music recordings and music scores (and soon video, and more to come later) under a common modular framework. The MiningSuite adds a syntactic layer on top of Matlab, so that advanced operations can be specified using a simple and adaptive syntax. This makes the Matlab environment very easy to use for beginners, and in the same time allows power users to design complex workflows in a modular and concise way through a simple assemblage of operators featuring a large set of options. The MiningSuite is an extension of MIRtoolbox, a Matlab toolbox that has become a reference tool in the Music Information Retrieval (MIR) research and academic community.

• Lartillot, Olivier (2018). MIRtoolbox 1.7.1. Show summary

  MIRtoolbox offers an integrated set of functions written in Matlab, dedicated to the extraction from audio files of musical features such as tonality, rhythm, structures, etc. The objective is to offer an overview of computational approaches in the area of Music Information Retrieval. The design is based on a modular framework: the different algorithms are decomposed into stages, formalized using a minimal set of elementary mechanisms. These building blocks form the basic vocabulary of the toolbox, which can then be freely articulated in new original ways. These elementary mechanisms integrates all the different variants proposed by alternative approaches - including new strategies we have developed -, that users can select and parametrize. This synthetic digest of feature extraction tools enables a capitalization of the originality offered by all the alternative strategies. Additionally to the basic computational processes, the toolbox also includes higher-level musical feature extraction tools, whose alternative strategies, and their multiple combinations, can be selected by the user. The choice of an object-oriented design allows a large flexibility with respect to the syntax: the tools are combined in order to form a sets of methods that correspond to basic processes (spectrum, autocorrelation, frame decomposition, etc.) and musical features. These methods can adapt to a large area of objects as input. For instance, the autocorrelation method will behave differently with audio signal or envelope, and can adapt to frame decompositions.

• Lartillot, Olivier & Jensenius, Alexander Refsum (2018). SoundTracer. Show summary

  Discover traditional Norwegian music by drawing gestures with your iPhone or iPad. First draw a gesture by moving your iPhone or iPad up and down, to indicate ascending and descending melody. A simple sound is played while you move your device, its pitch gets higher when you move up, and gets lower when you move down. You can also indicate the beginning of a new note by moving abruptly the phone up or down (a blue vertical line indicates the note position). It is also possible to indicate a particular note without indication of pitch by performing a quick movement down and up (a red vertical line indicates the note position). Once you have terminated your gesture (by tapping once), the piece of music that contains the melodic gesture closest to your gesture is presented. The title and genre of that piece of music is indicated, as well as the performer and the district in Norway where it comes from. A melodic curve of the specific melodic gesture from the song is displayed below your own gesture. The matching between your gesture and the melody is based on a temporal alignment of their contours: the ascending parts of your gesture is aligned with the ascending parts of the melody, and same for the descending parts. The temporal note locations you have specified (bleu and red vertical lines) are also tentatively aligned with corresponding note changes in the melody. Some parts may be skipped, and are shown in red in the curves. When the music is played, a cursor moves throughout both curves so that you can follow the music while looking at the gestures. SoundTracer uses Apple's ARKit technology, solely in order to precisely track the location of your iPhone or iPad. For that reason, there is no actual Augmented Reality, and the camera is solely used to improve the precision of the tracking, without displaying the actual frames of the camera. For the moment, the catalogue of music is composed of around 50 pieces, and only the initial part of the melody is considered. The catalogue includes a few tunes played on the traditional Norwegian Hardanger fiddle, and songs sung a cappella. SoundTracer will be progressively improved with more music. SoundTracer is an innovation project led by Alexander Refsum Jensenius, supported by the University of Oslo and developed in collaboration with the National Library of Norway. More information here: https://www.hf.uio.no/ritmo/english/projects/all/soundtracer/

• Alarcón Diaz, Ximena (2018, 23. januar). Nine Colombian women to process memories through intense listening. [Internett].  https://www.hf.uio.no/imv/english/research/news-and-events/n.
• Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne (2018). Prediction of P-centers from audio recordings.
• Lartillot, Olivier (2018). MoCap Toolbox in the MiningSuite.
• Lartillot, Olivier (2018). Overview of signal-based rhythm analysis.
• Lartillot, Olivier (2018). Computational sound/music/gesture analysis and application to gesture-based query in music catalogue. Show summary

