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Kjus, Yngvar
(2024).
Panelsamtale under lanseringen av boken "Parody in the age of remix" .
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Kjus, Yngvar
(2024).
Endelig rettferdig? Norsk musikkbransjes forventninger til EUs direktiv om opphavsrett i digitale markeder. .
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Godøy, Rolf Inge
(2023).
Exploring sound-motion links in motormimetic cognition.
Show summary
The focus of my talk is on the intimate links between sensations of sound and of motion in music, summarized in the expression motormimetic cognition. The purpose of coining this neologism was to give a name to the mental re-enactment (in some cases, also as overt, visible body motion) of sound-related motion in listening to, or merely imagining, musical sound, and typically, as re-enactments of assumed sound-producing body motion, but also of more overall sensations of energy and/or affect.
My motivation for exploring this topic was a number of personal, introspection-based experiences of sound-producing body motion sensations when listening to music, or when merely imagining music. After quite extensive readings in various domains of the cognitive sciences, it dawned on me that maybe other people could have similar motion sensations when listening to, or merely imagining, music. When publishing papers on motormimetic cognition in musical experience, the response of people in the music cognition community was quite varied. However, in the last couple of decades, there has with the growing popularity of so-called embodied cognition in the cognitive sciences, become more accepted that there are indeed extensive links between perception and body motion in most, perhaps all, domains of human behavior. Yet, there are needless to say still very many outstanding questions as to what we mean by embodied cognition in music, and in my opinion, we seem in particular to lack more detail and systematic knowledge of how such embodied elements play out in very concrete musical features. And this is the aim of my presentation, namely to give an account of how the fusion of sound and motion can be explored in more detail.
One leading idea here is that there are constraints in sound production, both of instruments and sound-producing body motion, concerning biomechanics as well as motor control, and that we may enhance our understanding of motormimetic cognition in music by studying such constraints, first of all in performance, but also in improvisation and composition. This will include constraints and affordances of motion and body postures associated with patterns of textures, rhythm, various figures, ornaments, contours, spectral and formantic shapes, as well as the associated sense of effort and affect.
The basic idea here is to regard musical sound as intimately linked with sensations of motion, to the extent that we may actually perceive salient musical features as multimodal phenomena, e.g. in the case of a drum fill where sensations of drum sound and hands/arms motion are totally fused. Recognizing the extent of this multimodal fusion of sound and motion in music perception, should then have consequences for how we think about various theoretical and practical music-related activities, i.e. encourage us to think about a work of music as just as much a choreography of sound-producing motion as sequence of sounds.
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Brøvig, Ragnhild
(2023).
My way to becoming a full professor.
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Brøvig, Ragnhild & Furunes, Marit Johanne
(2023).
Karriereløpsprogrammet på RITMO med mentorordning.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, London.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Manchester.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Oxford.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Sheffield.
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Kraugerud, Emil
(2023).
Konsert med Tusen Takk og Hanne Fjeldstad.
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Kraugerud, Emil
(2023).
Konsert med Hanne Fjeldstad.
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Guldbrandsen, Erling Eliseus
(2023).
Årets beste 2023.
Morgenbladet.
ISSN 0805-3847.
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Guldbrandsen, Erling Eliseus
(2023).
Poesi og musikk: Om Boulez' tonesetting av Mallarmés sonetter i Pli selon pli - Improvisation I-III sur Mallarmé .
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Guldbrandsen, Erling Eliseus
(2023).
Dødsforkynnelsesscenen – Wagners 'Die Walküre'.
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Guldbrandsen, Erling Eliseus
(2023).
Mahlers Tredje symfoni – en presentasjon og gjennomgang.
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Guldbrandsen, Erling Eliseus
(2023).
Gustav Mahlers Symfoni nr 3 – konsertinnledning .
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Guldbrandsen, Erling Eliseus
(2023).
Et europeisk opplysningsarbeid – rapport fra EARLS 2023 (European Alliance for Restless Legs Syndrome).
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Guldbrandsen, Erling Eliseus
(2023).
Johannes Brahms og hans Rekviem i dag.
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Guldbrandsen, Erling Eliseus
(2023).
Om Brahms' Ein deutsches Requiem.
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Mangaoang, Áine Ryan
(2023).
Sounding Dissent: Rebel Songs, Resistance, and Irish Republicanism. By Stephen R. Millar. Ann Arbor, MI: University of Michigan Press, 2020. 264 pp. ISBN 978-0-472-13194-5.
Popular Music.
ISSN 0261-1430.
42(2),
p. 211–214.
doi:
10.1017/S0261143023000077.
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Brøvig, Ragnhild
(2023).
Arousal, Expectancy Violation, and Pleasure.
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Brøvig, Ragnhild
(2023).
Machine Rhythms.
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Brøvig, Ragnhild
(2023).
Different approaches to qualitative methods.
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Brøvig, Ragnhild
(2023).
Digitalisering i musikkutdanningen.
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Brøvig, Ragnhild & Furunes, Marit Johanne
(2023).
Presentasjon av RITMOs karriereprogram for UiO sentralt (Seksjon for kompetanse- og organisasjonsutvikling, Avdeling for organisasjon og personal).
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Brøvig, Ragnhild
(2023).
RITMOs Mentorprogram.
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Karbasi, Seyed Mojtaba; Jensenius, Alexander Refsum; Godøy, Rolf Inge & Tørresen, Jim
(2023).
Exploring Emerging Drumming Patterns in a Chaotic Dynamical System using ZRob.
Show summary
ZRob is a robotic system designed for playing a snare drum. The robot is constructed with a passive flexible spring-based joint inspired by the human hand. This paper describes a study exploring rhythmic patterns by exploiting the chaotic dynamics of two ZRobs. In the experiment, we explored the control configurations of each arm by trying to create un- predictable patterns. Over 200 samples have been recorded and analyzed. We show how the chaotic dynamics of ZRob can be used for creating new drumming patterns.
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Danielsen, Anne; Brøvig, Ragnhild; Câmara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin
(2023).
There’s more to timing than time: Investigating sound–timing interaction across disciplines and cultures
.
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Brøvig, Ragnhild
(2023).
Crises affecting the economy, production, and consumption of music: Perspectives from remixers.
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Brøvig, Ragnhild
(2023).
Presentation of the book Parody in the Age of Remix.
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Brøvig, Ragnhild & Stevenson, Alex
(2023).
Machine Aesthetics: An Analytical Framework .
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Brøvig, Ragnhild
(2023).
Publishing Panel (on the publishing of Parody in the Age of Remix).
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Brøvig, Ragnhild
(2023).
You’re not supposed to sample and rely on copyright exceptions.
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Brøvig, Ragnhild
(2023).
Crisis in the Flow of Remixes and in the Maintenance of Copyright Exceptions.
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Brøvig, Ragnhild
(2023).
Users’ Freedom of Expression in the Digital Era .
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Brøvig, Ragnhild
(2023).
Wakeful Sleep and Sleepy wakefulness in EDM.
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Edwards, Peter
(2023).
Musikk og opphavsrett.
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Jones, Ellis Nathaniel; Devine, Kyle; Størvold, Tore & Kraugerud, Emil
(2023).
Podcasts.
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Kraugerud, Emil; Devine, Kyle; Jones, Ellis Nathaniel & Størvold, Tore
(2023).
Cockatoos.
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Kraugerud, Emil
(2023).
Spatial mediation of music production in DAWs.
Show summary
Existing research on the design of digital audio workstation (DAW) software has largely been concerned with its relations to recording hardware, and the concept of skeuomorphism has been adopted as a way of distinguishing DAWs referring to a tape recorder and mixing desk workflow from other allegedly more innovative approaches to user interface design. Whereas the former approaches tend to incorporate horizontal representations of recorded sound in a linear manner, the latter by contrast often uses vertical layouts of musical building blocks. In this paper I expand and nuance this opposition between skeumorphic and non-skeumorphic design by proposing to think of interfaces in music production software as virtual spaces that are organized in terms of verticality, horizontality, foreground, background, and time. These spaces, in turn, are linked to the different performance and production paradigms that have informed the design of the various DAWs in the first place, and as such they carry information about what kinds of users and practices that are inscribed in the software by its designers. While the use of DAWs to varying extents will be affected by those inscriptions, actual users may also find ways to go beyond the script in incorporating the software into their own musical practices. The research in this paper is based on interface analyses of Ableton Live’s user interface, along with analyses of the Ableton’s online outreach in tutorial videos and blog posts.
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Guldbrandsen, Erling Eliseus
(2023).
Musorgskij, Rakhmaninov og Ørjan Matre – musikalsk og historisk presentasjon.
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Guldbrandsen, Erling Eliseus
(2023).
Lully, Mozart og Beethoven – musikalsk og historisk presentasjon.
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Guldbrandsen, Erling Eliseus
(2023).
Richard Wagners musikkdramatiske fortellermåte i alderdomsverket "Parsifal".
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Guldbrandsen, Erling Eliseus; Ehnes, James; Hagen, Julia; Morris, Tom & Andsnes, Leif Ove
(2023).
Johannes Brahms and the music of our time.
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Guldbrandsen, Erling Eliseus
(2023).
Johannes Brahms, hans musikk og hans verden – kammermusikken i historisk kontekst.
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Guldbrandsen, Erling Eliseus
(2023).
György Ligeti, Brahms, and Clara Schumann – their chamber music.
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Guldbrandsen, Erling Eliseus
(2023).
Brahms' instrumentalverker i lys av romantikkens musikkestetikk.
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Guldbrandsen, Erling Eliseus
(2023).
Brahms, His Music and His World.
Rosendal Chamber Music Festival.
1.
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Edwards, Peter
(2023).
Talk and concert with asamisimasa.
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Kjus, Yngvar
(2023).
The rise of music production platforms.
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Kjus, Yngvar
(2023).
Working on the (value) chain: A study of how technology companies intervene in music production in the online era.
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Devine, Kyle; Jones, Ellis Nathaniel; Størvold, Tore & Kraugerud, Emil
(2023).
Summerland, 1992.
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Kraugerud, Emil & Coughlan-Allen, Joseph
(2023).
Framing intimacy: Reimagining noise as a signifier of silence and intimacy.
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Kraugerud, Emil
(2023).
Impact of software design on creative diversity, or the production and reproduction of space in DAWs.
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Kjus, Yngvar; Kraugerud, Emil & Skjerdal, Øyvind
(2023).
Frokostseminar på Popsenteret om musikk, kreativitet og teknologi .
