Siste publikasjoner

• Hawkins, Stan (2020). Personas in Rock: "We Will, We Will Rock You", In Allan Moore & Paul Carr (ed.),  The Bloomsbury Handbook of Rock Music Research.  Bloomsbury Academic.  ISBN 978-1-5013-3045-2.  Chapter 16.  s 239 - 254
• Endestad, Tor; Godøy, Rolf Inge; Sneve, Markus Handal; Hagen, Thomas; Bochynska, Agata Elzbieta & Laeng, Bruno (2020). Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain.. Frontiers in Human Neuroscience.  ISSN 1662-5161.  14 . doi: 10.3389/fnhum.2020.576888 Fulltekst i vitenarkiv.
• 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
• Danielsen, Anne (2020). 'Keeping it real', 'Keeping it dandy'? Male blackness and the popular music mainstream, In Kai Arne Hansen; Freya Jarman & Eirik Askerøi (ed.),  Popular Musicology and Identity: Essays in Honour of Stan Hawkins.  Routledge.  ISBN 9781138322882.  Kapittel 7.
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms, In  AM '20: Proceedings of the 15th International Conference on Audio Mostly.  Association for Computing Machinery (ACM).  ISBN 978-1-4503-7563-4.  Musical Structure.  s 107 - 113 Vis sammendrag

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants' head movement was recorded with an optical motion capture system. We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Zelechowska, Agata (2020). Poruszeni muzyką. Badania nad ruchem ciała w kontekście percepcji muzyki, I: Julia Kaleńska-Rodzaj & Maria Chełkowska-Zacharewicz (red.),  Psychologia Muzyki.  Wydawnictwo Naukowe PWN.  ISBN 9788301213374.  Chapter 5.  s 87 - 104
• Elovsson, Karl Anders (2020). Polyphonic pitch tracking with deep layered learning. Journal of the Acoustical Society of America.  ISSN 0001-4966.  148(1), s 446- 468 . doi: https://doi.org/10.1121/10.0001468 Vis sammendrag

  This article presents a polyphonic pitch tracking system that is able to extract both framewise and note-based estimates from audio. The system uses several artificial neural networks trained individually in a deep layered learning setup. First, cascading networks are applied to a spectrogram for framewise fundamental frequency (f0) estimation. A sparse receptive field is learned by the first network and then used as a filter kernel for parameter sharing throughout the system. The f0 activations are connected across time to extract pitch contours. These contours define a framework within which subsequent networks perform onset and offset detection, operating across both time and smaller pitch fluctuations at the same time. As input, the networks use, e.g., variations of latent representations from the f0 estimation network. Finally, erroneous tentative notes are removed one by one in an iterative procedure that allows a network to classify notes within a correct context. The system was evaluated on four public test sets: MAPS, Bach10, TRIOS, and the MIREX Woodwind quintet and achieved state-of-the-art results for all four datasets. It performs well across all subtasks f0, pitched onset, and pitched offset tracking.

• Lartillot, Olivier; Cancino-Chacón, Carlos & Brazier, Charles (2020). Real-Time Visualisation Of Fugue Played By A String Quartet, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  KAPITTEL.  s 115 - 122 Fulltekst i vitenarkiv. Vis sammendrag

  We present a new system for real-time visualisation of music performance, focused for the moment on a fugue played by a string quartet. The basic principle is to offer a visual guide to better understand music using strategies that should be as engaging, accessible and effective as possible. The pitch curves related to the separate voices are drawn on a space whose temporal axis is normalised with respect to metrical positions, and aligned vertically with respect to their thematic and motivic classification. Aspects related to tonality are represented as well. We describe the underlying technologies we have developed and the technical setting. In particular, the rhythmical and structural representation of the piece relies on real-time polyphonic audio-to-score alignment using online dynamic time warping. The visualisation will be presented at a concert of the Danish String Quartet, performing the last piece of The Art of Fugue by Johann Sebastian Bach.