  In the first part of this talk, I will give a short and broad overview of the MiningSuite, a Matlab toolbox that combines sound, music and gesture analysis. I will give a quick tour of the various types of sound and music analyses that can be carried out using the toolbox, covering a large range of musical dimensions such as timbre, rhythm, harmony or structure. The MiningSuite, integrating previous toolboxes such as MIRtoolbox and MIDI toolbox, can be used both for the analysis of audio recordings and of “symbolic” representations such as MIDI files. I will also present the current integration of motion capture and gesture analysis (from the MoCap Toolbox), as well as other sensor data such as breathing. The benefit of articulating these different types of analyses into a single framework will be demonstrated. In the second part, I will present a project aimed at automatically extracting melodic gestures from a catalogue of folk music recordings from the National Library of Norway. While melodic lines can be easily extracted from a cappella songs, the task is more challenging for other types of music such as Hardanger fiddle music. In such cases, we need to automatically transcribe the recordings and track melodic voices throughout the counterpoint of each composition. I will also present an iPhone app that enables to draw a gesture in the air with the phone and to find pieces of music from the catalogue that is characterised by a similar musical gesture.

• Lartillot, Olivier (2018). Cookbook 1: Sound analysis in Matlab.
• Brøvig-Hanssen, Ragnhild (2018). Panel ved boklansering av Yngvar Kjus bok "Live and Recorded: Music Experience in the Digital Millennuim".
• Weisethaunet, Hans (2018). “Ethnomusicology: tradition and perspectives”, World Music seminar series, Universitetet i Agder.
• Weisethaunet, Hans (2018). «Jazzimprovisasjon som kommunikasjon», med gjest Arild Andersen.
• Weisethaunet, Hans (2018). Interview presentation: “In the recording studio” with Georg “Jojje” Wadenius.
• Weisethaunet, Hans (2018). Opponent, ph.d. sluttseminar: «En fiolin er ikke en fiolin er ikke en fiolin...», Benjamin Rygh, Universitetet i Sørøst-Norge.
• Alarcón Diaz, Ximena (2018). Telematic Sonic Performance: On Dis-location. Show summary

  In this talk I will share my experience in creating telematic sonic performances using long-distance bi-directional transmission of sound through the Internet: a mediation that strengthens metaphors of migration and dislocation. From this experimental, compositional and collaborative art practice, inspired by Pauline Oliveros’ Deep Listening, my art research has evolved into the creation of INTIMAL: an embodied physical virtual system for relational listening. INTIMAL interrelates body movement, vocal expression, memory and sense of place in a telematic system, expanding the technical possibility of ‘streaming sound’ to the one of ‘sensing vibrations’, in the distance. The system is being informed by a group of Colombian Migrant Women living in three European cities, involved in a fieldwork that uses Deep Listening and Embodied Music Cognition methods. INTIMAL is using technologies that augment and inter-relate feelings, body movements, and vocal expression in migratory contexts, for people to playfully improvise their migratory journeys, finding connections with themselves and others, physically and virtually, opening paths for healing.

• Alarcón Diaz, Ximena (2018). Relational Listening: in-between body, memory, migration and telematics. Show summary

  How to connect experiences that make of listening a collective dynamic and transformative practice in the midst of subjective experiences? This lecture will introduce the concept of relational listening as it is being nourished in the research project INTIMAL: a physical-virtual system that explores the body as an “interface” for keeping and transforming the memory of place in migratory contexts. The lecture will review practices and theories of listening as a multidisciplinary contemporary practice that connects us with our surroundings and will link it to the exploration of sonic “in-between” spaces. These spaces manifest on the experiences of the body, memory, dreams, migration and telematics, which expand the perception of ourselves in the world, and the world that inhabits us.

• Alarcón Diaz, Ximena (2018). INTIMAL Listening in Dreams online sessions, reflecting on four spheres of migratory memory.. Show summary

  These INTIMAL Listening in Dream sessions bring together nine women in reflective conversation, and improvisatory performance with body movement and voice, while going through four spheres of migratory memory proposed by the researcher: body stories, social body, native land, host lands. This work: rebuilds trust between Colombian women in a non-judgemental free expression environment; informs further the INTIMAL system, in its thematic content (using oral archives), and in its expressive possibilities mediated through the Internet between distant locations. The sessions are about 2 hours long and have taken place on: May 26, June 16, June 30, July 28, August 11, Sept 29, Oct 6, Oct 27 x 2 sessions, Nov 3, Nov 24, January 12, 2019 and January 19, 2019 Part of this work has included three listening sessions (walks) in Oslo Sept 2, Sept 30, October 28.

