Siste publikasjoner

• Kwak, Dongho; Olsen, Petter Angell; Danielsen, Anne & Jensenius, Alexander Refsum (2022). A trio of biological rhythms and their relevance in rhythmic mechanical stimulation of cell cultures. Frontiers in Psychology. ISSN 1664-1078. 13. doi: 10.3389/fpsyg.2022.867191.
• Godøy, Rolf Inge (2022). Thinking rhythm objects. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2022.906479. Vis sammendrag

  The focus of this mini-review is on rhythm objects, defined as strongly coherent chunks of combined sound and body motion in music, typically in the duration range of a few seconds, as may for instance be found in a fragment of dance music, in an energetic drum fill, in a flute ornament, or in a cascade of sounds of a rapid harp glissando. Although there has been much research on rhythm in continuous musical sound and its links with behavior, including the neurocognitive aspects of periodicity, synchrony, and entrainment, there has been much less focus on the generation and perception of singular coherent rhythm objects. This mini-review aims to enhance our understanding of such rhythm objects by pointing to relevant literature on coherence-enhancing elements such as coarticulation, i.e., the fusion of motion events into more extended rhythm objects, and intermittent motor control, i.e., the discontinuous, instant-by-instant control and triggering of rhythm objects.

• Spiech, Connor; Sioros, Georgios; Endestad, Tor; Danielsen, Anne & Laeng, Bruno (2022). Pupil Drift Rate Indexes Groove Ratings. Scientific Reports. ISSN 2045-2322. doi: 10.1038/s41598-022-15763-w.
• Bentsen, Lars Ødegaard; Simionato, Riccardo; Wallace, Benedikte & Krzyzaniak, Michael Joseph (2022). Transformer and LSTM Models for Automatic Counterpoint Generation using Raw Audio. Proceedings of the SMC Conferences. ISSN 2518-3672. doi: 10.5281/zenodo.6572847.
• Kjus, Yngvar; Spilker, Hendrik Storstein & Kiberg, Håvard (2022). Liveness online in deadly times: How artists explored the expressive potential of live-streamed concerts at the face of COVID-19 in Norway. First Monday. ISSN 1396-0466. 27(6). doi: 10.5210/fm.v27i6.12398. Vis sammendrag

  This study was initiated as the pandemic erupted in the spring of 2020, triggered by our curiosity about the wave of Internet-mediated concerts which followed in the wake of COVID-19. The article examines what kind of social and cultural phenomenon these events were, and how their presentational and participatory potential was explored within a few, hectic spring months. Basing our analysis on interviews with 13 performers and four promoters in Norway, we find that the performances transcended traditional modes of live concerts in innovative ways, while responding to the stresses associated with the pandemic crisis. We identify three performance strategies, intimization, intensification and expansion, which in different ways rearticulated established modes of live musical expression by fusing them with the liveness of mediated communication.

• Kjus, Yngvar & Jacobsen, Roy Aulie (2022). Will the EU’s directive on copyright in the digital market change the power balance of the music industry? Views from Norway. . Nordisk kulturpolitisk tidsskrift. ISSN 1403-3216. 25(1), s. 28–42. doi: 10.18261/nkt.25.1.3. Vis sammendrag

  The EU’s directive on copyright in the digital single market (the DSM directive) has been associated with pervasive transformations in the exploitation of copyright-protected work, particularly by holding online services, such as YouTube, more accountable for the music consumed by their users. The directive also features a series of other articles, however, suggesting substantial strengthening of the entitlements of songwriters and performers in the digitized music industry, such as the right to proportionate remuneration, the right to transparency in terms of how their work is exploited, and the right to have unfair contracts adjusted. But what kinds of change will the directive actually trigger for musicians? This article explores the notion of change by inquiring how people invested in different parts of the Norwegian music industry interpret the articles of the directive and what they expect from them. The study finds that the directive inspires music industry players to join forces in their struggles with online services, but that it goes on to challenge deep-seated power structures within the music industry in ways that also trigger opposition to the directive.

• Herrebrøden, Henrik & Bjørndal, Christian T. (2022). Youth International Experience Is a Limited Predictor of Senior Success in Football: The Relationship Between U17, U19, and U21 Experience and Senior Elite Participation Across Nations and Playing Positions. Frontiers in Sports and Active Living. ISSN 2624-9367. 4. doi: 10.3389/fspor.2022.875530. Fulltekst i vitenarkiv
• Kwak, Dongho; Combriat, Thomas Michel Daniel; Wang, Chencheng; Scholz, Hanne; Danielsen, Anne & Jensenius, Alexander Refsum (2022). Music for Cells? A Systematic Review of Studies Investigating the Effects of Audible Sound Played Through Speaker-Based Systems on Cell Cultures . Music & Science. ISSN 2059-2043. 5. doi: 10.1177/20592043221080965.
• Mangaoang, Áine (2022). Shakespear's Sister, "Stay"(1992). I Hill, Sarah (Red.), One-Hit Wonders: An Oblique History of Popular Music. Bloomsbury. ISSN 9781501368417.
• Louviot, Manon (2021). UNCOVERING the DOUAI FRAGMENT: COMPOSING POLYPHONY and ENCODING A COMPOSER in the LATE FOURTEENTH CENTURY. Early Music History. ISSN 0261-1279. 40, s. 85–166. doi: 10.1017/S0261127920000121.
• Gasper, Giles E.M.; Tanner, Brian K.; Sønnesyn, Sigbjørn Olsen & El-Bizri, Nader (2021). Travelling Optics: Robert Grosseteste and the Optics behind the Rainbow. I Etheridge, Christian & Campopiano, Michele (Red.), Medieval Science in the North: Travelling Wisdom, 1000–1500. Brepols. ISSN 978-2-503-58804-9. s. 45–76.
• Mangaoang, Áine (2021). “A reward rather than a right”: Facilitators’ perspectives on the place of music in Norwegian prison exceptionalism. Musicae Scientiae. ISSN 1029-8649. Fulltekst i vitenarkiv
• Godøy, Rolf Inge (2021). Constraint-Based Sound-Motion Objects in Music Performance. Frontiers in Psychology. ISSN 1664-1078. 12, s. 1–17. doi: 10.3389/fpsyg.2021.732729. Fulltekst i vitenarkiv Vis sammendrag

  The aim of this paper is to present principles of constraint-based sound-motion objects in music performance. Sound-motion objects are multimodal fragments of combined sound and sound-producing body motion, usually in the duration range of just a few seconds, and conceived, produced, and perceived as intrinsically coherent units. Sound-motion objects have a privileged role as building blocks in music because of their duration, coherence, and salient features and emerge from combined instrumental, biomechanical, and motor control constraints at work in performance. Exploring these constraints and the crucial role of the sound-motion objects can enhance our understanding of generative processes in music and have practical applications in performance, improvisation, and composition.

• Danielsen, Anne; Nymoen, Kristian; Langerød, Martin Torvik; Jacobsen, Eirik; Johansson, Mats Sigvard & London, Justin (2021). Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli. Attention, Perception & Psychophysics. ISSN 1943-3921. doi: 10.3758/s13414-021-02393-z. Fulltekst i vitenarkiv Vis sammendrag

  Musical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 Å~ 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

• Kelkar, Tejaswinee (2021). Body Data for Music Information Retrieval Tasks . I Wieczorkowska, Alicja & Tsumoto, Shusaku (Red.), Recommender Systems for Medicine and Music . Springer Nature Switzerland AG 2021. ISSN 978-3-030-66448-0. s. 153–165. doi: https%3A/doi.org/10.1007/978-3-030-66450-3_10.
• Eriksen, Asbjørn Øfsthus (2021). A ‘completion’ of Liszt’s transcendental studies with a Russian imprint: Modality and topics in Sergey Lyapunov’s 12 Études d’exécution transcendante (1897–1905) . Svensk tidskrift för musikforskning. ISSN 2002-021X. 103, s. 61–88. Fulltekst i vitenarkiv
• Hagen, Anja Nylund (2021). Datafication, Literacy, and Democratization in the Music Industry. Popular music and society. ISSN 0300-7766. s. 1–19. doi: 10.1080/03007766.2021.1989558. Vis sammendrag

  This article frames the relationship between datafication and literacy as a key to understand participation, power, and processes of democratization in a platform–dominated music industry. Drawing upon a Norwegian surve (n = 555) and in-depth interviews with music-industry actors, the analysis demonstrates commercial benefits of data-usage, and why many have yet to take advantage of datafication’s possibilities. The article indicates that datafication creates and maintains a digital divide in the music industry, with service providers as gatekeepers, datafication a core activity, and data a prime commodity. And meanwhile, the data-literate partner achieves power and positioning, making data literacy a key resource in and of itself.

• Laeng, Bruno; Kuyateh, Sarjo & Kelkar, Tejaswinee (2021). Substituting facial movements in singers changes the sounds of musical intervals. Scientific Reports. ISSN 2045-2322. 11(1). doi: 10.1038/s41598-021-01797-z. Fulltekst i vitenarkiv
• Hui, Alan (2021). Mashup music as expression displaced and expression foregone. Internet Policy Review. ISSN 2197-6775. 10(4). doi: 10.14763/2021.4.1604. Fulltekst i vitenarkiv
• Edwards, Peter (2021). Ideology, Performance, and Ironic Distance in Musical Slapstick. I Malakaj, Ervin & Lyons, Alena E. (Red.), Slapstick: An Interdisciplinary Companion. Walter de Gruyter (De Gruyter). ISSN 9783110570793. s. 37–52. doi: 10.1515/9783110571981-004. Fulltekst i vitenarkiv
• Aubinet, Stéphane (2021). The Problem of Universals in Cross-Cultural Studies: Insights from Sámi Animal Melodies (Yoik). Psychology of Music. ISSN 0305-7356. 49(3). doi: 10.1177/03057356211024346. Fulltekst i vitenarkiv
• Aubinet, Stephane Vincent B & Malay, Olivier E. (2021). Transition and Resilience in Music: Insights from Folk Bals. International Review of the Aesthetics and Sociology of Music. ISSN 0351-5796. 52(1), s. 147–164.
• Kjus, Yngvar (2021). Twists and turns in the 360 deal: Spinning the risks and rewards of artist–label relations in the streaming era. European Journal of Cultural Studies. ISSN 1367-5494. 25(2), s. 463–478. doi: 10.1177/13675494211044731. Vis sammendrag

  This article studies the contracts of labels and artists in the 2000s and 2010s in order to understand the conditions for creative work in a predominantly digital environment. It argues that contract negotiation is a key site for the exchange of creative and economic resources which is likely to reflect developments in the technological but also legal frameworks of the music industry. It presents analyses of contract documents from before and after the rise of streaming services, capturing the turn away from the album and towards the smaller project of the single, which, among other things, entails higher royalty rates for the artists but also increases their responsibilities for financing production. The article goes on to discuss the extent to which such shifts in the investments and returns of both creator and company should be accompanied by changes in the legal protections of creative work.