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Remiksens retrett? Innvirkningen av plattformers gjenkjenninsprosedyrer på mashups. Norsk Medietidsskrift.  ISSN 0804-8452.  3(2020) Fulltekst i vitenarkiv. Vis sammendrag

  Mange av dagens internettplattformer bruker automatiske og algoritmiske verktøy for å gjenkjenne og moderere uønsket innhold, inkludert det som blir ansett for å krenke opphavsretten. Denne artikkelen undersøker hvordan slike gjennkjenningsprosedyrer påvirker mashup-musikk – en form for remiks som baserer seg på å kombinere (uautoriserte) utdrag av tidligere, gjenkjennelige musikkinnspillinger. På bakgrunn av intervjuer (n = 30) og en spørreundersøkelse (n = 92) med mashup-produsenter, viser vi at disse gjenkjenningsprosedyrene påvirker produsentenes kreative beslutninger og distribusjonsstrategier, og at de har en betydelig, negativ innvirkning på produsentenes generelle motivasjon for å lage mashups. Produsentenes innvendinger mot denne situasjonen vinner en viss gjenklang i de juridiske unntakene fra opphavsretten. Vi argumenterer imidlertid for at disse unntakene, som utgjør en juridisk «gråsone», ikke er lagt tilstrekkelig til rette for av plattformene. Plattformenes politisk-økonomiske makt gjør det dermed mulig for dem å «okkupere» og kontrollere denne gråsonen. Som en konsekvens er den praktiske anvendelsen av opphavsrettens unntak i denne settingen betydelig redusert.

• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar Ersland & Aareskjold-Drecker, Jon Marius (2020). Dynamic Range Processing’s Influence on Perceived Timing in Electronic Dance Music. Music Theory Online.  ISSN 1067-3040.  26(02) . doi: 10.30535/mto.26.2.3 Fulltekst i vitenarkiv. Vis sammendrag

  In this article, we explore the extent to which dynamic range processing (such as compression and sidechain compression) influences our perception of a sound signal’s temporal placement in music. Because compression reshapes the sound signal’s envelope, scholars have previously noted that certain uses of sidechain compression can produce peculiar rhythmic effects. In this article, we have tried to interrogate and complicate this notion by linking a description of the workings and effects of dynamic range processing to empirical findings on the interaction between sound and perceived timing, and by analyzing multitracks and DAW project files, as well as released audio files, of selected EDM tracks. The analyses of the different EDM tracks demonstrated that sidechain compression affects the music in many possible ways, depending on the settings of the compressors’ parameters, as well as the rhythmic pattern and the sonic complexity of both the trigger signal and the sidechained signal. Dynamic range processing’s impact on groove and perceived timing indicates, in line with previous findings, that sound and timing interact in fundamental ways. Because of this interaction, then, we cannot limit ourselves to technical terms that describe how particular effects are achieved if we want to fully understand the grooves that are characteristic of EDM or other music. We must also consider how listeners experience these effects.

• Krzyzaniak, Michael Joseph; Veenstra, Frank; Erdem, Cagri; Jensenius, Alexander Refsum & Glette, Kyrre (2020). Air-Guitar Control of Interactive Rhythmic Robots, In Øyvind Brandtsegg & Daniel Buner Formo (ed.),  Proceedings of the 5th International Conference on Live Interfaces.  Norwegian University of Science and Technology.  ISBN 0026639041.  Installations (1).  s 208 - 210 Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes an interactive art installation shown at ICLI in Trondheim in March 2020. The installation comprised three musical robots (Dr. Squiggles) that play rhythms by tapping. Visitors were invited to wear muscle-sensor armbands, through which they could control the robots by performing ‘air-guitar’-like gestures.

• Erdem, Cagri & Jensenius, Alexander Refsum (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation, In Romain Michon & Franziska Schroeder (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Birmingham City University.  ISBN 978-1-949373-99-8.  1.  s 477 - 482 Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes the ongoing process of developing RAW, a collaborative body–machine instrument that relies on `sculpting' the sonification of raw EMG signals. The instrument is built around two Myo armbands located on the forearms of the performer. These are used to investigate muscle contraction, which is again used as the basis for the sonic interaction design. Using a practice-based approach, the aim is to explore the musical aesthetics of naturally occurring bioelectric signals. We are particularly interested in exploring the differences between processing at audio rate versus control rate, and how the level of detail in the signal––and the complexity of the mappings––influence the experience of control in the instrument. This is exemplified through reflections on four concerts in which RAW has been used in different types of collective improvisation.