Show summary
På mandag 24. april har vi invitert Hanne Hukkelberg, Kristine Hoff, Christian Blom og Fartein Orestad for å snakke om hvordan musikk skapes, med hvilke metoder og teknologier. Vi som inviterer har startet et forskningsprosjekt om musikkproduksjon i digitale omgivelser, og ønsker nå å få informasjon, inspirasjon og tilbakemeldinger om hvordan kreativt arbeid med musikk foregår i vår tid.
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Edwards, Peter
(2023).
Sakkyndig rapport og vitneforklaring. Borgarting Lagmannsrett (expert testimony and report: Court of Appeals).
Show summary
Saken gjaldt flere krav knyttet til anførte inngrep i immaterielle rettigheter i forbindelse med markedsføring og gjennomføring av konserter med musikk fra Harry Potter-filmene. Saken gjaldt også krav om erstatning for tap som følge av at det ved midlertidig forføyning var lagt ned forbud mot å gjennomføre konserter. Lagmannsretten kom til at musikken var fremført i bearbeidet form og at dette innebar en krenkelse av rettighetshaverens opphavsrett. Rettighetshaverens krav om forbud mot fremføring og om erstatning for opphavsrettskrenkelsen ble tatt til følge. Videre kom lagmannsretten til at markedsføringen av konsertene ikke var i strid med markedsføringsloven § 25, og rettighetshaverens krav om erstatning etter markedsføringsloven ble ikke tatt til følge. For øvrig ble begge partenes anker forkastet.
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Johnson, Victoria Christine Årang
(2022).
Musikalsk framførelse på Earfest i Duisburg, Tyskland.
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Bjørhovde, Hilde & Guldbrandsen, Erling Eliseus
(2022).
Er Mozart like moderne i dag – når han spilles radikalt.
[Newspaper].
Aftenposten.
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Guldbrandsen, Erling Eliseus
(2022).
Om VOT-rapporten – The Value of Treatment (EARLS).
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Aksnes, Hallgjerd
(2022).
Sonic Objects and Motor-Mimetic Cognition: Insights, Tensions, and Emotive Affordances.
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Godøy, Rolf Inge & Hestholm, Marion
(2022).
Spillerom Ernst Simon Glaser og Rolf Inge Godøy.
[Radio].
radio.nrk.no.
Show summary
Då solocellist i Kringkastingsorkesteret, Ernst Simon Glaser, bestilte seks nye verk for solo cello, ville han at komponistane skulle skrive i dialog med Bachs cellosuiter. Kva oppnådde han med det? Echoes of what will come er tittelen på utgivnaden med verk av seks komponistar som leverer eitt eller fleire nikk til gamle Johann Sebastian.
Namnet Rolf Inge Godøy vert i dag knytt til forsking på musikk og rørsle ved Universitetet i Oslo. Godøy har vore sentral i oppbygginga av eit forskingsmiljø, men i sitt nye tilvære som professor emeritus vil han ta opp att komponeringa!
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Guldbrandsen, Erling Eliseus
(2022).
Bruckners symfonier – utspent mellom Bach og Beethoven, Wagner og Mahler, i plateinnspillinger fra de siste 100 år.
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Guldbrandsen, Erling Eliseus
(2022).
Fra Chausson til Sibelius – senromantisk sjelegransking og gryende nasjonalisme.
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Guldbrandsen, Erling Eliseus
(2022).
Stravinskij og Ravel – neoklassiske ambivalenser.
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Kraugerud, Emil
(2022).
Getting intimate with recorded music.
Show summary
“Intimacy” or “intimate” is often used in daily speech and in popular media to describe the sound of recordings, or elements of recordings (such as voices or instrumental sounds), but what does it mean when we refer to a recorded musical sound as intimate? Several scholars have touched on this question, often with reference to Edward Hall’s (1969) description of intimate distance as the closest distance at which we communicate. In relation to recorded music, intimacy and intimate thus often denote a perceived physical proximity, resulting from various recording and mixing techniques, such as close microphone placement and reverb-less recording. However, it is rarely discussed what this intimacy involves beyond perceived proximity. Thorough discussions of what an acousmatic sense of intimacy is and how it may mean something to the listener seem to be lacking from the discourse.
This paper draws on findings from a three-year doctoral project that addresses these questions, based on theory from sociology and psychology, as well as music analysis and interviews with recordists. My main argument is that acousmatic intimacy involves not just a perceived physical closeness, but also what we could call a perceived emotional closeness, where the listener is exposed to the vulnerabilities of the performer, leading to a feeling of exclusive connection. Following this argument, I also discuss what happens to these experiences when auditory “clues to intimacy” are highly exaggerated in the mix.
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Mangaoang, Áine
(2022).
Music and Incarceration.
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Mangaoang, Áine
(2022).
Prisons of Note: Music in the Age of Mass Incarceration.
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Mangaoang, Áine
(2022).
Björk, Homogenic (1997).
In McGuirk, Niall & Murphy, Michael M. (Ed.),
Punks Listen.
Hope Publications.
ISSN 9780995547520.
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Özgen, Zafer
(2022).
"Analyzing Hans Werner Henze’s Early Operas – Case
Studies." Symposium: Musik, Netzwerke, Selbstzeugnisse: Aktuelle forschung zu Hans Werner Henze - Paderborn University .
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Eriksen, Asbjørn Øfsthus
(2022).
Innledning: Perspektiver fra Norges musikkhøgskoles historieprosjekt.
Studia Musicologica Norvegica.
ISSN 0332-5024.
48(1),
p. 38–40.
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Guldbrandsen, Erling Eliseus
(2022).
Wagners Parsifal - musikalsk fortolkning.
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Guldbrandsen, Erling Eliseus
(2022).
Wagners Parsifal - idéhistoriske røtter.
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Guldbrandsen, Erling Eliseus & Høgåsen Hallesby, Hedda
(2022).
Wagners Parsifal - opera eller religiøst mysteriespill? En podkast for Den Norske Opera & Ballett.
[Internet].
Podkast dno.no.
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Guldbrandsen, Erling Eliseus
(2022).
Wagners Parsifal - opera eller religiøst mysteriespill? En samtale.
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Kjus, Yngvar
(2022).
Is music production undergoing platformization? If so, how, and with what effects?
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Kwak, Dongho; Krzyzaniak, Michael Joseph; Danielsen, Anne & Jensenius, Alexander Refsum
(2022).
A mini acoustic chamber for small-scale sound experiments.
Show summary
This paper describes the design and construction of a mini acoustic chamber using low-cost materials. The primary purpose is to provide an acoustically treated environment for small-scale sound measurements and experiments using ≤ 10-inch speakers. Testing with different types of speakers showed frequency responses of < 10 dB peak-to-peak (except the ”boxiness” range below 900 Hz), and the acoustic insulation (soundproofing) of the chamber is highly efficient (approximately 20 dB SPL in reduction). Therefore, it provides a significant advantage in conducting experiments requiring a small room with consistent frequency response and preventing unwanted noise and hearing damage. Additionally, using a cost-effective and compact acoustic chamber gives flexibility when characterizing a small-scale setup and sound stimuli used in experiments.
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Lesteberg, Mari & Jensenius, Alexander Refsum
(2022).
MICRO and MACRO - Developing New Accessible Musicking Technologies.
Show summary
This paper describes the development of two musical instrument prototypes developed to explore how non-haptic music technologies can be accessed from a web browser and how they can offer accessibility for people with low fine motor skills. Two approaches to browser-based motion capture were developed and tested during an iterative design process. This was followed by observational studies of two user groups: one with low fine motor skills and one with normal motor skills. Contrary to our expectations, we found that avoiding the use of buttons and mice did not make the apps more accessible for the participants with low fine motor skills. Furthermore, motion speed was considered more important for people with low motor skills than the size of the control action. The most important finding is that browser-based musical instruments using sensor-based and video-based motion tracking are not only feasible but allow for reaching much larger groups of people than previously possible. This may ultimately lead to both more personalized and accessible musical experiences.
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Jensenius, Alexander Refsum; Furmyr, Frida; Poutaraud, Joachim; Widmer, Marcus & Laczko, Balint
(2022).
The Musical Gestures Toolbox for Python.
Show summary
The Musical Gestures Toolbox for Python is a collection of tools for video visualization and video analysis.
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Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina
(2022).
Measuring Virtual Audiences with The MusicLab App: Proof of Concept.
Show summary
We present a proof of concept by using the mobile application MusicLab to measure motion during a livestreamed concert and examining its relation to musical features. With the MusicLab App, participants’ own smartphones’ inertial measurement unit (IMU) sensors can be leveraged to record their motion and their subjective experiences collected through survey responses. The MusicLab Lock-down Rave was an Algorave (live-coded dance music) livestreamed concert featuring prolific performers Renick Bell and Khoparzi. They livestreamed for an international audience who wore their smartphones with the MusicLab App while they listened/danced to the performances. From their acceleration, we computed quantity of motion and compared it to musical features that have previously been associated with music-related motion, namely pulse clarity and low and high spectral flux. By encountering challenges and implementing improvements, the MusicLab App has become a useful tool for researching music-related motion.
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Karbasi, Seyed Mojtaba; Jensenius, Alexander Refsum; Godøy, Rolf Inge & Tørresen, Jim
(2022).
A Robotic Drummer with a Flexible Joint: the Effect of Passive Impedance on Drumming.
Show summary
Intelligent robots aimed for performing music and playing musical instruments have been developed in recent years. With the advancements in artificial intelligence and robotic systems, new capabilities have been explored in this field. One major aspect of musical robots that can lead to the emergence of creative results is the ability to learn skills autonomously. To make it feasible, it is important to make the robot utilize its maximum potential and mechanical capabilities to play a musical instrument. Furthermore, the robot needs to find the musical possibilities based on the physical properties of the instrument to provide satisfying results. In this work, we introduce a drum robot with certain mechanical specifications and analyze the capabilities of the robot according to the drumming sound results of the robot. The robot has two degrees of freedom, actuated by one quasi direct-drive servo motor. The gripper of the robot features a flexible joint with passive springs which adds complexity to the movements of the drumstick. In a basic experiment, we have looked at the drum roll performance by the robot while changing a few control variables such as frequency and amplitude of the motion. Both single-stroke and double-stroke drum rolls can be performed by the robot by changing the control variables. The effect of the flexible gripper on the drumming results of the robot is the main focus of this study. Additionally, we have divided the control space according to the type of drum rolls. The results of this experiment lay the groundwork for developing an intelligent algorithm for the robot to learn musical patterns by interacting with the drum.
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Guldbrandsen, Erling Eliseus
(2022).
Gustav Mahlers aktualitet.
[Radio].
Oslo Filharmoniske Orkester, Lytteklubben.
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Kraugerud, Emil
(2022).
Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy.
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Özgen, Zafer
(2022).