• Weisethaunet, Hans (2021). «Jazz som konservatoriefag i Norge – en (u)mulig historie?». Studia Musicologica Norvegica. ISSN 0332-5024. 47(1), s. 27–44. doi: 10.18261/issn.1504-2960-2021-01-03.
• Weisethaunet, Hans (2021). «Å høre hjemme i verden. Om «jazzutdanning» og lytting som kunnskap». I Bostad, Inga (Red.), Å høre hjemme i verden. Introduksjon til en pedagogisk hjemstedsfilosofi.. Spartacus. ISSN 978-82-304-0291-7. s. 251–284.
• Eerola, Tuomas; Vuoskoski, Jonna K.; Kautiainen, Hannu; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2021). Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners. Annals of the New York Academy of Sciences. ISSN 0077-8923. 1502(1), s. 121–131. doi: 10.1111/nyas.14660. Fulltekst i vitenarkiv
• Colbjørnsen, Terje; Hui, Alan & Solstad, Benedikte (2021). What do you pay for all you can eat? Pricing practices and strategies in streaming media services. Journal of Media Business Studies. ISSN 1652-2354. doi: 10.1080/16522354.2021.1949568. Fulltekst i vitenarkiv
• Fasciani, Stefano & Goode, Jackson Montgomery (2021). 20 NIMEs: Twenty Years of New Interfaces for Musical Expression. I Dannenberg, Roger & Xiao, Xiao (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. doi: https%3A/doi.org/10.21428/92fbeb44.b368bcd5. Fulltekst i vitenarkiv
• Copiaco, Abigail; Ritz, Christian; Abdulaziz, Nidhal & Fasciani, Stefano (2021). A Study of Features and Deep Neural Network Architectures and Hyper-Parameters for Domestic Audio Classification. Applied Sciences. ISSN 2076-3417. 11(11). doi: 10.3390/app11114880.
• Dybsand, Øyvin (2021). Johan Halvorsen as Young Violin Student in Leipzig, “The City of Music”, in the Late 1880s. I Dinslage, Patrick & Keym, Stefan (Red.), Edvard Grieg und seine skandinavischen Kollegen in ihren Beziehungen zu Leipzig: 8. Deutscher Edvard-Grieg-Kongress vom 15. bis 17. Oktober 2020 in Leipzig. Gudrun Schröder Verlag. ISSN 9783926196828. s. 243–261.
• Copiaco, Abigail; Ritz, Christian; Fasciani, Stefano & AbdulAziz, Nidhal (2021). Identifying Sound Source Node Locations Using Neural Networks Trained with Phasograms. Proceedings of IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). ISSN 2641-5542. doi: 10.1109/ISSPIT51521.2020.9408643.
• Zickfeld, Janis Heinrich; van de Ven, Niels; Pich, Olivia; Schubert, Thomas; Vuoskoski, Jonna Katariina & Vingerhoets, Ad J.J.M. (2021). Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries. Journal of Experimental Social Psychology. ISSN 0022-1031. doi: 10.1016/j.jesp.2021.104137. Fulltekst i vitenarkiv
• Kjus, Yngvar (2021). License to stream? A study of how rights-holders have responded to music streaming services in Norway. The International Journal of Cultural Policy. ISSN 1028-6632. 28(1), s. 61–73. doi: 10.1080/10286632.2021.1908276. Vis sammendrag

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

• White, Rebekah C.; Gasper, Giles E. M.; McLeish, Tom C. B.; Tanner, Brian K.; Harvey, Joshua S & Sønnesyn, Sigbjørn Olsen [Vis alle 8 forfattere av denne artikkelen] (2021). Magnifying Grains of Sand, Seeds, and Blades of Grass: Optical Effects in Robert Grosseteste’s De iride (On the Rainbow) (circa 1228–1230). Isis. ISSN 0021-1753. 112(1), s. 93–107. doi: 10.1086/713724. Vis sammendrag

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

• Peltola, Henna-Riikka & Vuoskoski, Jonna Katariina (2021). “I hate this part right here”: Embodied, subjective experiences of listening to aversive music. Psychology of Music. ISSN 0305-7356. 50(1), s. 159–174. doi: 10.1177/0305735620988596. Fulltekst i vitenarkiv
• Weisethaunet, Hans (2021). “Creating Maps, Generating Meanings: Music Criticism.” Chapter 8, 169-188. I Nathaus, Klaus & Rempe, Martin (Red.), Musicking in Twentieth-Century Europe. A Handbook. Walter de Gruyter (De Gruyter). ISSN 978-3-11-064808-9. s. 169–188.
• Sønnesyn, Sigbjørn Olsen (2020). Word, Example, and Practice: Learning and the Learner in Twelfth-Century Thought. Journal of Medieval History. ISSN 0304-4181. 46, s. 513–535.
• Copiaco, Abigail; Ritz, Christian; Fasciani, Stefano & Abdulaziz, Nidhal (2020). An Application for Dementia Patient Monitoring with Sound Level Assessment Tool. I IEEE, . (Red.), 2020 3rd International Conference on Signal Processing and Information Security (ICSPIS). IEEE. ISSN 978-1-7281-8998-7.
• Hawkins, Stan & Nielsen, Nina (2020). Gaahl—Monster or Postmodern Prometheus? Masculinity, Class, and Norwegian Black Metal. I Peddie, Ian (Red.), The Bloomsbury Handbook of Popular Music and Social Class. Bloomsbury Academic. ISSN 978-1-5013-4536-4. s. 185–204. doi: 10.5040/9781501345395.ch-010.
• Mangaoang, Áine (2020). "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs. I Marshall, Melanie L. & Iddon, Martin (Red.), Beyoncé: At Work, On Screen, and Online. Indiana University Press. ISSN 9780253052841. s. 189–225.
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo; Laeng, Bruno; Vuoskoski, Jonna Katariina & Jensenius, Alexander Refsum (2020). Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music. Music & Science. ISSN 2059-2043. 3. doi: 10.1177/2059204320974216. Fulltekst i vitenarkiv Vis sammendrag

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

• Aksnes, Hallgjerd (2020). Making Sense. Studi di estetica. ISSN 0585-4733. anno XLVIII(IV serie, 1/2020), s. 299–306. doi: 10.7413/18258646122. Fulltekst i vitenarkiv
• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2020). Music as embodied experience. Human Technology. ISSN 1795-6889. 16(3), s. 227–232. doi: 10.17011/ht/urn.202011256763. Fulltekst i vitenarkiv
• Weisethaunet, Hans (2020). «Keeping time» vs. «making time»: Jon Christensen (1943–2020), Studia Musicologica Norvegica 46, 77-93. Studia Musicologica Norvegica. ISSN 0332-5024. 46(1), s. 77–93. doi: 10.18261/issn.1504-2960-2020-01-07. Fulltekst i vitenarkiv
• Mangaoang, Áine (2020). Scenes and Networks. I Mangaoang, Áine (Red.), Made in Ireland: Studies in Popular Music. Routledge. ISSN 9781138336032. s. 169–172.
• Mangaoang, Áine (2020). Songs of Love: A Conversation with Neil Hannon (The Divine Comedy). I Mangaoang, Áine (Red.), Made in Ireland: Studies in Popular Music. Routledge. ISSN 9781138336032. s. 248–262.
• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (2020). Popular Music in Ireland: Mapping the Field. I Mangaoang, Áine (Red.), Made in Ireland: Studies in Popular Music. Routledge. ISSN 9781138336032. s. 1–16.
• Hawkins, Stan (2020). Personas in Rock: "We Will, We Will Rock You". I Moore, Allan & Carr, Paul (Red.), The Bloomsbury Handbook of Rock Music Research. Bloomsbury Academic. ISSN 978-1-5013-3045-2. s. 239–254.
• Størvold, Tore (2020). Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”. Journal of Aesthetics and Culture. ISSN 2000-4214. 12(1). doi: 10.1080/20004214.2020.1761060. Fulltekst i vitenarkiv Vis sammendrag

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

• Stupacher, Jan; Witek, Maria; Vuoskoski, Jonna Katariina & Vuust, Peter (2020). Cultural familiarity and individual musical taste differently affect social bonding when moving to music. Scientific Reports. ISSN 2045-2322. 10. doi: 10.1038/s41598-020-66529-1. Fulltekst i vitenarkiv
• Zelechowska, Agata; Gonzalez-Sanchez, Victor E.; Laeng, Bruno & Jensenius, Alexander Refsum (2020). Headphones or Speakers? An Exploratory Study of Their Effects on Spontaneous Body Movement to Rhythmic Music. Frontiers in Psychology. ISSN 1664-1078. 11(698). doi: 10.3389/fpsyg.2020.00698. Fulltekst i vitenarkiv
• Danielsen, Anne & Hawkins, Stan (2020). The Quest of Princian Research. Popular music and society. ISSN 0300-7766. 43(3), s. 231–236. doi: 10.1080/03007766.2020.1757811.
• Towse, Ruth (2020). Dealing with digital: the economic organisation of streamed music. Media, Culture and Society. ISSN 0163-4437. doi: 10.1177/0163443720919376. Fulltekst i vitenarkiv Vis sammendrag

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

• Huron, David & Vuoskoski, Jonna Katariina (2020). On the enjoyment of sad music: Pleasurable Compassion Theory and the role of trait empathy. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2020.01060. Fulltekst i vitenarkiv
• Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum (2020). Student active learning in a two campus organisation. eLearning and Software for Education. ISSN 2066-026X. 1, s. 612–620. doi: 10.12753/2066-026X-20-080.
• Danielsen, Anne & Hawkins, Edgar Stanley (2020). “The Right Amount of Odd”: Vocal Compulsion, Structure, and Groove in Two Love Songs from Around the World in a Day. Popular music and society. ISSN 0300-7766. 43(3). doi: 10.1080/03007766.2020.1757814. Fulltekst i vitenarkiv
• Hagen, Anja Nylund (2020). Music in Streams: Communicating Music in the Streaming Paradigm . I Filimowicz, Michael & Tzankova, Veronika (Red.), Reimagining Communication: Mediation (1st Edition). Routledge. ISSN 9781138498914. s. 210–225. Vis sammendrag

  Reimagining Communication: Mediation explores information and media technologies across a variety of contemporary platforms, uses, content variations, audiences, and professional roles. A diverse body of contributions in this unique interdisciplinary resource offers perspectives on digital games, social media, photography, and more. The volume is organized to reflect a pedagogical approach of carefully laddered and sequenced topics, which supports experiential, project-based learning in addition to a course’s traditional writing requirements. As the field of Communication Studies has been continuously growing and reaching new horizons, this volume synthesizes the complex relationship of communication to media technologies and its forms in a uniquely accessible and engaging way. This is an essential introductory text for advanced undergraduate and graduate students and scholars of communication, broadcast media, and interactive technologies, with an interdisciplinary focus and an emphasis on the integration of new technologies.