• Erdem, Cagri; Lan, Qichao; Fuhrer, Julian; Martin, Charles Patrick; Tørresen, Jim & Jensenius, Alexander Refsum (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  5.  s 177 - 184 Fulltekst i vitenarkiv. Vis sammendrag

  In acoustic instruments, sound production relies on the interaction between physical objects. Digital musical instruments, on the other hand, are based on arbitrarily designed action--sound mappings. This paper describes the ongoing exploration of an empirically-based approach for simulating guitar playing technique when designing the mappings of 'air instrument' designs. We present results from an experiment in which 33 electric guitarists performed a set of basic sound-producing actions: impulsive, sustained, and iterative. The dataset consists of bioelectric muscle signals, motion capture, video, and audio recordings. This multimodal dataset was used to train a long short-term memory network (LSTM) with a few hidden layers and relatively short training duration. We show that the network is able to predict audio energy features of free improvisations on the guitar, relying on a dataset of three distinct motion types.

• Swarbrick, Dana; Kiss, Alex; Trehub, Sandra; Tremblay, Luc; Alter, David & Chen, Joyce (2020). HIIT the Road Jack: An Exploratory Study on the Effects of an Acute Bout of Cardiovascular High-Intensity Interval Training on Piano Learning. Frontiers in Psychology.  ISSN 1664-1078.  11(2154) . doi: 10.3389/fpsyg.2020.02154 Fulltekst i vitenarkiv. Vis sammendrag

  Pairing high-intensity interval training (HIIT) with motor skill acquisition may improve learning of some implicit motor sequences (albeit with some variability), but it is unclear if HIIT enhances explicit learning of motor sequences. We asked whether a single bout of HIIT after non-musicians learned to play a piano melody promoted better retention of the melody than low-intensity interval training (LIIT). Further, we investigated whether HIIT facilitated transfer of learning to a new melody. We generated individualized exercise protocols by having participants (n = 25) with little musical training undergo a graded maximal exercise test (GXT) to determine their cardiorespiratory fitness (VO2peak) and maximum power output (Wmax). In a subsequent session, participants practiced a piano melody (skill acquisition) and were randomly assigned to a single bout of HIIT or LIIT. Retention of the piano melody was tested 1 hour, 1 day, and 1 week after skill acquisition. We also evaluated transfer to learning a new melody 1 week after acquisition. Pitch and rhythm accuracy were analyzed with linear mixed-effects modeling. HIIT did not enhance sequence-specific retention of pitch or rhythmic elements of the piano melody, but there was modest evidence that HIIT facilitated transfer to learning a new melody. We tentatively conclude that HIIT enhances explicit, task-general motor consolidation.

• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Timing Is Everything... Or Is It? Effects of Instructed Timing Style, Reference and Pattern on Drum Kit Sound in Groove-Based Performance. Music Perception.  ISSN 0730-7829.  38(1), s 1- 26 . doi: 10.1525/mp.2020.38.1.1 Fulltekst i vitenarkiv. Vis sammendrag

  THIS STUDY REPORTS ON AN EXPERIMENT THAT tested whether drummers systematically manipulated not only onset but also duration and/or intensity of strokes in order to achieve different timing styles. Twenty-two professional drummers performed two patterns (a simple ‘‘back-beat’’ and a complex variation) on a drum kit (hi-hat, snare, kick) in three different timing styles (laid-back, pushed, on-beat), in tandem with two timing references (metronome and instrumental backing track). As expected, onset location corresponded to the instructed timing styles for all instruments. The instrumental reference led to more pronounced timing profiles than the metronome (pushed strokes earlier, laid-back strokes later). Also, overall the metronome reference led to earlier mean onsets than the instrumental reference, possibly related to the ‘‘negative mean asynchrony’’ phenomenon. Regarding sound, results revealed systematic differences across participants in the duration (snare) and intensity (snare and hi-hat) of strokes played using the different timing styles. Pattern also had an impact: drummers generally played the rhythmically more complex pattern 2 louder than the simpler pattern 1 (snare and kick). Overall, our results lend further evidence to the hypothesis that both temporal and sound-related features contribute to the indication of the timing of a rhythmic event in groove-based performance.

