Our latest publications

• 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, Anais; 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)
• 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)
• Stover, Christopher & Simpson-Litke, Rebecca (2019). Theorizing Fundamental Music/Dance Interactions in Salsa. Music Theory Spectrum.  ISSN 0195-6167.  41(1), s 74- 103
• 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. 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.

• 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
• 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 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 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.
• 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.
• 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 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.

• Herrebrøden, Henrik; Grotterød, Audun & Hystad, Sigurd William (2019). External distractions and motor performance: A field study exploring the effects of mental toughness and extraversion on golf putting. International Journal of Sport Psychology.  ISSN 0047-0767.  50(5), s 437- 447 . doi: 10.7352/IJSP.2018.49.000
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation. Applied Sciences.  ISSN 2076-3417.  9(23) . doi: 10.3390/app9235121 Show summary

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

• Devine, Kyle (2019). Musicology Without Music, In Nick Braae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  1.  s 15 - 37

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.

View all works in Cristin

• 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). 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.

View all works in Cristin