• Brennan, Matt & Devine, Kyle (2020). The cost of music. Popular Music. ISSN 0261-1430. 39(1), s. 43–65. doi: 10.1017/S0261143019000552.
• Eriksen, Asbjørn Øfsthus (2020). Benötigen wir eine weitere Durchsicht von Edvard Griegs Gesamtausgabe? Über zwei verschwundene Takte in Lualåt, Op. 73 Nr. 7. Die Musikforschung. ISSN 0027-4801. 73(1), s. 47–54.
• Harvey, Joshua S; Smithson, Hannah E.; Siviour, Clive R.; Gasper, Giles E. M.; Sønnesyn, Sigbjørn Olsen & McLeish, Tom C. B. [Vis alle 7 forfattere av denne artikkelen] (2019). A Thirteenth-Century Theory of Speech. Journal of the Acoustical Society of America. ISSN 0001-4966. 146, s. 937–947.
• Copiaco, Abigail; Ritz, Christian; Abdulaziz, Nidhal & Fasciani, Stefano (2019). Identifying Optimal Features for Multi-channel Acoustic Scene Classification. I Bastaki, Eesa M & Mukhtar, Husameldin (Red.), 2019 2nd International Conference on Signal Processing and Information Security (ICSPIS). IEEE. ISSN 978-1-7281-3873-2. doi: 10.1109/ICSPIS48135.2019.9045907.
• Maasø, Arnt & Hagen, Anja Nylund (2019). Metrics and decision-making in music streaming. Popular Communication - The International Journal of Media and Culture. ISSN 1540-5702. doi: 10.1080/15405702.2019.1701675. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

• Devine, Kyle (2019). Musicology Without Music. I Braae, Nick & Hansen, Kai Arne (Red.), On Popular Music and Its Unruly Entanglements. Palgrave Macmillan. ISSN 978-3-030-18099-7. s. 15–37. doi: 10.1007/978-3-030-18099-7_2.
• Eriksen, Asbjørn Øfsthus (2019). Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950), del 2. Studia Musicologica Norvegica. ISSN 0332-5024. 45(1), s. 75–94. doi: 10.18261/issn.1504-2960-2019-01-07. Fulltekst i vitenarkiv
• Mangaoang, Áine (2019). Music and Tourism. I Buckley, John & O'Flynn, John (Red.), Ceol Phádraig: Music at St Patrick's College Drumcondra, 1875-2016. Peter Lang Publishing Group. ISSN 978-1-78997-622-9. s. 205–222. doi: https%3A/doi.org/10.3726/b16407.
• Weisethaunet, Hans (2019). Escaping Nordic musical exoticism? Chapter 2. The Nature of Nordic Music. I Howell, Tim (Red.), The Nature of Nordic Music. Routledge. ISSN 978-1-138-20718-9. s. 20–47. doi: 10.4324/9781315462851-2.
• O'Flynn, John & Mangaoang, Áine (2019). Sounding Dublin: Mapping Popular Music Experience in the City. Journal of World Popular Music. ISSN 2052-4900. 6(1), s. 32–61. doi: 10.1558/jwpm.34372.
• Hawkins, Stan & Størvold, Tore (2019). Justin Timberlake's "Man of the Woods": Lumbersexuality, Nature, and Larking Around. I Hawkins, Stan & Burns, Lori A. (Red.), The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Academic. ISSN 978-1-5013-4233-2. s. 317–336. doi: 10.5040/9781501342363.ch-018.
• Bradley, Catherine (2019). Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle. Journal of the American Musicological Society. ISSN 0003-0139. 72(2), s. 431–492. doi: 10.1525/jams.2019.72.2.431. Fulltekst i vitenarkiv
• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces. I Barbancho, Isabel; Tardón, Lorenzo J.; Peinado, Alberto & Barbancho, Ana M. (Red.), SMC 2019 Proceedings of the 16th Sound & Music Computing Conference. Society for Sound and Music Computing. ISSN 978-84-09-08518-7. s. 97–104. doi: 10.5281/zenodo.3249278. Fulltekst i vitenarkiv
• Danielsen, Anne (2019). Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation. I Grimshaw, Mark; Walther-Hansen, Mads & Knakkergaard, Martin (Red.), The Oxford Handbook of Sound and Imagination, Volume 2. Oxford University Press. ISSN 9780190460242. doi: 10.1093/oxfordhb/9780190460242.013.27. Fulltekst i vitenarkiv
• London, Justin; Nymoen, Kristian; Langerød, Martin Torvik; Thompson, Marc Richard; Code, David Løberg & Danielsen, Anne (2019). A comparison of methods for investigating the perceptual center of musical sounds. Attention, Perception & Psychophysics. ISSN 1943-3921. 81(6), s. 2088–2101. doi: 10.3758/s13414-019-01747-y. Fulltekst i vitenarkiv
• Vuoskoski, Jonna Katariina & Reynolds, Dee (2019). Music, rowing, and the aesthetics of rhythm. The Senses & Society. ISSN 1745-8927. 14(1), s. 1–14. doi: 10.1080/17458927.2018.1525201. Fulltekst i vitenarkiv
• Alarcón Diaz, Ximena (2019). Conceptual design for INTIMAL: a physical/virtual embodied system for Relational Listening. The Journal of Somaesthetics (JS). ISSN 2445-6837. 4(2), s. 6–24. doi: 10.5278/ojs.jos.v4i2.2393. Fulltekst i vitenarkiv Vis sammendrag

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

• Danielsen, Anne; Nymoen, Kristian; Anderson, Evan; Câmara, Guilherme Schmidt; Langerød, Martin Torvik & Thompson, Marc R. [Vis alle 7 forfattere av denne artikkelen] (2019). Where is the beat in that note? Effects of attack, duration, and frequency on the perceived timing of musical and quasi-musical sounds. Journal of Experimental Psychology: Human Perception and Performance. ISSN 0096-1523. 45(3), s. 402–418. doi: 10.1037/xhp0000611. Vis sammendrag

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

• Solberg, Ragnhild Torvanger & Jensenius, Alexander Refsum (2019). Group behaviour and interpersonal synchronization to electronic dance music. Musicae Scientiae. ISSN 1029-8649. 23(1), s. 111–134. doi: 10.1177/1029864917712345. Fulltekst i vitenarkiv Vis sammendrag

  The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced to a 10-minute-long DJ mix consisting of four tracks of electronic dance music (EDM). Two of the EDM tracks had little structural development, while the two others included a typical “break routine” in the middle of the track, consisting of three distinct passages: (a) “breakdown”, (b) “build-up” and (c) “drop”. The motion capture data show similar bodily responses for all three groups in the break routines: a sudden decrease and increase in the general quantity of motion. More specifically, the participants demonstrated an improved level of interpersonal synchronization after the drop, particularly in their vertical movements. Furthermore, the participants’ activity increased and became more pronounced after the drop. This may suggest that the temporal removal and reintroduction of a clear rhythmic framework, as well as the use of intensifying sound features, have a profound effect on a group’s beat synchronization. Our results further suggest that the musical passages of EDM efficiently lead to the entrainment of a whole group, and that a break routine effectively “re-energizes” the dancing.

• Mangaoang, Áine (2018). 'Here Lies Love' and the Politics of Disco-Opera. I Scotto, Ciro; Smith, Kenneth M. & Brackett, John (Red.), The Routledge Companion to Popular Music Analysis: Expanding Approaches. Routledge. ISSN 9781138683112. s. 347–363. doi: 10.4324/9781315544700-24.
• Lutfi, Aoun & Fasciani, Stefano (2018). Automating the Optimization of Web Interfaces for E-Commerce. I Alja’am, Jihad Mohamad; El Saddik, Abdulmotaleb & Sadka, Abdul Hamid (Red.), Recent Trends in Computer Applications. Springer Nature. ISSN 978-3-319-89914-5. s. 221–235. doi: 10.1007/978-3-319-89914-5_13.
• Fasciani, Stefano & Rahman, Habibur (2018). Tangible Virtual Patch Cords. I Park, Tae Hong & Ahn, Doo-Jin (Red.), Proceedings of the 2018 International Computer Music Conference. The International Computer Music Association. ISSN 0-9845274-7-8. s. 316–321. doi: 2027/spo.bbp2372.2018.060.
• Fasciani, Stefano (2018). Spectral Granular Synthesis. I Park, Tae Hong & Ahn, Doo-Jin (Red.), Proceedings of the 2018 International Computer Music Conference. The International Computer Music Association. ISSN 0-9845274-7-8. s. 99–103. doi: 2027/spo.bbp2372.2018.019.
• Fasciani, Stefano & Wyse, Lonce (2018). Vocal control of sound synthesis personalized by unsupervised machine listening and learning. Computer Music Journal. ISSN 0148-9267. 42(1), s. 37–59. doi: 10.1162/comj_a_00450. Vis sammendrag

  In this article we describe a user-driven adaptive method to control the sonic response of digital musical instruments using information extracted from the timbre of the human voice. The mapping between heterogeneous attributes of the input and output timbres is determined from data collected through machine-listening techniques and then processed by unsupervised machine-learning algorithms. This approach is based on a minimum-loss mapping that hides any synthesizer-specific parameters and that maps the vocal interaction directly to perceptual characteristics of the generated sound. The mapping adapts to the dynamics detected in the voice and maximizes the timbral space covered by the sound synthesizer. The strategies for mapping vocal control to perceptual timbral features and for automating the customization of vocal interfaces for different users and synthesizers, in general, are evaluated through a variety of qualitative and quantitative methods.

• Hawkins, Stan & Ålvik, Jon Mikkel Broch (2018). A-ha's "Take on Me": Melody, Vocal Compulsion, and Retroscoping. I Scotto, Ciro; Smith, Kenneth M. & Brackett, John (Red.), The Routledge Companion to Popular Music Analysis: Expanding Approaches. Routledge. ISSN 9781138683112. s. 77–94.
• Halmrast, Tor (2018). Attack the Attack. Proceedings of the Institute of Acoustics. ISSN 1478-6095. 40(3), s. 335–346.
• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice. I Ziemke, Tom; Arvola, Mattias; Dahlbäck, Nils & Billing, Erik (Red.), PROCEEDINGS OF THE 14TH SWEDISH COGNITIVE SCIENCE SOCIETY CONFERENCE. The University of Skövde. ISSN 978-91-983667-3-0. s. 10–11. doi: http%3A/www.swecog.se/conference/2018/Swecog-2018-Proceedings.pdf.
• Watne, Åshild & Nymoen, Kristian (2018). Der æ so vent å vestoheio. Intonation in a "gammelstev" from Setesdal. Musikk og tradisjon. ISSN 1892-0772. 32, s. 7–30. Fulltekst i vitenarkiv Vis sammendrag

  The intonation patterns in traditional Norwegian folk songs have been described and measured in various ways for more than a hundred years. This article provides a historical summary of research in this area and introduces a new software for measuring tone heights. This is exemplified through our analysis of an unaccompanied folk song, "Der æ so vent å vestoheio", recorded by the Norwegian Broadcasting Corporation (NRK) in 1951, performed by Gro Heddi Brokke (1910–1997) from the valley of Setesdal. The 5th and octave scale degrees stand out as the most stable throughout the tune, with a lot of variation in the thirds, sixths, and even the tonic. In spite of this variation, the performance comes forward as both confident and stable; the varying intonations appear controlled – they are not performer mistakes. Still, our findings suggest that tones of longer duration seem to vary less in intonation than shorter notes. We show how our software can be used in combination with manual analysis, and argue that automated pitch analysis may be useful also in the analysis of larger collections of Norwegian folk music.