Passion of Man, Rule of Law: Hans Werner Henze’s Autobiographical Opera Der Prinz von Homburg. 12th Biennial Conference on Music Since 1900 - Royal Birmingham Conservatoire.
.
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Kjus, Yngvar; Brøvig, Ragnhild & Wang, Solveig Margrethe
(2022).
Encountering new technology: A study of how female creators explore DAWs.
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Kjus, Yngvar; Brøvig-Hanssen, Ragnhild & Wang, Solveig Margrethe
(2022).
Getting onto the platforms of music production: How women negotiate the creative opportunities of digital audio workstations.
Show summary
The topic of this paper is the encounter with new technology and the exploration of its potential in creative work. More specifically, it looks at experiences with digital audio workstations (DAWs), such as Ableton and Logic, which during a few decades have been established as almost indispensable software for composing songs, shaping sounds and refining expressions, among other things. We ask what characterizes the early and potentially formative encounters with DAWs, probing how beginners relate to opportunities and obstacles for their creative ambitions. Our study focuses on female creators, who often are underrepresented in music production. The study will shed light on the conditions of, and the potential barriers for, women to take part in contemporary music production, thereby also illuminating the pathway for others who begin to use DAW platforms in their music making.
There exists considerable research on the development of new music technology and on the creative processes of production, including how the use of DAWs entail innovations in musical expression (e.g. Bennett and Bates 2018, Brøvig-Hanssen and Danielsen 2016, Kjus 2018, Zagorski-Thomas 2012). There are few studies, however, on how creators encounter technology which is new to them. This can be seen as an explorative sense-making process that music makers go through when they discover the tools and techniques they want to use. Insights from research on perceptual processes can contribute to our understanding of how individuals chart possibilities and limitations in their environment, over time developing awareness of nuances and variations in the musical affordances of tools and technologies (e.g. Clarke 2005). We are interested in how beginners explore the architecture of DAW programs and how they develop competency in the use of different functionalities and effects. Moreover, we are interested in the significance of DAWs for creative processes, whether they are used to continuate existing workflows or to develop musical materials, effects and structures in new ways. We are thereby interested in how the use of DAWs stimulates (or obstructs) different kinds of creativity, and will thereby lean on literature on creative processes (e.g. McIntyre 2011, Csikszentmihalyi 1996). One aspect of creativity is the ability to identify problems as well as solutions, which for music makers involves various issues regarding the construction and articulation of sounding expressions. One of the things we explore is the extent to which the problems/solutions of music making is being entwined with the problems/solutions of using DAWs.
The primary method of the study is qualitative interviews with female musicians, probing various aspects of their experience with using DAWs with specific attention to their accounts of creative gratification as well as to technology-induced frustrations. Our informants (n=11) are recruited from DAW introduction courses, where we also carried out field observation and interviews with experienced instructors as part of our ambition to identify patterns in the appropriation and utilization of DAWs.
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Oddekalv, Kjell Andreas
(2022).
On Being a White Norwegian Analysing Rap.
Dansk Musikforskning Online.
ISSN 1904-237X.
DMO Special Issue 2022,
p. 115–122.
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Edwards, Peter
(2022).
Pønkebadet.
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Edwards, Peter
(2022).
Marino Formenti and the transformative concert recital .
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Danielsen, Anne & Leske, Sabine Liliana
(2022).
How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives.
Show summary
The internal beat or pulse in the listener is not a single point in time, but has a shape and a width and can be described via a probability distribution. This phenomenon has been conceptualized in the beat bin thoery (Danielsen 2010). The internal beat bin of the listener varies systematically with the precision needed in the given musical or sonic context. Anne and Sabine will present behavioral evidence for this phenomenon and a first attempt to reveal the underlying neural mechanism behind the flexible adaptation to the precision of the current beat bin context. They will present effects of acoustic factors on the perceptual center and the beat bin, as well as preliminary results on how neural oscillatory activity might represent a neural mechanism behind this phenomenon.
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Bradley, Catherine Anne
(2022).
Perspectives for lost polyphony and red notation around 1300: Medieval motet and organum fragments in Stockholm.
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Bradley, Catherine Anne
(2022).
La musique et la liturgie à Notre-Dame.
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Danielsen, Anne
(2022).
Utvikling og ledelse av tverrfaglige forskningssentre - erfaringer fra RITMO SFF.
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Brøvig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bjørnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne
(2022).
Musical rhythm. Qualitative investigations.
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Brøvig-Hanssen, Ragnhild
(2022).
Formidlingsformer i forskning.
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Edwards, Peter
(2022).
György Ligeti’s Concerto for Violin and Orchestra: Conceiving Rhythm and Form by Association.
-
al Outa, Amani; Knævelsrud, Helene; Laczko, Balint & Jensenius, Alexander Refsum
(2022).
Winner of RRI-inspired transdisciplinary side quest call.
[Internet].
Centre for Digital Life Norway.
Show summary
Centre for Digital Life Norway (DLN) is excited to congratulate the team behind the project “The autophagic symphony – Unveiling the final rhythm” as winner of DLN’s RRI-inspired transdisciplinary side quest call.
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Jensenius, Alexander Refsum & Platou, Jeanette
(2022).
Kan kunstig intelligens være kreativ?
[Radio].
NRK P2 Arena.
Show summary
Hva er AI, eller kunstig intelligens, som vi kaller det på norsk. I Arena i dag ser vi på hvor kunstig intelligensk blir brukt, og hva det funker i. Kan vi få en data til å skrive poesi, og hva med musikken og kunsten?
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Jensenius, Alexander Refsum & Ashley, Kevin
(2022).
FAIR in Higher Education.
Show summary
Between January 25th and 27th, FAIRsFAIR partners and stakeholders will meet for a series of concluding meetings to deep-dive into the results of FAIRsFAIR. We’ll analyse the impact that we managed to have on the European Research Community. We'll go once more through the tools, guidelines and best practices that we have produced and delivered to researchers, data stewards, decision makers and funders towards a better, more structured approach towards FAIR data management. We’ll take the recommendations we produced and the lessons we learnt and leave them as a legacy for future activities to come.
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Mangaoang, Áine
(2022).
Prisons of Note: Mapping music in prisons from the periphery (Keynote address).
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Nielsen, Nina Urholt; Guldbrandsen, Erling Eliseus; Hellstenius, Henrik & Kverndokk, Kristin
(2021).
Blikk på Arne Nordheim – før og nå (panelsamtale).
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Mangaoang, Áine
(2021).
Episode 5: Made in Ireland with Áine Mangaoang and John O'Flynn. Lines On Music: Conversations on the Study and Performance of Music (podcast hosted by Jeremiah Spillane).
[Internet].
Podcast.
Show summary
In October 2020 Routledge published, Made in Ireland: Studies in Popular Music, this is part of Routledge’s global popular music series which, as they put it, is ‘devoted to popular music largely unknown to Anglo-American readers’. This collection of essays, through a wide range of historical and critical vantage points, explores popular music on the island of Ireland. Made in Ireland is edited by Áine Mangaoang, John O’Flynn and Lonán Ó Briain and in this episode Lines on Music speaks to Áine and John about the collection and about the process of putting it together. We also discuss several of the chapters, we speak about Áine and John’s contributions to the collection and about some possible future trajectories of research on Irish popular music. !is episode is part one of two. In the following episode we speak to Tríona Ní Shíocháin about her contribution to the collection, “!e Politics of Sound: Modernity and Post-Colonial Identity in Irish-Language Popular Song”, so stay tuned for that.
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Guldbrandsen, Erling Eliseus
(2021).
Jordens sang av Rolf Gupta - et mesterverk.
Ballade.
ISSN 0332-5148.
-
Jensenius, Alexander Refsum & Fasciani, Stefano
(2021).
University of Oslo - RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
Proceedings of the SMC Conferences.
ISSN 2518-3672.
2021-.
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Funderud, Ingrid; Danielsen, Anne; Endestad, Tor; Jensenius, Alexander Refsum; Leske, Sabine Liliana & Solbakk, Anne-Kristin
(2021).
Improving working memory in patents with epilepsy by rhythmic sounds.
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Krzyzaniak, Michael Joseph; Gerry, Jennifer; Kwak, Dongho; Erdem, Cagri; Lan, Qichao & Glette, Kyrre
(2021).
Fibres Out of Line.
Show summary
Fibres Out of Line is an interactive art installation and performance for the 2021 Rhythm Perception and Production Workshop (RPPW). Visitors can watch the performance, and subsequently interact with the installation, all remotely via Zoom.
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Lan, Qichao & Jensenius, Alexander Refsum
(2021).
Collaborative Live Coding with Glicol Music Programming Language.
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Lan, Qichao & Jensenius, Alexander Refsum
(2021).
Glicol: A Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet.
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Bishop, Laura; Gonzalez Sanchez, Victor Evaristo; Laeng, Bruno; Jensenius, Alexander Refsum & Høffding, Simon
(2021).
Social context affects head motion and gaze in string quartet rehearsal and concert performance.
-
Weisethaunet, Hans
(2021).
«Samtale med Stian Carstensen – om lytting som kilde til musikalsk kunnskap.» Lanseringsseminar: Å høre hjemme i verden, Litteraturhuset, Oslo.
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Mangaoang, Áine
(2021).
Mapping music and nuances in penal exceptionalism from the periphery.
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Mangaoang, Áine
(2021).
Singing Restorative Justice: Norwegian Prison Music Exceptionalism?
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Godøy, Rolf Inge
(2021).
Impulse-driven rhythm objects.
Show summary
Impulse-driven rhythm objects
Various recent research in movement science has converged in suggesting that human motor control is intermittent, i.e. that skilled and rapid body motion require piecewise pre-planning combined with point-by-point triggering of such anticipatory planned chunks of body motion (Loram et al. 2014). Known by various names such as open loop, feedforward, or serial ballistic, the idea of intermittent control is based on constraints of our motor system, first of all that the motor system is too slow to allow for continuous feedback control in demanding tasks, but also on the need for a contextual activation spreading of preparatory motion of the effectors (fingers, hands, vocal apparatus) for upcoming events, known as coarticulation. Based on our motion capture data of musical performance, the aim of this paper is to show how these constraints are manifest in what we call impulse-driven rhythm objects, i.e. in holistically conceived and perceived multimodal chunks of combined motion and sound.
Besides drawing on insights from movement science, this object focus also has a background in notions of objects and/or gestalts in music (Schaeffer 1966), with sound objects typically in the duration range of approximately 0.3 to 3 seconds, recognizing the overall shape of the sound object as crucial for both the generation and perception of musical features. With an added related idea of action gestalts in motor control (Klapp and Jagacinski 2011), we can speak of multimodal sound-motion objects where the sensations of sound are closely linked with sensations of body motion and effort.
