Our latest publications

• 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
• 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. . doi: https://doi.org/10.3389/fnhum.2019.00445
• 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.
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2020). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society.  ISSN 0300-7766.  43(5)
• 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
• Stover, Christopher (2019). Contextual Theory, or Theorizing Between the Discursive and the Material. Analytical Approaches to World Music.  ISSN 2158-5296.  7(2)
• Stover, Christopher (2019). A música como pesquisa nômade (Music as nomad research). Atos de pesquisa em educação.  ISSN 1809-0354.  14(3)
• 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. 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.

View all works in Cristin

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

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• 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. 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 invitation: 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.

• Jones, Ellis Nathaniel (2020). Book review: Popular Music in the Post-Digital Age. Popular Music.  ISSN 0261-1430.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7a.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7b.
• 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 Radio.
• 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.

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