• Eriksen, Asbjørn Øfsthus (2018). «Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950)», del 1. Studia Musicologica Norvegica. ISSN 0332-5024. 44(1), s. 79–101. doi: 10.18261/issn.1504-2960-2018-01-06. Fulltekst i vitenarkiv

Se alle arbeider i Cristin

• Bradley, Catherine Anne (2022). Authorship and Identity in Late Thirteenth-Century Motets. Routledge. ISBN 9781032194578. Fulltekst i vitenarkiv
• Hagen, Anja Nylund; Heian, Mari Torvik; Kleppe, Bård & Jacobsen, Roy Aulie (2021). Fra Plate til Plattform: Norsk musikk ut i verden. Cappelen Damm Akademisk. ISBN 9788202738525. 191 s. Fulltekst i vitenarkiv
• Devine, Kyle & Boudreault-Fournier, Alexandrine (2021). Audible Infrastructures: Music, Sound, Media. Oxford University Press. ISBN 9780190932640. 304 s.
• Mangaoang, Áine (2020). Made in Ireland: Studies in Popular Music. Routledge. ISBN 9781138336032. 296 s.
• Bradley, Catherine (2020). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press. ISBN 1561592390. 10 s.
• Gasper, Giles E. M.; Sønnesyn, Sigbjørn Olsen; Panti, Cecilia; McLeish, Tom C. B.; Smithson, Hannah E. & Lewis, Neil [Vis alle 17 forfattere av denne artikkelen] (2019). Knowing and Speaking: Robert Grosseteste's De Artibus Liberalibus, 'On the Liberal Arts', and De Generatione Sonorum, 'On the Generation of Sounds'. Oxford University Press. ISBN 978-0-19-880551-9. 535 s.
• Mangaoang, Áine (2019). Dangerous Mediations: Pop Music in a Philippine Prison Video. Bloomsbury Academic. ISBN 9781501331541. 256 s.
• Hawkins, Stan & Burns, Lori A. (2019). The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Academic. ISBN 978-1-5013-4233-2. 445 s.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music. MIT Press. ISBN 9780262537780. 328 s.

Se alle arbeider i Cristin

• Kraugerud, Emil (2022). Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy.
• 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 .
• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild & Wang, Solveig Margrethe (2022). Encountering new technology: A study of how female creators explore DAWs.
• 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. Vis sammendrag

  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.

• Knævelsrud, Helene; Tjønndal, Anne & Hansen, Kai Arne (2022). #sommerkroppen2022: Hva bør jeg gjøre? . Morgenbladet. ISSN 0805-3847.
• Oddekalv, Kjell Andreas (2022). On Being a White Norwegian Analysing Rap. Dansk Musikforskning Online. ISSN 1904-237X. DMO Special Issue 2022, s. 115–122.
• Edwards, Peter (2022). Pønkebadet.
• Edwards, Peter (2022). Marino Formenti and the transformative concert recital .
• Danielsen, Anne & Leske, Sabine Liliana (2022). How the brain tracks the precision of a beat bin - musical, behavioral and neurophysiological perspectives. Vis sammendrag

  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.

• Bradley, Catherine Anne (2022). Perspectives for lost polyphony and red notation around 1300: Medieval motet and organum fragments in Stockholm.
• Bradley, Catherine Anne (2022). La musique et la liturgie à Notre-Dame.
• Danielsen, Anne; Câmara, Guilherme Schmidt; Lartillot, Olivier; Leske, Sabine Liliana & Spiech, Connor (2022). Musical rhythm. Behavioural, computational and neurophysiological perspectives.
• Danielsen, Anne & Jensenius, Alexander Refsum (2022). Presentation of RITMO Research.
• Danielsen, Anne (2022). Utvikling og ledelse av tverrfaglige forskningssentre - erfaringer fra RITMO SFF.
• Brøvig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bjørnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2022). Musical rhythm. Qualitative investigations.
• Brøvig-Hanssen, Ragnhild (2022). Formidlingsformer i forskning.
• Edwards, Peter (2022). György Ligeti’s Concerto for Violin and Orchestra: Conceiving Rhythm and Form by Association.
• al Outa, Amani; Knævelsrud, Helene; Laczkó, Bálint & Jensenius, Alexander Refsum (2022). Winner of RRI-inspired transdisciplinary side quest call. [Internett]. Centre for Digital Life Norway. Vis sammendrag

  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.

• Jensenius, Alexander Refsum & Platou, Jeanette (2022). Kan kunstig intelligens være kreativ? [Radio]. NRK P2 Arena. Vis sammendrag

  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?

• Høffding, Simon & Jensenius, Alexander Refsum (2022). MusicLab Copenhagen - en forskningskonsert.
• Jensenius, Alexander Refsum & Ashley, Kevin (2022). FAIR in Higher Education. Vis sammendrag

  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.

• Mangaoang, Áine (2022). Prisons of Note: Mapping music in prisons from the periphery (Keynote address).
• 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-.
• 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.
• Krzyzaniak, Michael Joseph; Gerry, Jennifer; Kwak, Dongho; Erdem, Cagri; Lan, Qichao & Glette, Kyrre (2021). Fibres Out of Line. Vis sammendrag

  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.

• Kwak, Dongho; Danielsen, Anne & Jensenius, Alexander Refsum (2021). Music for cells: The human body as a rhythm machine.
• Lan, Qichao & Jensenius, Alexander Refsum (2021). Collaborative Live Coding with Glicol Music Programming Language.
• Lan, Qichao & Jensenius, Alexander Refsum (2021). Glicol: A Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet.
• 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.
• Patel-Grosz, Pritty; Katz, Jonah; Grosz, Patrick Georg; Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2021). From music to dance: the inheritance of semantic inferences.
• Mangaoang, Áine (2021). Mapping music and nuances in penal exceptionalism from the periphery.
• Mangaoang, Áine (2021). Singing Restorative Justice: Norwegian Prison Music Exceptionalism?
• Godøy, Rolf Inge (2021). Impulse-driven rhythm objects. Vis sammendrag

  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

• Kjus, Yngvar (2021). Bransjen bak scenen: Strømmetjenester og plateselskap får avgjøre hvem som kan leve av musikken. Dagsavisen. ISSN 1503-2892.
• Kraugerud, Emil (2021). Acousmatic intimacy in popular music sound.
• Devine, Kyle (2021). Den ekologeschen Impakt vum Museklauschteren. [Radio]. radio 100,7 Luxembourg.
• 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.
• Devine, Kyle (2021). How Environmentally Damaging is Music Streaming? [Avis]. The New Statesman.
• Devine, Kyle (2021). NACHHALTIGKEIT IN MUSIKWELT: Music for Future. [Avis]. Frankfurter Allgemeine Zeitung.
• Devine, Kyle (2021). Can Listening to Music Ever Really Be Sustainable? [Avis]. Vulture.
• Devine, Kyle (2021). Decaying Sound, Sounding Decay. Flash Art. ISSN 0394-1493.
• Devine, Kyle (2021). CD, винил и стриминг: какой музыкальный носитель самый экологичный. [Avis]. RBC Group.
• Devine, Kyle (2021). Pop on a Perilous Planet. [Internett]. Switched on Pop.
• Devine, Kyle (2021). Is Listening to Music Bad for the Environment? [TV]. Sky News (UK).
• Kjus, Yngvar (2021). Collective musicking on DAW platforms? Vis sammendrag

  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.

• 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. Vis sammendrag

  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.

• Sørbø, Solveig; Solberg, Live Miranda & Kraugerud, Emil (2021). Louien Og Emil Kraugerud Om Musikk Og Nærhet. [Radio]. radiOrakel.
• Weisethaunet, Hans (2021). Theory and history of Popular Music Studies: Hans Weisethaunet in dialogue with Professor Simon Frith, UK. .
• Vuoskoski, Jonna Katariina (2021). From compassion to being moved: Social emotions evoked by music. Vis sammendrag

  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.

• Danielsen, Anne; Langerød, Martin Torvik; Nymoen, Kristian & London, Justin (2021). Genre expertise modulates timing perception and micro-level synchronization to auditory stimuli.
• Dalgard, Joachim; Lartillot, Olivier; Vuoskoski, Jonna Katariina & Guldbrandsen, Erling Eliseus (2021). Absorption - Somewhere between the heart and the brain.
• Subramanian, Sidhant; Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo (2021). Music or Lyrics? Individual differences associated with listening strategies.
• Gram-Nilsen, Elias & Vuoskoski, Jonna Katariina (2021). The influence of the moving image on musical emotions.
• Vuoskoski, Jonna Katariina (2021). Ny forskningsstudie: Musikk demper korona-fortvilelsen best. [Avis]. Aftenposten.
• Vuoskoski, Jonna Katariina (2021). Episode 89: How Music Can Bridge Cultures. [Internett]. The Science of Happiness Podcast.
• Weisethaunet, Hans (2021). Sound Studies, seminar presentation/dialogue with professor Jocelyne Guilbault, University of California, Berkeley, digital.
• Weisethaunet, Hans (2021). Hva er musikkvitenskap? Lecture/dialogue with professor em. Even Ruud.
• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2021). Møter med teknologi: Kvinnelige skaperes utforsking av DAWs.
• Kjus, Yngvar (2021). Comparing the platforms of cultural production: Music, film, game. Vis sammendrag

  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.

• 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 .
• 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.
• Edwards, Peter (2021). Levy, Benjamin R., Metamorphosis in Music: the Compositions of György Ligeti in the 1950s and 1960s (Oxford and New York: Oxford University Press, 2017). x + 304 pp. £59.00 (hb). ISBN 9780199381999. Music Analysis. ISSN 0262-5245.
• Zelechowska, Agata; Gonzalez, Victor & Jensenius, Alexander Refsum (2021). Championship of Standstill: A paradigm to study involuntary responses to music with the use of motion capture.
• Upham, Finn; Zelechowska, Agata; Gonzalez, Victor & Jensenius, Alexander Refsum (2021). Quiet Breathing to Heard Music.
• Vuoskoski, Jonna Katariina (2021). Deeply Human: Sad Songs. [Radio]. BBC World Service .
• Hawkins, Stan (2021). Popular Music Books in Process Series - "In Concert: Performing Musical Persona" with Phil Auslander and Stan Hawkins.
• Mangaoang, Áine (2021). Review of How Belfast Got the Blues: A Cultural History of Popular Music in the 1960s. Noel McLaughlin and Joanna Braniff. Estudios Irlandeses. ISSN 1699-311X. 16, s. 298–301. doi: 10.24162/EI2021-10084.
• Bradley, Catherine (2021). Red Notes and New Motets: Fragments from a Medieval Music Book in Stockholm.
• Bradley, Catherine (2021). Fragments from a Medieval Motet Manuscript in Stockholm: Musical Notation and Lost Polyphony around 1300.
• 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. Vis sammendrag

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

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

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

• Devine, Kyle (2021). Greening the Net. [TV]. https://www.channelnewsasia.com/news/video-on-demand/greenin.
• Devine, Kyle (2021). Cloud Illusions. CTM Magazine.
• Devine, Kyle (2021). Building Back Better. The Wire. 443.
• Kjus, Yngvar (2021). Strømming gjør det vanskeligere å lykkes i musikkbransjen enn noensinne. [Internett]. www.hf.uio.no/imv/forskning/aktuelt.
• Bradley, Catherine (2021). Fragments from A Medieval Motet Manuscript in Stockholm: Perspectives for Theory and Analysis.
• Devine, Kyle (2020). La musique et l'écologie. [Radio]. Radio Télévision Suisse (RTS).
• Sønnesyn, Sigbjørn Olsen (2020). Egil Kraggerud, De antiquitate regum Norwagiensium (On the Old Norwegian Kings). Edited with translation and commentary (Oslo: Novus Press, 2018). Historisk Tidsskrift (Norge). ISSN 0018-263X. 99(2), s. 160–163.
• Sønnesyn, Sigbjørn Olsen (2020). Laura Cleaver, Illuminated History Books in the Anglo-Norman World, 1066–1272 (Oxford: Oxford University Press, 2018). Journal of British Studies. ISSN 0021-9371. 59(2), s. 410–411.
• Sønnesyn, Sigbjørn Olsen (2020). Kven skal vakte etikken til etikkvaktarane sjølve? Khrono.no. ISSN 1894-8995.
• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Food & Paper: Virtually Together: Concerts during the Coronavirus. Vis sammendrag