To better understand the manifestation of such impulse-driven rhythm objects, it will be useful first to give an overview of the basic ideas of intermittent motor control and to provide some plausible theoretical framework for how such piecewise anticipatory motor control might work, and then go on to demonstrate how motion capture data testifies to rather strong consistencies in the performance, suggesting a high degree of pre-planning. Also, this motion capture data can demonstrate how the workings of coarticulation are manifest in preparatory motion (e.g. fingers/hands move ahead to optimal position for upcoming tone onsets (Godøy 2014)). This is typically evident in fast rhythm objects such as ornaments, where due to the required speed, it will not be possible to make corrections mid-course, but where error corrections will have to wait until the next instance of the ornament. Lastly, the element of effort in the performance of such rhythm objects may be indirectly inferred from the motion capture data, but better explored with EMG data, i.e. muscle activity data. As demonstrated with our own and other EMG data, this concerns in particular optimization of motion, where the holistic anticipatory control of motion chunks may contribute to minimizing energy cost and enhancing sense of fluency (Gonzales Sanchez et al. 2019).
Keywords: rhythm objects, sound objects, intermittent, multimodal, motor control
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Kraugerud, Emil
(2021).
Acousmatic intimacy in popular music sound.
-
-
Devine, Kyle
(2021).
Streams and Clouds: The Political Ecology of Music in a Digital Era.
-
Devine, Kyle
(2021).
Decomposed: Political Ecologies of Music — Past, Present, Future.
-
Devine, Kyle
(2021).
Digital Transformations and Environmental Challenges in Music.
-
Devine, Kyle
(2021).
Decomposed: Political Ecologies of Music — Past, Present, Future.
-
Devine, Kyle
(2021).
Political Ecology of Music Workshop.
-
Devine, Kyle
(2021).
Music and the Green Economy: What Do We Want to Sustain?
-
Devine, Kyle
(2021).
Recomposed: Sustainability and Musical Culture.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
-
Devine, Kyle
(2021).
Decomposed: The Political Ecology of Music.
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Kjus, Yngvar
(2021).
Collective musicking on DAW platforms?
Show summary
This talk will present key aims of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. This presentation will discuss the extent to which the response (ranging from comprehensive employment to rejection) to technological advances is conditioned by collectives, whether they are informal genre communities or more formalized institutions of art and education. Music making entails various forms of collaboration, and the project will examine how online production resources stimulate or challenge them. It aims to carry out in-depth case studies of genres with specific social characteristics, including rock/pop (with bands involved in long-term projects) and rap/hip-hop (where artists engage in projects more flexibly with other artists and producers). The benefits of this approach will be compared with the insights that might be found by examining how contemporary production platforms are introduced and taught at music education institutions (including the Norwegian Academy of Music), unpacking how the platforms are incorporated into courses on computer music and laptop musicianship, as well as more traditional courses on composition and performance. The talk will discuss how these approaches might shed light on the routes and milieus, informal and formal, through which a new generation of music makers is brought to these new platforms.
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Weisethaunet, Hans
(2021).
“World Music and the World’s Musics”. Seminar lecture, UiA.
-
Kjus, Yngvar
(2021).
Transformations in the creative roles and modes of music production.
Show summary
This talk will present key aims and issues of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. One of the project’s key questions is: To what extent is platformization involved with transforming creative roles and modes of music production? The hypothesis is that new platforms influence key professions in the value chain of music. The central roles of composer, performer, and producer are already reflected in the protection afforded by copyright law and the associated right of remuneration, but DAWs represent a growing range of functionality, including algorithmic automatization and networked cooperation, that challenges these established roles.
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Weisethaunet, Hans
(2021).
Theory and history of Popular Music Studies: Hans Weisethaunet in dialogue with Professor Simon Frith, UK. .
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Vuoskoski, Jonna Katariina
(2021).
From compassion to being moved: Social emotions evoked by music.
Show summary
Musical engagement involves and fosters a number of processes that are associated with empathy, such as emotional contagion, 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). Building on empirical evidence from my recent work, I will argue that experiences of ‘being moved’ in the context of music listening are inherently social responses. I will demonstrate that feelings of being moved are closely related to empathic personality traits and feelings of compassion, and they mediate the enjoyment of music-induced sadness. I will also argue that feeling moved by music is associated with appraisals or experiences of closeness or affiliation.
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Dalgard, Joachim; Lartillot, Olivier; Vuoskoski, Jonna Katariina & Guldbrandsen, Erling Eliseus
(2021).
Absorption - Somewhere between the heart and the brain.
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Subramanian, Sidhant; Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo
(2021).
Music or Lyrics? Individual differences associated with listening strategies.
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Gram-Nilsen, Elias & Vuoskoski, Jonna Katariina
(2021).
The influence of the moving image on musical emotions.
-
-
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Weisethaunet, Hans
(2021).
Sound Studies, seminar presentation/dialogue with professor Jocelyne Guilbault, University of California, Berkeley, digital.
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Weisethaunet, Hans
(2021).
Hva er musikkvitenskap? Lecture/dialogue with professor em. Even Ruud.
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Kjus, Yngvar & Brøvig-Hanssen, Ragnhild
(2021).
Møter med teknologi: Kvinnelige skaperes utforsking av DAWs.
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Kjus, Yngvar
(2021).
Comparing the platforms of cultural production: Music, film, game.
Show summary
A key development in the creative industries is the spread of large digital services and tools in numerous countries. Such utilities and technologies are often presented and perceived as platforms that are able to accommodate countless users and uses. Their emergence has been highly visible in the area of distribution, with the proliferation of online services such as YouTube, Facebook, Spotify, the operations and growing dominance of which has triggered much research (for an overview, see Hesmondhalgh 2020, Spilker 2018, Van Dijck et al. 2018). The 2000s and 2010s have also seen pervasive developments in production tech¬nology, including digital audio workstations (DAWs) such as Logic Pro and Live as well as more recent entrants such as AudioTool and BandLab, but their establishment as platforms of music making in the online environment remains comparatively under-researched. This is also the case for neighboring sectors, such as computer games, which leads Foxman (2019: 9) to conclude that “platform tools remain seriously understudied.” To understand how different production platforms develop–and what sets them apart–can be a powerful inroad to understand how cultural content is produced and then channeled into different distribution platforms.
The development of products and services that thrive on the internet is a process of platformization, which has been defined as the “penetration of infrastructures, economic processes and governmental frameworks of digital platforms in different economic sectors and spheres of life” (Poell et al. 2019). It is the hypothesis of the current abstract that the developers of production technology, as well as their various user groups, are all involved in a platformization process which are having profound but also distinctive cultural, social, and economic ramifications for different creative industry sectors.
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2021).
Liveness in deadly times: How artists in Norway explored the expressive potential of live-streamed concerts at the face of Covid-19
.
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Weisethaunet, Hans
(2021).
«Improvisasjon II, lecture. Dialog med Knut Reiersrud.».
-
Weisethaunet, Hans
(2021).
“Challenges in ethnomusicological fieldwork”.
-
Weisethaunet, Hans
(2021).
«Jazz og sjangermangfold i høyere norsk musikkutdanning». Musikkhistorieprosjektet ved Norges musikkhøgskole.
-
-
-
-
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Hawkins, Stan
(2021).
Popular Music Books in Process Series - "In Concert: Performing Musical Persona" with Phil Auslander and Stan Hawkins.
-
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Bradley, Catherine
(2021).
Red Notes and New Motets: Fragments from a Medieval Music Book in Stockholm.
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Bradley, Catherine
(2021).
Fragments from a Medieval Motet Manuscript in Stockholm: Musical Notation and Lost Polyphony around 1300.
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Bradley, Catherine
(2021).
Authorship in the Late Thirteenth-Century Motet: Adam de la Halle and Petrus de Cruce.
-
Kjus, Yngvar
(2021).
Har internett gjort det vanskeligere å lykkes i musikkbransjen?
[Radio].
NRK P2 - Studio 2.
Show summary
Selv om de fleste er enige i at strømmetjenester og sosiale medier er viktig for å nå et globalt publikum, kan også de samme plattformene begrense mulighetene for artister i dag. Forskere ved Univesitetet i Oslo mener musikkbransjen er rammet av digital ambivalens.
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Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt
(2021).
Musikk, opphavsrett og internett.
Show summary
Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30.
På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet.
Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter).
Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no.
Seminarprogrammet:
Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30)
Velkommen og kort presentasjon av seminaret og prosjektet
- Forhandlinger om opphavsrett, Yngvar Kjus
- Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen
- Opphavsrettslige utfordringer, Olav Torvund
Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00)
Keynotes:
- Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis?
- Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR
Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo)
Panel:
- Kathrine Synnes Finnskog (Music Norway)
- Ole Henrik Antonsen (NOPA)
- Erik Brataas (Arctic Rights, Amplify:Creatives)
Vel møtt!
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Devine, Kyle
(2021).
Greening the Net.
[TV].
https://www.channelnewsasia.com/news/video-on-demand/greenin.
-
-
Devine, Kyle
(2021).
Building Back Better.
The Wire.
443.
-
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Bradley, Catherine
(2021).
Fragments from A Medieval Motet Manuscript in Stockholm: Perspectives for Theory and Analysis.
-
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Sønnesyn, Sigbjørn Olsen
(2020).
Egil Kraggerud, De antiquitate regum Norwagiensium (On the Old Norwegian Kings). Edited with translation and commentary (Oslo: Novus Press, 2018).
Historisk Tidsskrift (Norge).
ISSN 0018-263X.
99(2),
p. 160–163.
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Sønnesyn, Sigbjørn Olsen
(2020).
Laura Cleaver, Illuminated History Books in the Anglo-Norman World, 1066–1272 (Oxford: Oxford University Press, 2018).
Journal of British Studies.
ISSN 0021-9371.
59(2),
p. 410–411.
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Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina
(2020).
Food & Paper: Virtually Together: Concerts during the Coronavirus.
Show summary
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
-
-
-
Devine, Kyle
(2020).
Decomposed: Political Ecologies of Music.
-
Devine, Kyle
(2020).
Renewable Heritage: Footprints of the Future.
-
Devine, Kyle
(2020).
Decomposed: Political Ecologies of Musical Culture.
-
Dybsand, Øyvin
(2020).
Johan Halvorsen in Leipzig: His Study Time and Later Contacts with C. F. Peters.
-
Smedsrud, Morten Skipenes; Nordmark, Kristin Nagy & Aksnes, Hallgjerd
(2020).
En reise til musikkens indre.