• Aminihajibashi, Samira; Hagen, Thomas; Andreassen, Ole Andreas; Laeng, Bruno & Espeseth, Thomas (2020). The effects of cognitive abilities and task demands on tonic and phasic pupil sizes. Biological Psychology.  ISSN 0301-0511.  156 . doi: 10.1016/j.biopsycho.2020.107945 Fulltekst i vitenarkiv.
• Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  Paper. Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased betweensystem error rates. Both systems showed minimal withintrial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/midrange system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• 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 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: https://doi.org/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. Vis sammendrag

  Previous studies have shown that music may lead to spontaneous body movement, even when people try to stand still. But are spontaneous movement responses to music similar if the stimuli are presented using headphones or speakers? This article presents results from an exploratory study in which 35 participants listened to rhythmic stimuli while standing in a neutral position. The six different stimuli were 45 s each and ranged from a simple pulse to excerpts from electronic dance music (EDM). Each participant listened to all the stimuli using both headphones and speakers. An optical motion capture system was used to calculate their quantity of motion, and a set of questionnaires collected data about music preferences, listening habits, and the experimental sessions. The results show that the participants on average moved more when listening through headphones. The headphones condition was also reported as being more tiresome by the participants. Correlations between participants’ demographics, listening habits, and self-reported body motion were observed in both listening conditions. We conclude that the playback method impacts the level of body motion observed when people are listening to music. This should be taken into account when designing embodied music cognition studies.

• 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
• Stover, Chris (2020). The Queer Rhythm of Cecil Taylor's 'Enter Evening'. Deleuze and Guattari studies.  ISSN 2398-9777.
• Towse, Ruth (2020). Dealing with digital: the economic organisation of streamed music. Media, Culture and Society.  ISSN 0163-4437. . doi: https://doi.org/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
• Haugen, Mari Romarheim & Danielsen, Anne (2020). Effect of tempo on relative note durations in a performed samba groove. Journal of New Music Research.  ISSN 0929-8215. . doi: 10.1080/09298215.2020.1767655 Fulltekst i vitenarkiv. Vis sammendrag

  Previous studies have revealed uneven duration patterns at the sixteenth note level of samba. In the present study, we investigated the influence of tempo on such sixteenth-note patterns in a performed samba groove.The results revealed an uneven duration pattern in all tempi. Interestingly, the shortest note becomes relatively shorter and the longest relatively longer as the tempo increases. We suggest that the differences in relative durations between tempi reflect the need to maintain the samba sixteenth note ‘template’ in all tempi: producing the samba ‘feel’ requires that relative durations have to be adjusted to tempo.

• 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-18-030 Vis sammendrag

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21 century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• 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. Vis sammendrag

  In this music-analytic interpretation of two love songs from Prince’s Around the World in a Day album, we investigate the properties of groove, arrangement, and vocality, all of which contribute to the artist’s inimitable signature. With a disciplinary grounding in musicology, we demonstrate ways whereby musical features are associated with meaning in recorded songs. Underlying the approach is the notion that it is in the music where Prince’s ingenuity mainly lies. The analysis is informed by an understanding of the technological ramifications of the process on the part of Prince and his audio engineer Susan Rogers.

• Hagen, Anja Nylund (2020). Music in Streams: Communicating Music in the Streaming Paradigm, In Michael Filimowicz & Veronika Tzankova (ed.),  Reimagining Communication: Mediation (1st Edition).  Routledge.  ISBN 9781138498914.  Kapittel 13.  s 210 - 225 Vis sammendrag

  Chapter 13 – Anja Nylund Hagen’s ‘Music in Streams: Communicating Music in the Streaming Paradigm’ – looks at how streaming services have come to play such a major role in the culture industry, reaching vast audiences via a relatively new channel of information flows. The chapter focuses on music streaming and how streaming platforms are reshaping music industry practices and audience engagement.