  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). The Hidden Costs of Streaming Music. [Radio]. Radio New Zealand: Sunday Morning.
• Devine, Kyle (2020). Classical Music and Climate Change. [Radio]. BBC Radio 3: Music Matters.
• Devine, Kyle (2020). Decomposed: Political Ecologies of Music.
• Devine, Kyle (2020). Renewable Heritage: Footprints of the Future.
• Devine, Kyle (2020). Decomposed: Political Ecologies of Musical Culture.
• Dybsand, Øyvin (2020). Johan Halvorsen in Leipzig: His Study Time and Later Contacts with C. F. Peters.
• Smedsrud, Morten Skipenes; Nordmark, Kristin Nagy & Aksnes, Hallgjerd (2020). En reise til musikkens indre. Apollon : Forskningsmagasin for Universitetet i Oslo. ISSN 0803-6926. 30. årgang(3/2020), s. 18–21.
• Aksnes, Hallgjerd; Fuglestad, Svein & Koksvik, Ingvild (2020). «...alt går så fort og skal være flinkt...»: Affordanser i GIM-programmet The Romantic Piano.
• Backe Madsen, Lars & Kraugerud, Emil (2020). Holder Bøhler og Northug musikkfaglig mål? Vi har spurt ekspertene. [Avis]. Dagens Næringsliv.
• Vuoskoski, Jonna Katariina (2020). Vad lyssnar folk på i Borgå, Karis och Jakobstad? [Internett]. https://svenska.yle.fi/artikel/2020/12/04/vad-lyssnar-folk-p.
• Bradley, Catherine (2020). A New Type of Musical Notation ca. 1300: Decoding Red Notes in a Fragment from Stockholm.
• Hagen, Anja Nylund; Molde, Audun; Nathaus, Klaus & Mitrovic, Minja (2020). Panel: “The Impacts of the Covid-19 crisis on the cultural and creative sectors” .
• Hagen, Anja Nylund (2020). Kan datamaskiner lage hitmusikk? . [TV]. NRK Nyhetsmorgen. Vis sammendrag

  Hva skjer når kunstig intelligens blir del av musikkproduksjonen?

• Hagen, Anja Nylund (2020). DDE med direktestrøyma julemusikal. [TV]. Dagsrevyen, NRK1. Vis sammendrag

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

• Weisethaunet, Hans (2020). “Music & Cultural Theory: Ph.d. Seminar-lecture”.
• Weisethaunet, Hans (2020). «Musikkritikken som felt».
• Weisethaunet, Hans (2020). «Populærmusikkens historiografi – Norge».
• Hawkins, Stan (2020). Approaching queerness in popular music.
• Weisethaunet, Hans (2020). “ECM 1970-2020.” Public Seminar. Victoria – Nasjonal Jazzscene. med Jan Ole Otnæs og Jan Omdahl.
• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually together: Concerts during the coronavirus. Vis sammendrag

  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. [Avis]. KILDEN.
• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually Together: Concerts during the Coronavirus. Vis sammendrag

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

• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Quarantine Concerts.
• Hawkins, Stan (2020). Keynote address: On a Journey to the End of Playfulness: Queerness and Music.
• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (2020). Made in Ireland booklaunch.
• Mangaoang, Áine (2020). Creative freedom? The place of music in Norwegian prisons.
• Mangaoang, Áine & Western, Thomas James (2020). Music, Sound, and Power in Contemporary Places of Detention .
• Mangaoang, Áine (2020). Music, Sound, and Power in Contemporary Places of Detention: Ethno-Activist Approaches in Ireland, Greece, Norway (panel).
• Mangaoang, Áine; O'Flynn, John; Ó Briain, Lonán; Jones, Jaime & Dillane, Aileen (2020). Made in Ireland: Notes from a small island (panel).
• Mangaoang, Áine (2020). Retromania? Problematizing Popular Music Heritage Futures.
• Mangaoang, Áine (2020). Music video on the margins: Performing citizenship on YouTube.
• Mangaoang, Áine (2020). "Listen to the song here in my heart”: Beyoncé, YouTube and Signed Songs.
• Hagen, Anja Nylund (2020). Det store skillet mellom digitale vinnere og tapere. [Internett]. ballade.no. Vis sammendrag

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

• Hagen, Anja Nylund (2020). Ny rapport: - Digitaliseringen i musikkbransjen må profesjonaliseres. [Internett]. KulturPlot. Vis sammendrag

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

• Hagen, Anja Nylund (2020). – Vi kunne vært verdensledende . [Internett]. ballade.no. Vis sammendrag

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

• Hawkins, Stan (2020). "Made in Ireland" book launch - keynote address.
• Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård (2020). Norsk musikkbransje – digitale pionerer i ambivalens. ballade.no. Vis sammendrag

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

• Hagen, Anja Nylund (2020). Topper lister: - Helt vilt Norske Delara rager på hitlistene i Tyskland, Sveits og Østerrike. [Avis]. Dagbladet. Vis sammendrag

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

• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter.
• Kjus, Yngvar (2020). The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
• Kraugerud, Emil & Dæhlen, Marte (2020). Hvorfor føles Stein Torleif Bjellas musikk så nær? [Internett]. forskning.no.
• Bradley, Catherine (2020). Review of Musical Culture in the World of Adam de la Halle. Ed. Jennifer Saltzstein. Revue de musicologie. ISSN 0035-1601. 106(2), s. 491–494.
• Bradley, Catherine (2020). Scattered Songs in Scandinavia: Fragments from A Medieval Motet Manuscript​ in Stockholm. Vis sammendrag

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

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

  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).

• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Redaktører for spesialnummer om musikk og medier. Norsk Medietidsskrift. ISSN 0804-8452. 27(3). doi: 10.18261/ISSN.0805-9535-2020-03-01.
• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Lyden av digitalisering: Preludium om musikk og medier. Norsk Medietidsskrift. ISSN 0804-8452. 27(3), s. 1–10.
• Jensenius, Alexander Refsum; Erdem, Cagri; Kwak, Dongho Daniel; Rahman, Habibur; Glette, Kyrre & Krzyzaniak, Michael Joseph [Vis alle 7 forfattere av denne artikkelen] (2020). Strings On-Line. Vis sammendrag

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

• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Khrono.no. ISSN 1894-8995. Vis sammendrag

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

• Jones, Ellis Nathaniel; Mangaoang, Áine & de Boise, Sam (2020). Panel discussion: online participatory music cultures today.
• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Uniforum. ISSN 1891-5825. Vis sammendrag

  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.

• Kjus, Yngvar (2020). Book Review: "Women in the Studio: Creativity, Control, and Gender in Popular Music Sound Production", by Paula Wolfe. Popular Music. ISSN 0261-1430. 39(2), s. 373–375. doi: 10.1017/S0261143020000306.
• Hagen, Anja Nylund (2020). Krise og kreativitet - musikkbransjen og koronapandemien 2020 . Vis sammendrag

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

• Hagen, Anja Nylund (2020). Artister slipper låter i forkant av album. [Radio]. Nyhetsmorgen, P2. Vis sammendrag

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

• Hagen, Anja Nylund (2020). Strømmetjenestene former hvordan musikk slippes. [TV]. Dagsrevyen, NRK1. Vis sammendrag

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

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

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

• Hagen, Anja Nylund (2020). Festivalsjef: – Strømmekonsertene er kommet for å bli . [Avis]. Aftenposten. Vis sammendrag

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

• Kraugerud, Emil (2020). Musikkens intimitet. ballade.no.
• Hagen, Anja Nylund (2020). Artister sprer musikken sin på TikTok. [TV]. Dagsrevyen, NRK1. Vis sammendrag

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

• Hagen, Anja Nylund (2020). Fra TikTok til strømmetoppen. [Radio]. Nyhetsmorgen, P2. Vis sammendrag

  TikTok som promoteringsverktøy i musikkbransjen

• Hagen, Anja Nylund (2020). Forsker tror man vil se flere artister på TikTok . [Internett]. nrk.no. Vis sammendrag

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

• Støckert, Robin (2020). Learning and teaching in a distributed environment.
• Hawkins, Stan (2020). Keynote IASPM Conference: Staging the Spectacle: The Dandyist Theatrics of Jacques Dutronc. Vis sammendrag

  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.

• Hagen, Anja Nylund (2020). Krise i musikkbransjen. [Fagblad]. musikknyheter.no. Vis sammendrag

  Strømmekonserter forsterker problemet

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

  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.

• Hagen, Anja Nylund (2020). De som får folk til å danse sammen. [Internett]. ballade.no. Vis sammendrag

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

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

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

• Hagen, Anja Nylund (2020). TikTok som maktfaktor i musikkbransjen. [Radio]. Studio 2, NRK P2. Vis sammendrag

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

• Støckert, Robin; Bergsland, Andreas; Fasciani, Stefano & Jensenius, Alexander Refsum (2020). Student active learning in a two campus organisation.
• Weisethaunet, Hans (2020). IMPROVISASJONS-PRAKSIS med Knut Reiersrud. Interview lecture.
• Weisethaunet, Hans (2020). Writing Music Criticism: A dialogue with Rob Young, editor of Wire magazine.
• Weisethaunet, Hans (2020). «Georg «Jojje» Wadenius: Blod, svette og tårer». Jazznytt. ISSN 0332-7248. 253(1), s. 42–49.
• Hawkins, Stan (2020). Maskulinitet er i endring i norsk black metal. [Avis]. KILDEN.
• Hagen, Anja Nylund (2020). Spotifys makt vokser i takt med nye lyttevaner . [Internett]. forskning.no.
• Hagen, Anja Nylund (2020). Hvilken musikk hører vi på i karantene? [Radio]. NRK P2.
• Hagen, Anja Nylund (2020). Hva gjør musikere når de ikke kan spille konserter? [Internett]. UiO: Det humanistiske fakultet. Sosiel medier. Vis sammendrag

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

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

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

• Hagen, Anja Nylund (2020). Norske musikkforlag: Muligheter og utfordringer. Vis sammendrag