Apollon : Forskningsmagasin for Universitetet i Oslo.
ISSN 0803-6926.
30. årgang(3/2020),
p. 18–21.
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Aksnes, Hallgjerd; Fuglestad, Svein & Koksvik, Ingvild
(2020).
«...alt går så fort og skal være flinkt...»: Affordanser i GIM-programmet The Romantic Piano.
-
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Vuoskoski, Jonna Katariina
(2020).
Vad lyssnar folk på i Borgå, Karis och Jakobstad?
[Internet].
https://svenska.yle.fi/artikel/2020/12/04/vad-lyssnar-folk-p.
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Bradley, Catherine
(2020).
A New Type of Musical Notation ca. 1300: Decoding Red Notes in a Fragment from Stockholm.
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Hagen, Anja Nylund; Molde, Audun; Nathaus, Klaus & Mitrovic, Minja
(2020).
Panel: “The Impacts of the Covid-19 crisis on the cultural and creative sectors” .
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-
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Weisethaunet, Hans
(2020).
“Music & Cultural Theory: Ph.d. Seminar-lecture”.
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Weisethaunet, Hans
(2020).
«Musikkritikken som felt».
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Weisethaunet, Hans
(2020).
«Populærmusikkens historiografi – Norge».
-
Hawkins, Stan
(2020).
Approaching queerness in popular music.
-
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Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina
(2020).
Virtually together: Concerts during the coronavirus.
Show summary
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
-
Hawkins, Stan & Stuen, Eivend Augst Westad
(2020).
Stan Hawkins: Fra samtidskomponist til popforsker.
[Newspaper].
KILDEN.
-
Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina
(2020).
Virtually Together: Concerts during the Coronavirus.
Show summary
Background
Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved.
Aims
We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved.
Method
Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved.
Results
310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings.
Conclusions
This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.
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Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina
(2020).
Quarantine Concerts.
-
Hawkins, Stan
(2020).
Keynote address: On a Journey to the End of Playfulness: Queerness and Music.
Show summary
Susanna Välimäki’s writings have been pathbreaking in decoding and upsetting the dominant-hegemonic positioning of gendered identity in popular music. Her research into LGBTIQ activism in Finnish pop music reveals that 5-15% of the population of Finland belong to minority groups, and that queer music-making abounds in both mainstream and underground practices. Indeed, queer lives on display in pop, occupy spaces for thinking about the possibility of futurity and activist music research. As well as the musical genres that traditionally fall into the queer zone, queer artists play a major role in the ‘public agenda’. I argue for queerness as a survival strategy for people functioning within and outside the mainstream. Queer pop is characterised by transformative politics, where experiencing fun or playfulness also demands ethical awareness of the pervasive problem of discrimination.
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Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán
(2020).
Made in Ireland booklaunch.
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Mangaoang, Áine
(2020).
Creative freedom? The place of music in Norwegian prisons.
-
Mangaoang, Áine & Western, Thomas James
(2020).
Music, Sound, and Power in Contemporary Places of Detention .
-
Mangaoang, Áine
(2020).
Music, Sound, and Power in Contemporary Places of Detention: Ethno-Activist Approaches in Ireland, Greece, Norway (panel).
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Mangaoang, Áine; O'Flynn, John; Ó Briain, Lonán; Jones, Jaime & Dillane, Aileen
(2020).
Made in Ireland: Notes from a small island (panel).
-
Mangaoang, Áine
(2020).
Retromania? Problematizing Popular Music Heritage Futures.
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Mangaoang, Áine
(2020).
Music video on the margins: Performing citizenship on YouTube.
-
Mangaoang, Áine
(2020).
"Listen to the song here in my heart”: Beyoncé, YouTube and Signed Songs.
-
Hagen, Anja Nylund
(2020).
Det store skillet mellom digitale vinnere og tapere.
[Internet].
ballade.no.
Show summary
Deler av norsk musikkbransje ser på strømming og digitale plattformer med stjerner i øynene. Andre ser bare utfordringer. Ytterpunktene skildres i fersk forskning – og skillene mellom musikksjangerne er store.
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Hagen, Anja Nylund
(2020).
Ny rapport: - Digitaliseringen i musikkbransjen må profesjonaliseres.
[Internet].
KulturPlot.
Show summary
røyt 10 år etter at strømmetjenestene ble innført, sliter fortsatt norske artister og bransjeledd med å utnytte denne teknologien. Rapporten «Digital ambivalens», som er utarbeidet av forskere fra Universitetet i Oslo og Telemarksforsking, gir et bilde av den norske musikkbransjen før korona og omtrent 10 år etter at strømming ble vanlig.
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Hagen, Anja Nylund
(2020).
– Vi kunne vært verdensledende
.
[Internet].
ballade.no.
Show summary
Norsk musikk må følges av bedre forhandlere når den skal ut i verden. Vinduet som verdensledere på strømming er i ferd med å lukkes for Norge. Slik lyder reaksjonene på fersk forskning om digitale utfordringer.
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Hawkins, Stan
(2020).
"Made in Ireland" book launch - keynote address.
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Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård
(2020).
Norsk musikkbransje – digitale pionerer i ambivalens.
Ballade.
ISSN 0332-5148.
Show summary
Norsk musikkbransje var blant de første i verden i å omstille seg til digital musikkdistribusjon. Men klarer de digitale pionerene å utnytte mulighetene til sin fordel?
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter.
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Kjus, Yngvar
(2020).
The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
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Bradley, Catherine
(2020).
Review of Musical Culture in the World of Adam de la Halle. Ed. Jennifer Saltzstein.
Revue de musicologie.
ISSN 0035-1601.
106(2),
p. 491–494.
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Bradley, Catherine
(2020).
Scattered Songs in Scandinavia: Fragments from A Medieval Motet Manuscript in Stockholm.
Show summary
https://www.mf.no/en/om-mf/arrangementer/mf-casr-lunch-catherine-bradley
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Bradley, Catherine
(2020).
New Fragments from a Medieval Motet Manuscript in Stockholm.
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Bradley, Catherine
(2020).
Scattered Songs in Stockholm: New Fragments from A Medieval Motet Manuscript.
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Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum
(2020).
MICRO Motion capture data from groups of participants standing still to auditory stimuli (2012).
Show summary
This dataset comprises head motion observations collected as part of an experiment in which a group of people were asked to stand still for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with music. Head motion was captured in units of mm at 100Hz using a Qualisys infra-red optical system. The experiment was carried out at the University of Oslo on March 8th 2012 from a total of 113 participants. Code to read and process these files is available. The paper corresponding to the work is Jensenius et al., "The Musical Influence on People's Micromotion when Standing Still in Groups", Proceedings of the 14th Sound and Music Computing Conference (2017).
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2020).
Lyden av digitalisering: Preludium om musikk og medier.
Norsk Medietidsskrift.
ISSN 0804-8452.
27(3),
p. 1–10.
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Jones, Ellis Nathaniel; Mangaoang, Áine & de Boise, Sam
(2020).
Panel discussion: online participatory music cultures today.
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Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter
(2020).
Vi trenger kort og godt mer automagi i Cristin.
Uniforum.
ISSN 1891-5825.
Show summary
Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.
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Hagen, Anja Nylund
(2020).
Krise og kreativitet - musikkbransjen og koronapandemien 2020 .
Show summary
Rapporten Krise og kreativitet i musikkbransjen - koronapandemien 2020 kartlegger de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen. Anja Nylund Hagen (PhD) fra Institutt for musikkvitenskap, Universitetet i Oslo, er en av forskerne bak rapporten. Hun legger frem de viktigste elementene fra rapporten i første bolk av årets Pseminar.
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Hagen, Anja Nylund
(2020).
Derfor kommer ny musikk i mye større grad som enkeltsingler.
[Internet].
nrk.no.
Show summary
Musikkstrømmetjenestenes inntog i norsk musikkbransje har gjort at musikkbransjeaktørene og artistene har måtte omstille seg til hvordan publikum skal få tak i musikken, sier forsker Anja Nylund Hagen, ved institutt for musikkvitenskap ved Universitetet i Oslo.
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Støckert, Robin
(2020).
Learning and teaching in a distributed environment.
Show summary
Higher Education Session with EUNIS and SCHOMS: Learning and Teaching in a Distributed Environment.
Look at award‑winning examples of hybrid and distance learning and talk about how universities across Europe are adapting their existing technologies in the face of the COVID‑19 pandemic.
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Hawkins, Stan
(2020).
Keynote IASPM Conference: Staging the Spectacle: The Dandyist Theatrics of Jacques Dutronc.
Show summary
Theatricality is a recalibration of everyday life. It is part of every performance. It gives credence to popular music and its cultural and political traditions. This presentation opts for an interdisciplinary and intertextual approach in a bid to argue the inextricable links between theatricality, musical personae, and identity. Popular music studies has come a long way in complementing the scholarship of major opera, film, and musical scholars, which has led to an abundance of work on personae, agency, and the problems of authenticity. To show how popular music performances function as powerful arbitrations of the ‘natural’ as much as the artistic, I discuss how masculinity was forged by a Mod sensibility in the 1960s. My focus falls primarily on Paris. If Serge Gainsbourg was considered the Leonard Cohen of French pop music, then Jacques Dutronc (1943) was most definitely le dandy cool, the Gallic Bob Dylan.
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Kjus, Yngvar & Hagen, Anja Nylund
(2020).
Music on (and in) demand: Negotiating and competing in streaming.
Show summary
This keynote asks what kind of negotiations that take place as music is made available for streaming and how the various players of the music business maneuver the competition in globalized markets. It presents findings from an industry-wide survey (N=556) and 35 qualitative interviews featuring Norwegian musicians, composers and intermediaries across different genres and roles. The aim is to highlight key developments in the practices and prospects of music streaming in recent years, both for creators and other industry professionals. The presenters are both part of the research project Music on demand: Economy and copyright in a digitised cultural sector (MUSEC), funded by the KULMEDIA program of the Research Council of Norway.
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Hagen, Anja Nylund
(2020).
De som får folk til å danse sammen.
[Internet].
ballade.no.
Show summary
– Det er ikke engang vits å sende en mail innenfor Ring 3, sier «bygderockerne» i Hardhaus. Men band utenfor storbyene er nå mer populære enn sine byrivaler og strømmer stort.
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Hagen, Anja Nylund
(2020).
TikTok som maktfaktor i musikkbransjen.
[Radio].
Studio 2, NRK P2.
Show summary
Intervju om hvordan musikken står sentralt i det sosiale nettverket TikTok som nå begynner å bli en maktfaktor å regne med i musikkbransjen.
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Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum
(2020).
Student active learning in a two campus organisation.
Show summary
Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21st century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.