• Alarcón Diaz, Ximena (2018). Fieldwork: Deep Listening Intensive-MOCAP Lab sessions. Show summary

  Between April and May 2018, nine Colombian migrant women coming from the cities of Barcelona, London and Oslo had the opportunity to creatively share their listening experiences of migration. Their deep immersion in listening to their migratory journeys – through their bodies, dreams, voices, languages and surrounding environments – is informing the design of the system INTIMAL. The first month of working with the nine women was realized through online meetings, interrelating dreams, migrations and virtuality. After this initial month, we all met in Norway to engage in two full days of Deep Listening practice. We counted on the dedicated support of Deep Listening body facilitator Sharon Stewart, who co-led the retreat with project leader Ximena Alarcón, at the art center Glasslåven in the city of Gran. Our shared verbal silence, the performance of environmental dialogues, the connections to the earth through early morning walks, the exploration of inner geographies, and improvisations with voice and language opened spaces for each of the participants for respectful and powerful sharing as well as creative expressions. These were rooted in common, diverse and opposite perspectives, which helped us to achieve needed acoustic spaces within our cultural diversity and shared history of conflict. Each woman developed an individual repertoire which was expressed as a sonic improvisation of their migratory journeys. This also opened the space for each participant to listen to the testimonies of other Colombian migrant women (collected by the Commission of Truth, Peace and Reconciliation of Colombian Women in Diaspora) and interrelate it with her own story through free body movement, voice and words. The entire experience was registered through different media, spatialised and closed microphone sound, and technologies of Motion Capture and bio-feedback devices in the MOCAP lab at the Department of Musicology at the University of Oslo. Colleagues at RITMO, IMV – UiO supported the MOCAP Lab experiments: Victor Evaristo González Sánchez and Ulf A S Holbrook. The Center for Deep Listening at Rensselaer Polytechnic Institute, supported the use of the Google Hangouts platform for large group communication.

• Kelkar, Tejaswinee (2018). Data visualization in Python.
• Kelkar, Tejaswinee (2018). Oslo Jazzfestivalen - ft Jazz in Khartoum ft Agbalagba Dada.
• Kelkar, Tejaswinee (2018). Jazz in Khartoum - ft. Sudeshna Bhattacharya.
• Kelkar, Tejaswinee (2018). Jazz in Khartoum - ft Tejaswinee Kelkar #2.
• Kelkar, Tejaswinee (2018). MAM - Nepal / Avatar.
• Kelkar, Tejaswinee (2018). Disembodied Voice.
• Weisethaunet, Hans (2018). «Musikkvitenskapelig teori og metode», presentasjon, Nord Universitet.
• Weisethaunet, Hans (2018). «Kulturanalyse og feltarbeid», Det vitenskapelige ph.d.-programmet, Norges musikkhøgskole.
• Weisethaunet, Hans (2018). «Jazz som konservatoriefag», invitert foredrag, NMH historieprosjektet - institusjonshistorie.
• Weisethaunet, Hans (2018). Opponent ph.d. prøvedisputas: Nina Nielsen: “Spreading Darkness: Norwegian Black Metal and Cosmopolitanism”, Norwegian Academy of Music.
• Weisethaunet, Hans (2018). Opponent, ph.d. avhandling, Camilla Kvaal: «Kryssende musikkopplevelser: En undersøkelse av samspill i en interkulturell musikkpraksis.» Høgskolen i Innlandet, Ph.d. i profesjonsrettede lærerutdanningsfag.
• Câmara, Guilherme Schmidt (2018). Presentation of preliminary findings: Effects of Instructed Timing on Guitar and Bass Sound in Groove Performance.
• Câmara, Guilherme Schmidt (2018). Presentation of Mocap Component of Performance Experiments from the Timing and Sound in Musical Microrhythm (TIME) project.
• Câmara, Guilherme Schmidt (2018). Original concert performance with funk/soul ensemble "Baba Soul & The Professors of Funk", Oslo World Music Festival 2018.
• Godøy, Rolf Inge (2018). Presentation of RITMO. Show summary

  A presentation of the aims and organisation of the RITMO Centre of Excellence and various ideas for continued cooperation with IPEM in research and PhD training.