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

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

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

• Devine, Kyle (2020). Drecksmusik. [Tidsskrift]. enorm—Magazin für gesellschaftlichen Wandel.
• Devine, Kyle (2020). Emissions Possible: Streaming Music Swells Carbon Footprints. [Avis]. Al Jazeera.
• Devine, Kyle (2020). Polluted Streams: The Environmental Costs of Analog and Digital Formats.
• Devine, Kyle (2020). Tutkimus: Musiikin kuuntelu striimattuna jättää isomman hiilijalanjäljen kuin cd- tai vinyylilevyt huippuaikoinaan. [Avis]. Yle.
• Devine, Kyle (2020). Disco Downer. The Guardian Weekly. ISSN 0958-9996. 202(8), s. 24–25.
• Devine, Kyle (2020). Carbon Footprints of Music.
• Devine, Kyle (2020). Moni kuvittelee, että cd-levyistä luopuminen on ympäristöteko – Tutkija selvitti, että musiikin kuuntelun hiilijalanjälki on nyt suurempi kuin koskaan.
• Devine, Kyle (2020). Rethinking Music Ecosystems.
• Devine, Kyle (2020). What is the Human and Environmental Cost of Music? [Internett]. New Books in Critical Theory Podcast.
• Devine, Kyle (2020). The Vinyl Revival is Hurting the Environment, says Canadian Musicologist. [Radio]. Q (CBC Radio One).
• Devine, Kyle (2020). Nightmares on Wax: The Environmental Impact of the Vinyl Revival. The Guardian. ISSN 0261-3077.
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Introduksjon til seminar om musikk og medier i den digitale tiden.
• Hawkins, Stan (2020). Keynote Paper: Dandified Personas in Pop Music.
• Fasciani, Stefano; Jensenius, Alexander Refsum; Støckert, Robin & Xambó, Anna (2020). The MCT Portal: an infrastructure, a laboratory and a pedagogical tool.
• Kjus, Yngvar (2020). Vil ha opphavsretten ut av lukkede rom. [Fagblad]. Ballade.no. Vis sammendrag

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

• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym. ABC-CLIO. ISSN 978-1-4408-5771-3.
• 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.
• Zeiner-Henriksen, Hans T. (2019). Analysing the Popular: Corporeal Engagement in the Experience of Music.
• Mangaoang, Áine (2019). Soundscapes of Utopia: The Place of Music in Norwegian Prisons.
• Mangaoang, Áine (2019). Hearing Halden: A Case Against Nordic Prison Exceptionalism.
• Mangaoang, Áine (2019). Book Presentation.
• Mangaoang, Áine (2019). Dangerous Mediations.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and it's aesthetics.
• Danielsen, Anne & Nymoen, Kristian (2019). Where is the beat in that note?
• Halmrast, Tor (2019). Cepstrum for Rhythm Detection.
• Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore (2019). First Things First.
• Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle (2019). Dragging the Lake.
• Halmrast, Tor (2019). THE TIMBRE OF FLUTTER ECHOES, AND THE COMPOSITION “FLUTR”.
• Halmrast, Tor (2019). Oslo I Smug-trioen.
• Halmrast, Tor (2019). FLUTR.
• Halmrast, Tor (2019). FLUTR for 24 ch Audio (4 quadro + 20 Ambisonics loudspeakers). Vis sammendrag

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

• Halmrast, Tor (2019). Reverberation Influences the Attack.
• Halmrast, Tor (2019). A VERY SIMPLE WAY TO SIMULATE THE TIMBRE OF FLUTTER ECHOES IN SPATIAL AUDIO.
• Halmrast, Tor (2019). Timbre and Duration of Attack Depend on the Amount of Reverberation .
• Weisethaunet, Hans (2019). “Is fieldwork about doing interviews?” NMH (Norwegian Academy of Music) ph.d. seminar, guest lecture.
• Weisethaunet, Hans (2019). Opponent, ph.d. avhandling, Smith, Erica: Collective Management Organisations (CMOs), Digital Disruption and Small Developing Economies: The Case of the Caribbean Music Industry, UiA.
• Watne, Åshild & Baur, Eckhard (2019). Jubileumskonsert i Oslo Konserthus med Kampen Janistjar, Wenche Myhre, IMV Vokalensemble m.fl.
• Hagen, Anja Nylund (2019). Norsk musikkbransje og eksport.
• Devine, Kyle (2019). UiO-forsker: Musikkstrømming er enda verre for miljøet enn CD-platen. [Internett]. Ballade.
• Devine, Kyle (2019). Ohne Energie und Arbeit könnte es Streaming nicht geben. [Avis]. SPEX—Magazin für Popkultur.
• Devine, Kyle (2019). Derfor er strømming en miljøversting. [Avis]. Dagbladet.
• Kraugerud, Emil (2019). The acousmatic intimacy of domestic spatialities.
• Hagen, Anja Nylund (2019). Hva definerer musikken på 2010-tallet? [Radio]. NRK, P2. Vis sammendrag

  Vi fortsetter vår oppsummering av tiåret vi nå snart legger bak oss. 2010-tallet er strømmingens tiår - både når det gjelder tv-serier og musikk. Kloke hoder mener mye. Intervjuobjekt: Anja Nylund Hagen, Robert Hoftun Gjestad, Audun Molde Programleder: Kristian Bendiksen og Otto Haug Produsent: Nina Kammersten

• Hagen, Anja Nylund (2019). Digitalisering som utfordring for kulturindustriene .
• Hagen, Anja Nylund (2019). Norsk musikk og globale selskaper. Vis sammendrag

  En sentral problemstilling for denne workshopen er forholdet mellom nasjonale medieselskaper og globale plattformer. Vi er interessert i hvilke muligheter og utfordringer ulike medieaktører ser i samarbeidet med globale plattformer, og hvilke løsninger man eventuelt ønsker seg fra politisk hold.

• Hawkins, Stan (2019). Black Poesis III: What Makes a Hiphop Classic? Panel debate.
• Devine, Kyle & Brennan, Matt (2019). The Terrifying Miracle of Recorded Sound.
• Devine, Kyle (2019). Decomposed: Political Ecologies of Jazz and Popular Music.
• Devine, Kyle & Brennan, Matt (2019). The Terrifying Miracle of Recorded Sound.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Political Ecologies of Music (and Dance?).
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music.
• Devine, Kyle (2019). Vinyl: More Sustainable Than You Think?
• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Frokostseminar, Kulturdepartementet: Musikkeksport . Vis sammendrag

  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.

• Kraugerud, Emil (2019). Intimitet i innspilt musikk.
• Hagen, Anja Nylund (2019). Superstar economy and the digitalised music industry . Vis sammendrag

  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.

• Eriksen, Asbjørn Øfsthus (2019). Grieg in Rachmaninoff's music: similarities and influences.
• Weisethaunet, Hans (2019). “Polish-Scandinavian Jazz Connections”, International Seminar "Komeda Revisited", Polish Film Days, Oslo Cosmopolite,
• Weisethaunet, Hans (2019). Sarangi seminar lecture, and public interviews with Ustad Kamal Sabri, India, and Shyam Nepali, Nepal. Melahuset, Oslo.
• Weisethaunet, Hans (2019). ‘Roots’ and ‘Routes’ of Scandinavian Music—Dialogue/lecture with Hallvard T. Bjørgum.
• Weisethaunet, Hans (2019). The Art Ensemble of Chicago, ECM. Jazznytt. ISSN 0332-7248. 250, s. 58–59.
• Weisethaunet, Hans (2019). Music Studies and Fieldwork, "World Music Workshop", Agder University.
• Hawkins, Stan (2019). Introduction: Nordic Study Day.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• Kjus, Yngvar (2019). Keynote foredrag: Hvordan oppleves levende musikk i den digitale tiden?
• Hagen, Anja Nylund (2019). Napster. Store Norske Leksikon (Nettutgaven).
• Holbrook, Ulf A. S. & Kraugerud, Emil (2019). Distances and proximities in acousmatic spatiality . Vis sammendrag

  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.

• Vuoskoski, Jonna Katariina & Heid, Markham (2019). Why Listening to Sad Music Makes You Feel Better. [Internett]. https://elemental.medium.com/why-listening-to-sad-music-make.
• Vuoskoski, Jonna Katariina (2019). Parallels between the cognition of rhythm in sports and music. Vis sammendrag

  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.

• Vuoskoski, Jonna Katariina (2019). Accounting for inter-individual variance in perceived and felt emotions. Vis sammendrag

  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.

• Vuoskoski, Jonna Katariina & Layton, Christine (2019). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio]. ABC Radio Perth, Australia.
• Weisethaunet, Hans (2019). Musikk som praksisfelt, musikk som vitenskap og som kulturelt felt.
• Weisethaunet, Hans (2019). Platepoetikk. ECM 50 år. Bobo Stenson i samtale med Hans Weisethaunet. Nasjonalbiblioteket Seminar.
• Weisethaunet, Hans (2019). Musikk som kunnskap og dannelse – endringer i det nordiske feltet? Fra blokkfløyte til Chick Corea. Nord-Ed Seminar, UiO.
• Hagen, Anja Nylund (2019). Tidal. Store Norske Leksikon (Nettutgaven). Vis sammendrag

  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.

• Hagen, Anja Nylund (2019). Spotify. Store Norske Leksikon (Nettutgaven). Vis sammendrag

  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.

• Hagen, Anja Nylund (2019). strømmetjenester. Store Norske Leksikon (Nettutgaven). Vis sammendrag

  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.

• Hagen, Anja Nylund; Sandvik, Eystein; Witek, Julia; Nedrelid, Alma & Hovland, Torkjell (2019). Å bygge en karriere i musikklivet. Vis sammendrag

  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)

• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara (2019). Musikkprodusentens rolle. Vis sammendrag

  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)

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019). Med opphavsrett på studieplanen. [Fagblad]. Ballade.no.
• Eriksen, Asbjørn Øfsthus (2019). Foredrag om Rachmaninov.
• Hagen, Anja Nylund (2019). Music streaming and data literacy. Vis sammendrag

  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.

• Bradley, Catherine (2019). Invited Seminar at Conservatoire national supérieur de musique et de danse de Lyon.
• Weisethaunet, Hans (2019). ‘Criticism and canonisation’, presentation for “Musicking in Twentieth-Century Europe”, De Gruyter’s Verlagshaus, Berlin.
• Weisethaunet, Hans (2019). “Musical Sound, Place, and Listening,” Invited lecture, “Anthropology of Sound, Acoustemology, and Sensory Transformations Conference”, University of Eastern Finland .
• 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).
• Devine, Kyle (2019). The World Remade. [Internett]. Reasonably Sound (podcast).
• Hagen, Anja Nylund (2019). Slik kan Emir (26) leve av musikken: – Men jeg tenkte aldri «oi shit, her kan vi tjene mer penger». [Avis]. Dagens Næringsliv.
• Hagen, Anja Nylund (2019). Thomas Hayes har signert med Sony, skal gi ut musikk. [Avis]. Aftenposten. Vis sammendrag

  – Det er blitt mer akseptert å gi ut musikk som influenser i 2019, mener musikkprodusent Hef Augosti Hotvedt.