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Weisethaunet, Hans
(2020).
IMPROVISASJONS-PRAKSIS med Knut Reiersrud. Interview lecture.
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Weisethaunet, Hans
(2020).
Writing Music Criticism: A dialogue with Rob Young, editor of Wire magazine.
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Weisethaunet, Hans
(2020).
«Georg «Jojje» Wadenius: Blod, svette og tårer».
Jazznytt.
ISSN 0332-7248.
253(1),
p. 42–49.
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Hawkins, Stan
(2020).
Maskulinitet er i endring i norsk black metal.
[Newspaper].
KILDEN.
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Hagen, Anja Nylund
(2020).
Spotifys makt vokser i takt med nye lyttevaner .
[Internet].
forskning.no.
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Hagen, Anja Nylund
(2020).
Hvilken musikk hører vi på i karantene?
[Radio].
NRK P2.
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Hagen, Anja Nylund
(2020).
Hva gjør musikere når de ikke kan spille konserter?
[Internet].
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.
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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)
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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).
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Devine, Kyle
(2020).
Drecksmusik.
[Journal].
enorm—Magazin für gesellschaftlichen Wandel.
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Devine, Kyle
(2020).
Disco Downer.
The Guardian Weekly.
ISSN 0958-9996.
202(8),
p. 24–25.
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Devine, Kyle
(2020).
Carbon Footprints of Music.
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Hawkins, Stan
(2020).
Keynote Paper: Dandified Personas in Pop Music.
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Fasciani, Stefano; Jensenius, Alexander Refsum; Støckert, Robin & Xambó, Anna
(2020).
The MCT Portal: an infrastructure, a laboratory and a pedagogical tool.
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Kjus, Yngvar
(2020).
Vil ha opphavsretten ut av lukkede rom.
[Business/trade/industry journal].
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.
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Eerola, Tuomas & Vuoskoski, Jonna Katariina
(2020).
Personality and listeners,
The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.
ABC-CLIO.
ISSN 978-1-4408-5771-3.
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Vuoskoski, Jonna Katariina & Eerola, Tuomas
(2020).
Personality and musicians,
The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.
ABC-CLIO.
ISSN 978-1-4408-5771-3.
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Guldbrandsen, Erling Eliseus & Bamle, Pelle
(2019).
Tryllesynthen. Bruk av synthesizer i Tryllefløyten av Mozart. Intervju.
Morgenbladet.
ISSN 0805-3847.
p. 28–30.
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Edwards, Peter
(2019).
VOeX Festival 2019.
Show summary
Seminar on 'the voice' voice organised by Hedda Høgåsen-Hallesby and Peter Edwards: What is a voice? How have voices been used in music? How is the voice used in new technology today? What does our voice say about us? And what happens within us when we hear a voice? Listen to music researchers, technologists, psychologists, and singers in conversation.
Speakers:
Nina Sun Eidsheim, Professor of Musicology at UCLA and author of the book "Sensing Sound: Singing and Listening as Vibrational Practice."
David Levin, Professor of Performance Studies at the University of Chicago.
Stan Hawkins, Professor of Popular Music at the University of Oslo.
Nanette Nielsen, Associate Professor in Opera Studies at the University of Oslo.
Catherine Anne Bradley, Associate Professor in Medieval Music at the University of Oslo.
Alexander Refsum Jensenius, Associate Professor in Music Technology at the University of Oslo.
Thomas Schubert, Professor of Psychology at the University of Oslo.
Sagar Sen, Technology Researcher at the Simula Research Laboratory.
Espen Systad, Technologist and Specialist in the Use of the Human Voice in New Media.
Mathias Gillebo, Tenor and PhD Candidate at the Norwegian Academy of Music.
Lydia Hoen Tjore, Soprano at the Norwegian National Opera & Ballet.
Hedda Høgåsen-Hallesby, Dramaturg at the Norwegian National Opera & Ballet.
Peter Edwards, Associate Professor, University of Oslo
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Zeiner-Henriksen, Hans T.
(2019).
Analysing the Popular: Corporeal Engagement in the Experience of Music.
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Mangaoang, Áine
(2019).
Soundscapes of Utopia: The Place of Music in Norwegian Prisons.
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Mangaoang, Áine
(2019).
Hearing Halden: A Case Against Nordic Prison Exceptionalism.
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Mangaoang, Áine
(2019).
Book Presentation.
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Mangaoang, Áine
(2019).
Dangerous Mediations.
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Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and it's aesthetics.
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Halmrast, Tor
(2019).
Cepstrum for Rhythm Detection.
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Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore
(2019).
First Things First.
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Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle
(2019).
Dragging the Lake.
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Halmrast, Tor
(2019).
Oslo I Smug-trioen.
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Halmrast, Tor
(2019).
FLUTR.
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Halmrast, Tor
(2019).
FLUTR for 24 ch Audio (4 quadro + 20 Ambisonics loudspeakers).
Show summary
For info: http://tor.halmrast.no/ICM2019Halmrast_Flutter.m4v
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Weisethaunet, Hans
(2019).
“Is fieldwork about doing interviews?” NMH (Norwegian Academy of Music) ph.d. seminar, guest lecture.
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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.
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Watne, Åshild & Baur, Eckhard
(2019).
Jubileumskonsert i Oslo Konserthus med Kampen Janistjar, Wenche Myhre, IMV Vokalensemble m.fl.
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Hagen, Anja Nylund
(2019).
Norsk musikkbransje og eksport.
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Kraugerud, Emil
(2019).
The acousmatic intimacy of domestic spatialities.
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Hagen, Anja Nylund
(2019).
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
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Hagen, Anja Nylund
(2019).
Digitalisering som utfordring for kulturindustriene .
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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.
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Hawkins, Stan
(2019).
Black Poesis III: What Makes a Hiphop Classic? Panel debate.
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Devine, Kyle & Brennan, Matt
(2019).
The Terrifying Miracle of Recorded Sound.
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Devine, Kyle
(2019).
Decomposed: Political Ecologies of Jazz and Popular Music.
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Devine, Kyle & Brennan, Matt
(2019).
The Terrifying Miracle of Recorded Sound.
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Political Ecologies of Music (and Dance?).
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Decomposed: The Political Ecology of Music.
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Devine, Kyle
(2019).
Vinyl: More Sustainable Than You Think?
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Hagen, Anja Nylund
(2019).
Norsk musikk i internasjonale markeder.
Frokostseminar, Kulturdepartementet: Musikkeksport
.
Show summary
KUD-skolen og avdeling for medier og kunst inviterer til frokostseminar 8. november klokken 09:00-09:45 med Anja Nylund Hagen om musikkeksport.
Hagen er postdoktor ved Institutt for musikkvitenskap, Universitetet i Oslo, og har nylig gjennomført en omfattende spørreskjemaundersøkelse og dybdeintervjuer med musikkbransjeaktører om deres eksportarbeid. Hun vil presentere resultater tilknyttet aktørenes arbeidsvirkelighet i den digitale musikkbransjen og deres opplevde utfordringer og muligheter. Undersøkelsen legger vekt på betydningen av nye medier og hvordan digitaliseringen spiller inn på arbeidsvirkelighet, forutsigbarhet, nye kompetanseområder, tillits- og maktforhold, samspill med staten, inntektsstrømmer, forhandlingsmuligheter, samarbeidspartnere osv.
Undersøkelsen er gjennomført som en del av forskningsprosjektet MUSEC (Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor), som er finansiert gjennom KULMEDIA-programmet i Norges forskningsråd. Hagens postdoktorstilling er en del av forskningprosjektet MUSEC og hennes forskningsinteresser omfatter skjæringspunktet mellom nye medier og musikk. Hun har tidligere vært tilknyttet forskningsprosjektet Sky & Scene, også ved UiO, hvor hun avla sin doktorgradsavhandling om bruk av musikkstrømmetjenester.
Presentasjonen holdes noen uker før oppstart av eksportprogrammet Musikk ut i verden, som Innovasjon Norge gjennomfører i samarbeid med Music Norway, på oppdrag fra Kulturdepartementet. Eksportprogrammet er det fjerde i rekken. Det har vært gjennomført tilsvarende program for dataspill og arkitektur - og Litteratur ut i verden pågår enda.
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Kraugerud, Emil
(2019).
Intimitet i innspilt musikk.
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Hagen, Anja Nylund
(2019).
Superstar economy and the digitalised music industry .
Show summary
The term "Superstar Economy" refers to a theory stating that while digitaliization creates opportunites, it also demands vast resources in order to be a part of it. Will the digital economy give us less diversity? Or does it simply provide easier access to music, literature and movies, making art more profitable?
For Arts Council Norway, this is a debate that needs both a national and a European perspective. And we start off by exploring two interesting aspects of the Norwegian cultural sphere:
Despite being a small country with a small language market, a large number of books are written and published in Norway. Authors, publishers, bookstores and other industry actors are important for the scope and quality of production and distribution of Norwegian literature. But if the literature is to develop as it should, there must also be an active and committed literature policy.
Meanwhile, Norway is a leading country when it comes to digitalization and streaming music. Recent numbers show that 9 out of 10 Norwegians are streaming music, and more than half are paying for these services. In 2017, 85 % per cent of sales revenue for recorded music in Norway came from streaming. Can the Norwegian literary policies and the Norwegian digital consumption of culture learn anything from each other? And what can we learn from the main players in the cultural sector themselves?
In Frankfurt on October 18th, we will hear from Norwegian and international experts, writers and academics.
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Eriksen, Asbjørn Øfsthus
(2019).
Grieg in Rachmaninoff's music: similarities and influences.
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Weisethaunet, Hans
(2019).
‘Roots’ and ‘Routes’ of Scandinavian Music—Dialogue/lecture with Hallvard T. Bjørgum.
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Weisethaunet, Hans
(2019).
The Art Ensemble of Chicago, ECM.
Jazznytt.
ISSN 0332-7248.
250,
p. 58–59.
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Weisethaunet, Hans
(2019).
Music Studies and Fieldwork, "World Music Workshop", Agder University.
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Hawkins, Stan
(2019).
Introduction: Nordic Study Day.
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Kraugerud, Emil
(2019).
Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
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Hagen, Anja Nylund
(2019).
Napster.
Store Norske Leksikon (Nettutgaven).
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Holbrook, Ulf A. S. & Kraugerud, Emil
(2019).
Distances and proximities in acousmatic spatiality .