• Fuhrer, Julian Peter; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Animation of the RITMO Logo. Show summary

  In this project the logo of RITMO is installed in an interactive animation. It is able to move in accordance with the frequency band of an audio input stream. That is to say, the RITMO logo interacts with the rhythmical streams of music.

• Fuhrer, Julian; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Animation of RITMO Logo.
• Fuhrer, Julian; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Opening Animation. Show summary

  With this project we installed the logo of RITMO in an interactive animation for the opening of the centre. The logo is enabled to receive audio input such that it is able to move in accordance with the frequency band of the input. That is to say, the logo is able to move along with rythmic streams of the music.

• Høffding, Simon (2018). The Phenomenological Interview and the Skepticist Philosopher.
• Høffding, Simon (2018). Physiological Correlates of Musical Absorption.
• Høffding, Simon & Ravn, Susanne (2018). "What is thinking in movement?".
• Høffding, Simon (2018). Moved in Museums: the Intentionality of Aesthetic Absorption.
• Weisethaunet, Hans (2018). “What’s Black Got to do with it? – Soul and Sound in the Southern Studio“, Topographies of Sound International Conference.
• Nielsen, Nanette; Aksnes, Hallgjerd; Edwards, Peter & Kvalbein, Astrid (2018). Launch for Nanette Nielsen’s book _Paul Bekker’s Musical Ethics_. Introduction and moderation by Hallgjerd Aksnes, panel discussion including: Peter Edwards (University of Oslo), Peter Franklin (University of Oxford), Sarah Hibberd (University of Bristol), Astrid Kvalbein (NMH) and Aksel Tollåli (Oslo)..
• Jensenius, Alexander Refsum & Zhou, Bo (2018). Musical Gestures Toolbox for Matlab. Show summary

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

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

  Industry in change: cultural labour in a globalised and digitalised music industry The use of digital media has changed the ways in which music is produced and distributed. Following, the revenue base for music has also changed, and both music and money circulate differently. Several recent music industry reports (e.g. IFPI and Music Norway) describe economic growth and optimism in the sector. In Norway this is evident in strengthened ambitions for international distribution of Norwegian music, and in increasing employment numbers of music industry professionals, working with music in different roles. The music market is entailed with new opportunities, but also new competition. Music distribution via the internet means that geographical boundaries are less important, and the opportunity to reach audiences abroad is vast. To exploit the new media opportunities, however, also abilities, skills and strategies to interact and negotiate with a greater range of parties under new conditions is demanded. Artists, producers, copyright holders, song writers and other music professionals have to face changing industry dynamics and market structures. The traditional music industry companies, networks, power relations, roles and hierarchies seem to be at flux. In parallel, the digital turn of the music industry has exposed a vulnerability of artists and industry professionals when confronted by new media technology with a global reach (NOU 2013). In this context, the music industry as a workplace is also changing, but how and to which degree, is underexplored. This paper therefore asks what practices and activities are regarded as key among music industry professionals when the goal is to reach international markets and audiences with music. Inspired by production studies (Hesmondhalgh and Baker 2011), the study adapts an agenda of studying how workers in different professions act and interact within digitalised music industry contexts, and what they achieve or fail to achieve. Using survey methodology supplemented by case studies and interviews with industry professionals, the study will account for broad perspectives from both artists, managements, record labels, publishers and others. The study expects to find patterns of cultural labour in a growing music industry that include professional interplays and relationships between both humans and digital media. With an assumption that investment areas, core competences, and professional network thinking have to be adjusted according to the market logics of social media, streaming services and online distribution models, the study aims to display how tasks and practices, but also bargaining power and other power relations, are distributed among traditional workers and companies in the music industry. Issues related to the changed roles of copyright in a digitalised and globalised music industry are also expected to be central, as well as the distinctive negotiation of music as art and commodity. The study is part of a larger research project MUSEC (Music Media, Economy, Copyright) University of Oslo, funded by the Norwegian Research Council, researching how values and rights are negotiated and evaluated when music is produced and distributed via digital media. Sources: Hesmondhalgh, D and S Baker (2011): Creative Labour: Media Work in Three Creative Industries. Abingdon: Routledge. NOU (2013): Kulturutredningen 2014. (The Official Norwegian Report on Cultural Policy 2014).

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

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

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