• Vuoskoski, Jonna Katariina & Bjurström, Eelis (2019). Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi. [Internett]. https://yle.fi/uutiset/3-10875178.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2019). Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology.
• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2019). Everything but the sound: Investigating the relationships between movement features and perceptual ratings of silent music performances.
• Vuoskoski, Jonna Katariina & Thompson, Marc Richard (2019). The contribution of visual and auditory cues to the perception of emotion in musical performance.
• Huron, David & Vuoskoski, Jonna Katariina (2019). On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy.
• Rygg Haanaes, Øystein & Bradley, Catherine (2019). Notre-Dame var eit kraftsenter for komposisjon av fleirstemt song i mellomalderen. [Internett]. https://forskning.no/middelalderen-musikk-partner/notre-dame.
• Bradley, Catherine (2019). Tenor Quotations for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Voice in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Adam de la Halle: Motets and Rondeaux.
• Bradley, Catherine (2019). Adam de la Halle’s Intergeneric Self Citations.
• Bradley, Catherine (2019). Polyphony in Medieval Paris: Book Launch.
• Bradley, Catherine (2019). 'First take your Tenor’: Quoting upon Quotations in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Analysing Quotational Foundations for Thirteenth-Century Motets.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpedted Connections with Pedes and Polyphonic Rondeau.
• Bradley, Catherine (2019). Stirps Iesse florigeram in Context: Benedicamus Domino Polyphony in Aquitaine and The Origins of the Motet.
• Bradley, Catherine (2019). 'First take your tenor’: quoting upon quotations in thirteenth-century motets.
• Hagen, Anja Nylund (2019). Bokomtale: Engasjement og arrangement - ei utgreiing om konsertarrangørar. Musikkmagasinet Ballade. ISSN 0805-5041.
• Danielsen, Anne; Nymoen, Kristian & London, Justin (2019). Noise in the click or click in the noise: Investigating probe-stimulus order in P-center estimation tasks.
• Devine, Kyle; Brennan, Matt & Collinson Scott, Jo (2019). The Cost of Music.
• Devine, Kyle (2019). E-mails, applications mobiles, centres de données : le numérique, un véritable glouton énergétique. [Internett]. L'Orient-Le Jour.
• Devine, Kyle (2019). The Internet’s Carbon Footprint. [Internett]. IRL: Online Life is Real Podcast.
• Devine, Kyle (2019). Vinyle ou streaming : quel support musical pollue le plus la planète ? [Internett]. Télérama.
• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Kjus, Yngvar (2019). Is streaming streamlining copyright in music? .
• Hagen, Anja Nylund (2019). En lesning av Engasjement og arrangement: Ei utgreiing om konsertarrangørar.
• Devine, Kyle (2019). The Slow Violence of Music: An Infrastructural History of Sound Reproduction.
• Brennan, Matt & Devine, Kyle (2019). Music streaming has a far worse carbon footprint than the heyday of records and CDs—new findings. The Conversation. ISSN 2201-5639.
• Devine, Kyle (2019). Real Cost of Streaming. [Radio]. Cape Talk (South Africa).
• Devine, Kyle (2019). Noise pollution: What you need to know about the carbon footprint of streaming music. [Internett]. Canadian Broadcasting Corporation.
• Devine, Kyle (2019). Streaming Music Shamed for its Inadvertent Carbon Output. [Internett]. Gizmodo.
• Devine, Kyle (2019). Digital Music Consumption Has Led to Increase in Greenhouse Gas Emissions, New Study Finds. [Internett]. Billboard.
• Alarcón Diaz, Ximena; Ospina, Violeta; Villalba, Silvia; Rodriguez, Liliana; Ramirez, Anita & Lema, Calu [Vis alle 10 forfattere av denne artikkelen] (2019). INTIMAL Multimedia Fanzine Vol. 1/2019. Vis sammendrag

  This fanzine multimedia, has been created by Colombian migrant women participating in the art-research project INTIMAL, who are residing in the cities of Oslo, Barcelona and London. In two pages, each of them opens and defines her state of presence and reflects on their migrations from a deep listening perspective. On the back of the fanzine, there are thoughts, and invitations for other migrant women to dream and to listen deeply.

• Alarcón Diaz, Ximena (2019). Talk about INTIMAL project in online Seminar.
• Alarcón Diaz, Ximena (2019). INTIMAL workshop London. Vis sammendrag

  The INTIMAL workshop, dedicated to Colombian women, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation. The workshop has limited space and participants are required to commit to attending the entire workshop. Date: Saturday, May 4 Time: 11am to 4pm Place: Iklectik Art Lab, London 'Old Paradise Yard' 20 Carlisle Lane (Royal Street corner) next to Archbishop's Park. SE1 7LG Lunch included.

• Alarcón Diaz, Ximena (2019). INTIMAL Workshop Oslo. Vis sammendrag

  The INTIMAL workshop, dedicated to Colombian women, and open to Colombianxs with non-binary identities, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation. The workshop has limited space and participants are required to commit to attending the entire workshop. Date: Sunday, April 28 Time: 11am to 4pm Place: Melahuset, Mariboes gate 8, 0183 Oslo Lunch included. Sign up: x.a.diaz@imv.uio.no

• Alarcón Diaz, Ximena (2019). INTIMAL Workshop Barcelona. Vis sammendrag

  The INTIMAL workshop, dedicated to Colombian and Latin American women, to listen to our migrations, and to breathe together. In this workshop, we will listen deeply to our body, to the voices of others, and to our dreams. I will introduce the INTIMAL tool to navigate through sound recordings of testimonies of Colombian migrant women collected by the Truth, Memory, and Reconciliation Commission of Colombian Women in Diaspora, and we will establish improvisations of free expression with body, voice and speech, starting of this navigation. The workshop has limited space and participants are required to commit to attending the entire workshop. Date: Friday, April 26 Time: 11am to 4pm Place: Phonos Foundation, Barcelona Lunch included.

• Devine, Kyle (2019). Emissions From Music Consumption Reach Unprecedented High, Study Shows. [Internett]. Pitchfork.
• Devine, Kyle (2019). Is streaming music worse for the environment than buying CDs and records? [Internett]. Australian Broadcasting Corporation.
• Devine, Kyle (2019). Is Streaming Music Dangerous to the Environment? One Researcher Is Sounding the Alarm. [Internett]. Rolling Stone.
• Alarcón Diaz, Ximena (2019). INTIMAL Long Distance Improvisation (Telematic Sonic Improvisatory Performance). Oslo-Barcelona-London. Vis sammendrag

  Esta es una versión en línea de la improvisación a larga distancia (performance sonora telemática) que tuvo lugar el 7 de mayo de 2019, entre nueve mujeres inmigrantes colombianas y latinoamericanas que residen en las ciudades de Oslo – Barcelona – Londres. Después de un año de compartir sueños y escuchar sus migraciones, expresaron sus Viajes Migratorios, y también respondieron a la memoria oral de las mujeres colombianas en diáspora que no conocen. El movimiento de sus respiraciones fue sonificado y amplificado en tiempo real en las tres ciudades, como una forma de tener presencia “embodied” o incorporada. Este fue un sueño compartido.

• Hawkins, Stan (2019). Rock Personas and Issues of Vocality.
• Alarcón Diaz, Ximena (2019). Talk in Mixtur Festival, Barcelona: INTIMAL: Interfaces for Relational Listening. Body, Memory, Migration, Telematics.
• Alarcón Diaz, Ximena (2019). INTIMAL: a space for relational listening to flow in-between fragments of memory, migration and conflict. Vis sammendrag

  When in migration, we experience a radical change in our spatial and temporal embodied multisensorial experience (Ahmed, 2000). This influences the perception of ourselves and others, while issues of gender, class, and cultural stigma emerge subtly and directly heard in voices, languages and in the surrounding acoustic environment; in tandem, we keep memories of our native land in our sonic and embodied memories, which mirror or defy the experience in the host land. During seven years I have explored the sonic inbetweeness, with migrants from all over the world, through Deep Listening practice (Oliveros, 2005) and improvisatory sonic telematic performance, with spoken word and other sounds, opening spaces for the expression and connection between migrants and narratives of migration (Alarcón 2014; 2015; 2016; 2017). Deep Listening involves listening meditations, dream awareness and energy body movement, helping us to dissolve borders created by the fixity of cultural identities and judgmental statements. The technological mediation strengthens migration metaphors, expanding our perception of time and space, and the possibility of stablishing dialogues with unknown people. The research work becomes an artistic strategy to join fragments of memories of place, dissolve mental and cultural barriers, allowing feelings such as loss, to be expressed, and to generate empathy. In this talk, I will describe the development of INTIMAL, a physical virtual “embodied” system for relational listening that integrates body movements, spoken word and voice, memories of place, and oral archives. Informed by the listening experiences of nine Colombian migrant women in London, Oslo and Barcelona, in the context of Colombia’s post-conflict, I have integrated methods of Embodied Music Cognition (Jensenius, 2018) to observe the full embodied expression of their “migratory journeys” and the responses of oral archives with testimonies of other Colombian women about experiences in the conflict. The system supports relational listening (English, 2015), as a process to flow between fragments of memories of migration and conflict, in co-located and telematic performances, nourishing at once their sensing of place, and sensing of presence, as acoustic and vibrational practice (Eidsheim, 2015). Women’s emerging narratives open avenues to expand their embodied acoustic spaces in the daily life, improving their agency while actively intervening the Insider/Outsider perspective.

• Edwards, Peter (2019). Udo Zimmermann's Weiße Rose.
• Kraugerud, Emil (2019). Domestic intimate space in recorded music.
• Jensenius, Alexander Refsum; Erdem, Cagri; Zelechowska, Agata; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo (2019). Entraining Guitars.
• Danielsen, Anne (2019). Roundtable: Translating, transferring (and maybe transcending) musical knowledge. Chair and respondent, session 3: Practices.
• Hagen, Anja Nylund (2019). Musikkbransjen er ikke så digital som vi tror. Dagens næringsliv. ISSN 0803-9372. 109(109), s. 31–31. Vis sammendrag

  Kun 44 prosent norske musikkbransjeaktører oppgir å bruke innsikt og data fra digitale plattformer i arbeidet med musikkdistribusjon. Dette tallet overrasker, og tyder på at digitaliseringen av musikkbransjen har mer å gå på.

• Weisethaunet, Hans (2019). “Challenges in Ethnomusicological Research”. UiA World Music Seminar.
• Weisethaunet, Hans (2019). Writing Music—‘constructing authenticity’, NTNU seminar.
• Weisethaunet, Hans (2019). Perspectives on jazz improvisation: A dialogue with bassist Arild Andersen.
• Weisethaunet, Hans (2019). Interview lecture: A dialogue with Georg «Jojje» Wadenius: Guitar improvisation in the recording studio.
• Weisethaunet, Hans (2019). “‘Jazz as Circulation’: Place, Agency, and Objectification.” Jazz Journeys: Sixth International Rhythm Changes Conference, the University of Music and Performing Arts Graz, Austria.
• Hagen, Anja Nylund (2019). Facing the global music industry: Norwegian responses to the digitalisation of the music industry. Vis sammendrag

  This talk presents research from the project Music on demand: economy and copyright in a digitised cultural sector, University of Oslo. The talk discusses aspects of how digitalisation shape and develop the Norwegian music industry, in specific how digital media open up new global markets and increase the potential to reach international audiences with Norwegian music. At the same time, the digital music industry is characterised by new revenue flows, complex copyright issues, and new relationships between music stakeholders and online media. This means that musicians and fans, as well as the cultural content and cultural industries are linked in new ways, through new media. For music industry professionals to exploit these new media opportunities, this means that interaction and negotiation with a greater range of parties under new conditions is required. Inspired by production studies (e.g. Hesmondhalgh and Baker 2011), this project adapts an agenda of studying how different music industry professionals act and interact within a digitalised music industry context. Through a large quantitative survey conducted over the autumn and winter 2018, supplemented with interviews with managements, record labels, publishers and others, the project asks to which extent the digitalisation demands reconfigured activities and competences for those working with music, and how this involves innovation in the music industry. The study aims to give cross-disciplinary insights into Norway’s responses to the global challenges of the digitised cultural industries. The stay in Stockholm and Södertörn University is planned to add comparative aspects to the project with potential to enrich and fortify the conclusions. Despite Norway’s status as an early adopter of digital music technology, Sweden’s position as a big global player and the host of well-established international publishing houses and the global streaming-giant Spotify, makes it interesting to compare central aspects of the two neighbouring, yet very different global music markets.