Show summary
In any given listening situation space is, in some form, always present. Our understanding of this space is given by our listening position and our ability to relate sounds to our knowledge of context, representation and cause. Th is paper seeks to discuss the spatiality of sounds, through our listening to the space in sound and not just to the space the sounds occupy. In both stereo and multichannel reproduction contexts we perceive sounds as existing in space but seldom consider the spaces which are occupied in the sound.The proximal differences between sounds and the perceived distances in the listening perspectives, not just angular differences in panning, are important criteria for understanding the contexted spatiality a sound contains. A sound is an energy and a soundfield is a collection of energies, a release of energy changes a space or creates a
new space (Lefebvre 1991).
Perception of the closeness of a sound is greatly dependent on the space contained by that sound, as it is perceived by a listener. Th is perception is affected by apparent width and timbre. For example, a wide sound may be perceived as being close, and through particular techniques applied in music production, the distance relations between sounds can be manipulated beyond what would be possible in direct interaction with sound sources. In musical contexts, this can in turn affect the ways in which the music is interpreted. Rather than just seeing a microphone as a static point which samples a signal at specific intervals, the microphone, like the speaker, is a window into space which gives us access to the spaces in the sounds. A hard left /right pan in a stereo soundfield provides us with a clear spatial boundary in which sounds exist, but this space is extended by the spatiality of the sounds themselves.
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Vuoskoski, Jonna Katariina & Heid, Markham
(2019).
Why Listening to Sad Music Makes You Feel Better.
[Internet].
https://elemental.medium.com/why-listening-to-sad-music-make.
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Vuoskoski, Jonna Katariina
(2019).
Parallels between the cognition of rhythm in sports and music.
Show summary
Although rhythm is often discussed in purely auditory terms, mounting evidence from the fields of cognitive psychology and neuroscience suggests that rhythm is fundamentally a domain-general phenomenon grounded in motor action. By drawing parallels between music and rowing – a sport characterized by repetitive rhythmic patterns and synchronized joint action – I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how interpersonal synchronization relies on shared timing models, multisensory cues, and predictive processes. Furthermore, I will demonstrate how conceptual and theoretical tools developed in the context of musical rhythm – such as non-isochronous meter (i.e., a cyclic pattern of beats with unequal durations) – can contribute to conceptualizing and understanding rhythm cognition in the context of rowing as well. Finally, I will discuss how accurate sensorimotor synchronization can facilitate experiences of ‘flow’ in both disciplines – especially in the face of increasing rhythmic complexity.
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Vuoskoski, Jonna Katariina
(2019).
Accounting for inter-individual variance in perceived and felt emotions.
Show summary
The emotional meanings conveyed by music do not exist in a vacuum, but emerge from the interaction between the music, the listener, and the context/situation. In addition to cross-cultural variability in musical forms and the emotional connotations associated with them, there is also significant inter-individual variability within cultures with regard to emotional responding. In this talk, I will present empirical evidence from two studies that demonstrate the extent of inter-individual variability – in terms of both perceived and felt emotion – in Finnish listeners.
Study 1 explored the contribution of Big Five personality traits and current mood to individual differences in emotions perceived in music. Sixty-seven participants listened to 50 short film music excerpts, and rated their perceived emotions using five discrete emotion scales (happiness, sadness, fear, anger, and tenderness). Both personality traits and mood states were significantly correlated with biases in emotion perception, but partial correlations and moderated multiple regression analyses revealed that current mood accounted for most of the inter-individual variance in ratings of perceived emotion.
Study 2 investigated individual differences in emotional reactivity to music at the level of both self-reports and physiological responses. Furthermore, the role of trait empathy in these individual differences was explored. Fifty-four participants heard 10 1-minute music excerpts representing five different emotions (sad, happy, scary, tender, and neutral). Participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales. In addition, participants’ electrodermal activity and heart rate variability were measured. Correlation analyses revealed that trait empathy was associated with the intensity of emotional responses both at the level of self-report and physiological responses. Furthermore, the patterns of correlations were consistent across both levels.
The implications of the findings will be discussed in terms of the benefits of investigating individual differences and measuring multiple components of emotion.
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Weisethaunet, Hans
(2019).
Musikk som praksisfelt, musikk som vitenskap og som kulturelt felt.
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Weisethaunet, Hans
(2019).
Platepoetikk. ECM 50 år. Bobo Stenson i samtale med Hans Weisethaunet. Nasjonalbiblioteket Seminar.
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Weisethaunet, Hans
(2019).
Musikk som kunnskap og dannelse – endringer i det nordiske feltet? Fra blokkfløyte til Chick Corea. Nord-Ed Seminar, UiO.
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Hagen, Anja Nylund
(2019).
Tidal.
Store Norske Leksikon (Nettutgaven).
Show summary
Tidal er en strømmetjeneste for musikk som ble lansert av det norske selskapet Aspiro i 2010 under navnet WiMP. Selskapet ble solgt til S. Carter Enterprises, blant annet eid av hiphop-artisten Jay Z i 2015, og fikk navnet Tidal, men har fortsatt kontor i Oslo.
Tidal skiller seg fra andre on-demand strømmetjenester ved å være reklamefri. Tjenesten tilbyr heller et dyrere abonnementsalternativ med bedre lydkvalitet, i tillegg til standardabonnementet. Tidal markerte seg ved å være tidlig ute med å bruke redaksjonelt innhold og spillelister. Det er mange artister blant Tidals medeiere, og selskapet har forsøkt å gjøre det til en merkevare å tilby eksklusivt innhold fra disse artistene.
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Hagen, Anja Nylund
(2019).
Spotify.
Store Norske Leksikon (Nettutgaven).
Show summary
Spotify er verdens mest brukte strømmetjeneste for musikk. Siden lanseringen i 2008 har Spotify opplevd stor vekst i antall brukere og popularitet. Våren 2019 registrerte Spotify over 100 millioner betalende abonnenter. Selskapet anslår at den totale lytterbasen overstiger 209 millioner aktive brukere når gratisversjonen inkluderes. Tjenesten tilbyr over 40 millioner lydspor i sin katalog, og utvikler fortløpende både tjeneste- og innholdstilbudet.
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Hagen, Anja Nylund
(2019).
strømmetjenester.
Store Norske Leksikon (Nettutgaven).
Show summary
Strømmetjenester er tjenester som overfører medieinnhold over internett. «Å strømme» for eksempel film, bøker, video eller musikk, beskriver digitale overføringsprosesser av data i sanntid eller uten at brukeren trenger å laste ned innholdet. Gjennom internettapplikasjoner som kan brukes på både stasjonære og mobile medieenheter, for eksempel TV, nettbrett, smarttelefon, datamaskin og airplay-spillere, gjøres innhold tilgjengelig fleksibelt og fritt etter brukernes preferanser, såkalt on-demand.
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Hagen, Anja Nylund; Sandvik, Eystein; Witek, Julia; Nedrelid, Alma & Hovland, Torkjell
(2019).
Å bygge en karriere i musikklivet.
Show summary
Studier, nettverk, praksis – hva betyr mest for bygge en karriere i musikklivet?Hvordan oppleves kjønnsbalansen fra ulike ståsted i musikklivet og musikkbransjen, og hvorfor er det viktig å etterstrebe likestilling?
Hvilken kjernekompetanse må man ha for å jobbe i musikklivet, og hvilke egenskaper fra en musikkbransjekarriere er overførbare til andre karrierefelt?
Debattleder: Anja Nylund Hagen (postdoktor ved IMV)
Med Alma Nedrelid (assisterende operasjef – Den Norske Opera &Ballett, ex-IMV)
Eystein Sandvik (musikkritiker, NRK, ex-IMV)
Julia Witek (bassist og vokalist i No. 4, ex-IMV)
Torkjell Hovland (musikkritiker for bl.a. Jazznytt og Ballade og kommunikasjonsansvarlig i Oslo musikkråd, ex-IMV)
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Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara
(2019).
Musikkprodusentens rolle.
Show summary
Musikkprodusentens rolle
- Hva skal til for å lykkes som studioprodusent?
- Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål?
- Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres?
Debattleder: Yngvar Kjus (førsteamanuensis ved IMV)
Med Sara Karoliussen (artist, produsent, ex-IMV)
Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV)
Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO)
Michael Scott Hartung (produsent)
Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)
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Eriksen, Asbjørn Øfsthus
(2019).
Foredrag om Rachmaninov.
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Hagen, Anja Nylund
(2019).
Music streaming and data literacy.
Show summary
The chain of production, distribution and consumption in the music industries has always been shaped by the technologies available to the markets. Developments in the contemporary music industry must therefore be understood in relation to streaming technology. Just a decade after Spotify launched in Sweden, the Norwegian music industry heavily relies on music streaming services as the mainstream distribution format to reach global markets and new audiences. At the same time, the streaming industry is entailed with new competition, where new types of skills and competences are demanded to interact and negotiate with a greater range of parties under new conditions. This paper stems from a large survey targeting musicians, composers and intermediaries across different genres and functions in the Norwegian music industry, supplemented by in-depth interviews with music industry key persons. The goal is to reveal aspects of how Norwegian music industry partners experience to work with music in the realm of streaming. By using the concept of digital literacy, this paper studies how the ability to take use and make sense of the digital potential of the streaming technology is experienced. The digital literacy of streaming will specifically be explored in relation to datafication, as the concept of how online content and traffic can be tracked and analysed to predict and control activities and royalties in the current digital market flows. The survey shows how datafication has become key in the digital music industry, but also big variations in whom that are taking this currency of data in use. The paper further discusses digital literacy as a concept to address how datafication in the era of streaming seems to create a new dimension of the digital divide, of those who can make sense of and engage with data, and those who can’t.
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Bradley, Catherine
(2019).
Invited Seminar at Conservatoire national supérieur de musique et de danse de Lyon.
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Weisethaunet, Hans
(2019).
‘Criticism and canonisation’, presentation for “Musicking in Twentieth-Century Europe”, De Gruyter’s Verlagshaus, Berlin.
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Weisethaunet, Hans
(2019).
“Musical Sound, Place, and Listening,” Invited lecture, “Anthropology of Sound, Acoustemology, and Sensory Transformations Conference”, University of Eastern Finland .
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Eriksen, Asbjørn Øfsthus
(2019).
Skazki. Nikolaj Medtner. Gunnar Sama, piano. (Liner notes til CD med klavermusikk av Nikolaj Medtner. 2L-156-SACD. Lindberg Lyd AS).
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Devine, Kyle
(2019).
The World Remade.
[Internet].
Reasonably Sound (podcast).
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Vuoskoski, Jonna Katariina & Bjurström, Eelis
(2019).
Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi.
[Internet].
https://yle.fi/uutiset/3-10875178.
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Vuoskoski, Jonna Katariina & Eerola, Tuomas
(2019).
Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology.