• Hagen, Anja Nylund (2019). Taylor Swift og musikklansering på Instagram. [Radio]. NRK, P2.
• Hagen, Anja Nylund & Kjus, Yngvar (2019). Musikkbransjen i strømmingens tidsalder.
• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Vis sammendrag

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

• Clauder, Ingvo; Tveit, Anders; Evensen, Terje & Lossius, Trond (2019). In a Now.
• Kjus, Yngvar & Hagen, Anja Nylund (2019). Musikkbransjen i strømmetiden.
• Nymoen, Kristian (2019). Musikalske maskiner.
• Edwards, Peter (2019). Frahmtiden er ny-klassisk. [Avis]. Vårt Land.
• Weisethaunet, Hans (2019). «Tomasz Stańko: Det siste intervjuet». Jazznytt. ISSN 0332-7248. 249, s. 40–45.
• Weisethaunet, Hans (2019). Interview lecture: A dialogue with John Surman.
• Alarcón Diaz, Ximena (2019). Seminario Transdisciplinar: voz, memoria, violencia, comunidad, prácticas artísticas. Vis sammendrag

  This is a network project.

• Vuoskoski, Jonna Katariina (2019). Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad? [Internett]. https://www.youtube.com/watch?v=SHipCeYasYY.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo [Vis alle 8 forfattere av denne artikkelen] (2019). Self-playing Guitars. Vis sammendrag

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

• Vuoskoski, Jonna Katariina (2019). Being moved by music: A prosocial emotional response?
• Weisethaunet, Hans (2019). “The Ethnography of Recording—Sound, Agency, and Objects”, Invited lecture: Music (and Musicologies) of the 21st Century. Ethnography of recording studios Conference, Fondazione Giorgio Cini, Venezia, Italy, .
• Hagen, Anja Nylund (2019). Hva betyr digitaliseringen for norsk musikkeksport? [Internett]. Ballade.no. Vis sammendrag

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

• Hagen, Anja Nylund (2019). Anja Nylund Hagen om musikkeksport. [Radio]. Søndagsåpent, NRK P1. Vis sammendrag

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

• Sønnesyn, Sigbjørn Olsen (2018). William of Malmesbury, The Miracles of the Blessed Virgin Mary, ed. R. M. Thomson and M. Winterbottom (Woodbridge: Boydell Press, 2015). Speculum. ISSN 0038-7134. 93, s. 292–294.
• Zeiner-Henriksen, Hans T. (2018). Structural verticality in electronic dance music.
• Mangaoang, Áine (2018). Arts in Detention (panel).
• Mangaoang, Áine (2018). Sounding Contemporary Carceral Cultures.
• Mangaoang, Áine (2018). Music on the Margins.
• Mangaoang, Áine (2018). Music in prisons: International perspective.
• Mangaoang, Áine (2018). Permeable Bars.
• Mangaoang, Áine (2018). On songs and protest.
• Mangaoang, Áine (2018). Music and Prisons in Global Perspective (Public Policy Panel sponsored by the SEM board).
• Weisethaunet, Hans (2018). Dialogue with Skyllstad on his career spanning six decades, on the event of his 90th birthday.
• Alarcón Diaz, Ximena (2018). Case Study - in The Digital Musician Third Edition, by Andrew Hugill. [Internett]. http://andrewhugill.com/thedigitalmusician/alarcon.html.
• Alarcón Diaz, Ximena (2018). Nine Colombian women to process memories through intense listening. [Internett]. https://www.hf.uio.no/imv/english/research/news-and-events/n.
• Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne (2018). Prediction of P-centers from audio recordings.
• Weisethaunet, Hans (2018). “Ethnomusicology: tradition and perspectives”, World Music seminar series, Universitetet i Agder.
• Weisethaunet, Hans (2018). «Jazzimprovisasjon som kommunikasjon», med gjest Arild Andersen.
• Weisethaunet, Hans (2018). Interview presentation: “In the recording studio” with Georg “Jojje” Wadenius.
• Weisethaunet, Hans (2018). Opponent, ph.d. sluttseminar: «En fiolin er ikke en fiolin er ikke en fiolin...», Benjamin Rygh, Universitetet i Sørøst-Norge.
• Alarcón Diaz, Ximena (2018). Telematic Sonic Performance: On Dis-location.
• Alarcón Diaz, Ximena (2018). Relational Listening: in-between body, memory, migration and telematics. Vis sammendrag

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

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

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

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

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

• Weisethaunet, Hans (2018). «Musikkvitenskapelig teori og metode», presentasjon, Nord universitet .
• Weisethaunet, Hans (2018). «Kulturanalyse og feltarbeid», Det vitenskapelige ph.d.-programmet, Norges musikkhøgskole.
• Weisethaunet, Hans (2018). «Jazz som konservatoriefag», invitert foredrag, NMH historieprosjektet - institusjonshistorie .
• Weisethaunet, Hans (2018). Opponent ph.d. prøvedisputas: Nina Nielsen: “Spreading Darkness: Norwegian Black Metal and Cosmopolitanism”, Norwegian Academy of Music .
• Weisethaunet, Hans (2018). Opponent, ph.d. avhandling, Camilla Kvaal: «Kryssende musikkopplevelser: En undersøkelse av samspill i en interkulturell musikkpraksis.» Høgskolen i Innlandet, Ph.d. i profesjonsrettede lærerutdanningsfag.
• Câmara, Guilherme Schmidt (2018). Original concert performance with funk/soul ensemble "Baba Soul & The Professors of Funk", Oslo World Music Festival 2018.
• Weisethaunet, Hans (2018). “What’s Black Got to do with it? – Soul and Sound in the Southern Studio“, Topographies of Sound International Conference .
• Nielsen, Nanette; Aksnes, Hallgjerd; Edwards, Peter & Kvalbein, Astrid (2018). Launch for Nanette Nielsen’s book _Paul Bekker’s Musical Ethics_. Introduction and moderation by Hallgjerd Aksnes, panel discussion including: Peter Edwards (University of Oslo), Peter Franklin (University of Oxford), Sarah Hibberd (University of Bristol), Astrid Kvalbein (NMH) and Aksel Tollåli (Oslo).
• Aksnes, Hallgjerd (2018). Geirr Tveitt and the Teutonic Plague: The History of Effect of Baldur’s Dreams.
• Løvås, Vebjørn & Aksnes, Hallgjerd (2018). Tredje søndag i advent: julemusikk. [Internett]. Facebook-side for Universitetet i Oslo.
• Mauno, Hanne; Aksnes, Hallgjerd & Christophersen, Bjørn Morten (2018). O helga natt: Folkets julesang. [Avis]. Dagsavisen.
• Halmrast, Tor (2018). Div. Komposisjone: "Jeg Ser", "Bytrærne".
• Halmrast, Tor (2018). Akustikk for Pianostemmere.
• Halmrast, Tor (2018). Sound Theory for Master Students, Electroacoustic Music, Norges Musikkhøgskole.
• Halmrast, Tor (2018). Basstanker i små rom.
• Kjus, Yngvar (2018). Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy .
• Hagen, Anja Nylund (2018). The communication of music in the streaming paradigm .
• Hagen, Anja Nylund (2018). Industry in change: cultural labour in a globalised and digitalised music industry. Vis sammendrag

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

• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice.
• Bradley, Catherine (2018). Quoting Against the Odds: Connections between Motet Tenors, Pedes, and Polyphonic Rondeaux.
• Bradley, Catherine (2018). Benedicamus Domino and Musical Creativity in the Middle Ages.
• Bradley, Catherine (2018). Crafting and Re-Crafting a Thirteenth-Century Motet.
• Bradley, Catherine (2018). Benedicamus Domino 800-1500.
• Bradley, Catherine (2018). Musical Creativity in Medieval Paris.
• Kraugerud, Emil (2018). Intimacy in popular music sound.
• Dybsand, Øyvin (2018). Johan Halvorsen - «født i 4/4-takt», men uskikket som militærmusiker. I Persen, Niels Kristian (Red.), I storm og stille (Forsvarets musikk 1818-2018). Forsvarets musikk. ISSN 9788230339275.
• Jensenius, Alexander Refsum (2018). How I try to do it FAIR.
• Jensenius, Alexander Refsum (2018). Motion Capture in Music Performance, Perception and Interaction.
• Jensenius, Alexander Refsum; Sundquist, Jonas Hartford & Eriksen, Siri Øverland (2018). De er studenter ved to universiteter samtidig. [Internett]. Khrono. Vis sammendrag

  NTNU og Universitetet i Oslo har for første gang gått sammen om å lage et fellles studieprogram. Resultatet er masteren Music, Communication and Techonology.

• Jensenius, Alexander Refsum (2018). Paneldeltagelse: Veien til åpen tilgang - konsekvenser og implementering av Plan S.
• Kjus, Yngvar (2018). The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
• Jensenius, Alexander Refsum (2018). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Jensenius, Alexander Refsum (2018). The recording and use of videos from music events – how to balance ethical requirements and FAIR principles using data from live concerts, music performances and the like?
• Eriksen, Asbjørn Øfsthus & Edwards, Peter (2018). Musikk og humor.
• Edwards, Peter (2022). Musikkfaglig sakkyndig vitne rapport. Oslo tingrett og Borgarting lagmannsrett. Lovdata. Vis sammendrag

  Musikkanalyse og verk sammenlikning i rettssak der åndsverkloven og opphavsrett stod sentralt. Sakkyndig rapport og vitneforklaring.

• Zelechowska, Agata (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music. Oslo 07-Media. Vis sammendrag

  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.

• Kraugerud, Emil (2020). Come Closer: Acousmatic Intimacy in Popular Music Sound. 07 Gruppen. Fulltekst i vitenarkiv
• 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. Fulltekst i vitenarkiv
• Hagen, Anja Nylund; Heian, Mari Torvik; Jacobsen, Roy Aulie & Kleppe, Bård (2020). Digital ambivalens. Norsk musikk i internasjonale markeder. Universitetet i Oslo, Telemarksforsking. ISSN 978-82-336-0342-7. Vis sammendrag

  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.

• Eriksen, Asbjørn Øfsthus (2020). Rapport om gjennomgåelse av Edvard Grieg: Samlede verker, bind 1 (1977) og del av bind 2 (1986) . Senter for griegforskning, Universitetet i Bergen. http://grg.uib.no.
• 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. Vis sammendrag

  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.

• Aubinet, Stéphane (2020). The Craft of Yoiking: Philosophical Variations on Sámi Chants. 07. Fulltekst i vitenarkiv
• Størvold, Tore (2019). Dissonant Landscapes: Nature and the Musical Imagination of Iceland. Oslo 07-Media.
• Kelkar, Tejaswinee (2019). Computational Analysis of Melodic Contour and Body Movement. Oslo 07-Media. Fulltekst i vitenarkiv

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