Show summary
It has been postulated that empathy and emotional contagion might be some of the fundamental mechanisms through which music induces emotional responses in listeners. Previous studies have reported correlations between questionnaire measures of trait empathy and self-reported intensity of music-induced emotion (particularly in response to sad and tender music), but it is not yet known whether this association only exists at the level of self-report. us, the aim of this study was to investigate the relationship between trait empathy and psychophysiological indices of music-induced emotion. Fi y-four participants heard 10 1-minute music excerpts representing ve di erent emotions (sad, happy, scary, tender, and neutral). For each excerpt, participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales (happy, tender, peaceful, moved, anxious, and energetic). In addition, participants’ electrodermal activity and heart rate variability (HRV) were measured. Trait empathy was measured using the Interpersonal Reactivity Index (Davis, 1980). Trait empathy correlated signi cantly with the mean ratings of overall intensity of felt emotion (averaged across all excerpts; r = .29). Trait empathy also correlated with phasic skin conductance activity in response to sad (r = .28) and tender (r = .33) excerpts, and with high- frequency HRV in response to happy excerpts (r = .36; all p < .05). ese results corroborate previous ndings that have associated trait empathy with the self-reported intensity of music-induced emotions, and provide novel evidence of a similar pattern also on the level of psychophysiology.
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Thompson, Marc Richard & Vuoskoski, Jonna Katariina
(2019).
Everything but the sound: Investigating the relationships between
movement features and perceptual ratings of silent music performances.
Show summary
In musical performance, the gestures and mannerisms of a musician can have a profound impact on the observer’s experience of the music. In this presentation, we investigate to what degree this holds true when presenting participants silent videos of abstracted movement (stick figure animations derived from motion capture data). [P] A pianist and violinist individually performed four pieces (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry and deadpan. The 32 performances were tracked using optical motion capture. Subsequently, participants (piano group: n = 31; violin group: n = 34) viewed the performances as stick-figure animations and provided ratings of perceived happiness, anger, sadness, and tenderness for each performance. [P] From the 3D motion capture data for each performance, we computed variables based on the movements of the head, torso, shoulders, arms and hands. We computed the average velocity, acceleration and jerk of each direction (x, y, z) as well as the norm of the vectors. We compared these features with the averaged perceptual ratings. [P] Correlation analyses revealed that participants were likely to rate a performer’s intention high on happiness and anger when the movements were high in activity (e.g. quick movements, many changes in directions), while the performances were rated high on sadness and tenderness when the movement were low in activity. For both the pianist and the violinist, no single part of the body stood out as correlating more highly with the perceptual ratings than others. [P] The results support past research that the communication of emotional intentions in a musical performance is possible even when viewing the performances without sound and in an abstracted setting. They also indicate that the visual aspects of a performance are experienced as a single gestalt (as opposed to paying attention to individual parts of the body).
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Edwards, Peter
(2023).
Tilleggskommentarer og oppsummering av sakkyndig rapport for høyesterett.
Høyesterett.
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Hawkins, Edgar Stanley & Tønsberg, Knut
(2023).
Developing Practices and Approaches to Electronic Popular Music in Education.
Universitetet i Agder.
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Zelechowska, Agata
(2020).
Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music.
07 Gruppen.
Show summary
This dissertation examines the phenomenon of spontaneous movement responses to music. It
attempts to grasp and illustrate the complexity of this behaviour by viewing it from different
perspectives. Unlike most previous studies on music and body movement, it places the focus on barely
visible manifestations of movement, such that can happen when listening to music while standing still.
The point of departure is a reflection on movement responses to music, and why such responses are
considered a universal human phenomenon. This is followed by a discussion on different approaches
to studying how music `inspires' movement, and an overview of different factors that can potentially
contribute to the emergence of movement responses to music. The first goal of the empirical research
is to verify the common conception that `music makes us move' and examine whether such a
movement response can be involuntary. Three of the five included papers show that music can, indeed,
make people move, even when they try to stand as still as possible. The second goal is to explore
different factors that contribute to movement responses to music. Throughout the included papers,
several topics are examined, including rhythmic complexity, tempo, music genres, individual
differences, playback systems, and others. The theoretical chapters show how these topics fit into
three broader categories of music experience components: music, listener, and context. Overall, the
results suggest that several factors seem to increase movement responses to music: the clear
underlying pulse in the sound stimuli, the rhythmic complexity, a tempo around 120 beats per minute,
listening on headphones rather than speakers, and high empathy of the listener.While this dissertation
leaves many questions open, its main contribution is in bridging some gaps in the literature on musicrelated
body movement. It also broadens up the perspective on why, how, and when music moves us.
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Kraugerud, Emil
(2020).
Come Closer: Acousmatic Intimacy in Popular Music Sound.
07 Gruppen.
Full text in Research Archive
Show summary
When intimacy is mentioned in music reviews, daily speech, and research on music—when a voice or other sound is described as “intimate,” for example—it might at first be understood as synonymous to perceived proximity. Yet it implies much more, including several engaging aspects of close interpersonal relations or interactions. This dissertation examines this experience of intimacy when one listens to music recordings, and the role of record production in triggering such an experience. I refer to this specific sense of intimacy as acousmatic intimacy in order to distinguish it from the intimacy that one experiences in everyday interpersonal encounters. I investigate this notion through a combination of literary reviews, sound analyses, and interviews with recordists, all informed by my overall hermeneutic approach. The aim of the dissertation is to conceptualize “acousmatic intimacy” as a theoretical approach to the sensation of intimacy that may be experienced when one listens to music recordings—that is, when the origins of the sounds (musicians and instruments) are absent. Such a sensation is often triggered by what musicians and recordists do in the process of making the recordings. As such, the dissertation provides qualitative insight into some of the ways in which listeners connect to music, and, more specifically, into the role of recordists in influencing listeners’ interpretation of musical meaning. The concept of acousmatic intimacy may eventually serve as a useful hermeneutic analytical framework for analyzing recorded music, and for understanding listening processes and production strategies.
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Zelechowska, Agata; Jensenius, Alexander Refsum; Laeng, Bruno & Vuoskoski, Jonna Katariina
(2020).
Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music.
Universitetet i Oslo.
Full text in Research Archive
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Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård
(2020).
Digital ambivalens. Norsk musikk i internasjonale markeder.
Universitetet i Oslo.
ISSN 978-82-336-0342-7.
Show summary
Rapporten Digital ambivalens gir et deskriptivt bilde av den norske musikkbransjen før korona, og omtrent 10 år etter at streaming ble mainstream. Resultatene bygger på spørreundersøkelsen Norsk musikk i internasjonale markeder som fikk 555 svar, fordelt på skapere og utøvere av norsk musikk, samt aktører i plateselskap, management, musikkforlag, booking med mer, til sammen omtalt som mellomledd. Ved å se på hvordan norsk musikkbransje opererer internasjonalt og bruker medier i arbeidet med musikk, bekrefter undersøkelsen at det er utstrakt profesjonell aktivitet med norsk musikk i mange deler av verden. Digitaliseringen er viktig for å nå et globalt publikum, og legger til rette for nye typer eksport. Mens en nesten samstemt norsk musikkbransje anerkjenner sosiale medier og strømmetjenesters betydning i distribusjon og formidling av norsk innspilt musikk, danner rapporten samtidig et inntrykk av at dette ikke skjer uten tvetydighet og motstridende erfaringer. Bransjen er rammet av digital ambivalens.
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Eriksen, Asbjørn Øfsthus
(2020).
Rapport om gjennomgåelse av Edvard Grieg: Samlede verker, bind 1 (1977) og del av bind 2 (1986) .
Universitetet i Bergen.
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Gran, Anne-Britt; Linn-Birgit, Kampen Kristensen; Molde, Audun; Hagen, Anja Nylund & Booth, Peter
(2020).
Krise og kreativitet i musikkbransjen – koronapandemien 2020.
BI Centre for Creative Industries.
Show summary
På oppdrag fra Musikkindustriens Næringsråd, og medfinansiert av Norsk kulturråd og de regionale Musikkontorene, har BI Centre for Creative Industries (BI:CCI) gjennomført en stor spørreundersøkelse i musikkbransjen i forbindelse med koronapandemien. Formålet var å kartlegge de økonomiske konsekvensene av koronakrisen, hvilke offentlige tiltak bransjen har benyttet og hvilke nye musikkinitiativ som har oppstått som følge av krisen.
Prosjektansvarlig har vært prof. Anne-Britt Gran (BI:CCI), med Linn-Birgit Kampen Kristensen (BI:CCI) som prosjektkoordinator, Peter Booth (BI:CCI) som analyseansvarlig, Audun Molde (Høyskolen Kristiania) og Anja Nylund Hagen (Musikkvitenskap, UiO) som eksperter på musikkbransjen.
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Aubinet, Stéphane
(2020).
The Craft of Yoiking: Philosophical Variations on Sámi Chants.
Nauka.
Full text in Research Archive
Show summary
The yoik is a vocal technique practised by the Sámi of Northern Europe. It relies on circular melodies, chanted in everyday life and a cappella, with or without lyrics. Each melody evokes a particular being, usually a person, an animal species, or a place. ‘Yoiking them’ is a way of making them present, exploring an attachment, and unfolding memories. The yoik is considered by many of its practitioners as a gift received from the environment, a mysterious craft that they come to know through personal experience and experimentation.
This thesis is based on conversations with yoikers, active in either the ‘traditional’ or ‘modern’ practices, and an apprenticeship in the craft of yoiking. It constitutes a series of essays, or ‘philosophical variations’, aimed at taking the yoik seriously and unfolding some of its philosophical affordances.
As in the musical variations on popular melodies by classical composers, writing the yoik in variation means hosting it within another practice bearing its own constraints and possibilities. Practices of yoiking and writing are thus put in a dialogue at times converging, at times diverging, but always intended to be mutually stimulating. Various voices from social anthropology, ethnomusicology, psychology, theology, ethology, and the history of philosophy join the dialogue along the way.
The variations are ‘philosophical’ in that each of them creates one concept: horizon, enchantment, creature, depth, echo, primordial. Each concept seeks to capture a layer of depth perceived in the yoik’s practice: (1) the risks of metamorphosis; (2) the chants of animals and the wind; (3) the creation of yoiks as outgrowths of the sensuous world; (4) the inner landscapes of humans; (5) the resurgence of past memories and of the dead; (6) the roots of human chants in a chthonic, original past; and (n) the power of repetition and interruption.
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Størvold, Tore
(2019).
Dissonant Landscapes: Nature and the Musical Imagination of Iceland.
07 Gruppen.
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.
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Kelkar, Tejaswinee
(2019).
Computational Analysis of Melodic Contour and Body Movement.
07 Gruppen.
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.