• 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
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2020). Effects of instructed timing on electric guitar and bass sound in groove performance. Journal of the Acoustical Society of America.  ISSN 0001-4966.  147(2), s 1028- 1041 . doi: 10.1121/10.0000724 Vis sammendrag

  This paper reports on two experiments that investigated the expressive means through which musicians well versed in groove-based music signal the intended timing of a rhythmic event. Data were collected from 21 expert electric guitarists and 21 bassists, who were instructed to perform a simple rhythmic pattern in three different timing styles—“laidback,” “on-the-beat,” and “pushed”—in tandem with a metronome. As expected, onset and peak timing locations corresponded to the instructed timing styles for both instruments. Regarding sound, results for guitarists revealed systematic differences across participants in the duration and brightness [spectral centroid (SC)] of the guitar strokes played using these different timing styles. In general, laid-back strokes were played with a longer duration and a lower SC relative to on-the-beat and pushed strokes. Results for the bassists indicated systematic differences in intensity (sound-pressure level): pushed strokes were played with higher intensity than on-the-beat and laid-back strokes. These results lend further credence to the hypothesis that both temporal and sound-related features are important indications of the intended timing of a rhythmic event, and together these features offer deeper insight into the ways in which musicians communicate at the microrhythmic level in groove-based music.

• Akca, Merve; Laeng, Bruno & Godøy, Rolf Inge (2020). No Evidence for an Auditory Attentional Blink for Voices Regardless of Musical Expertise. Frontiers in Psychology.  ISSN 1664-1078.  10 . doi: 10.3389/fpsyg.2019.02935 Fulltekst i vitenarkiv. Vis sammendrag

  Background: Attending to goal-relevant information can leave us metaphorically “blind” or “deaf” to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with expertise and objects types in the auditory modality. Methods: Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results: The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importantly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion: The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances.

• Llorens, Anaïs; Funderud, Ingrid; Blenkmann, Alejandro Omar; Lubell, James; Foldal, Maja Dyhre; Leske, Sabine Liliana; Huster, Rene; Meling, Torstein Ragnar; Knight, Robert T; Solbakk, Anne-Kristin & Endestad, Tor (2020). Preservation of Interference Effects in Working Memory After Orbitofrontal Damage. Frontiers in Human Neuroscience.  ISSN 1662-5161.  13 . doi: https://doi.org/10.3389/fnhum.2019.00445 Fulltekst i vitenarkiv.
• Danielsen, Anne (2020). Desktop production and groove, In Simon Zagorski-Thomas & Andrew Bourbon (ed.),  The Bloomsbury Handbook of Music Production.  Bloomsbury Academic.  ISBN 9781501334047.  chapter 17.
• Jones, Ellis Nathaniel (2020). Book review: Popular Music in the Post-Digital Age. Popular Music.  ISSN 0261-1430.  39(1), s 146- 148 . doi: https://doi-org.ezproxy.uio.no/10.1017/S0261143020000045
• Støckert, Robin; Jensenius, Alexander Refsum; Xambó, Anna & Brandtsegg, Øyvind (2019). A case study in learning spaces for physical-virtual two-campus interaction. European Journal of Higher Education IT – EJHEIT.  ISSN 2519-1764.  1 Fulltekst i vitenarkiv. Vis sammendrag

  In this paper we present results from our ongoing project Student Active Learning in a Two campus Organization(SALTO). This is funded as part of the Norwegian University of Science and Technology’s (NTNU) Teaching Excellence scheme. The initiative consists of a portfolio of development measures, with the purpose of developing innovative approaches to learning, teaching and assessment. The aim of SALTO is to develop pedagogical strategies for the two-campus master’s program Music, Communication and Technology(MCT). This is a joint program between NTNU and the University of Oslo, with the students being split between the cities of Trondheim and Oslo 500 km apart. The program is built around a shared physical-virtual space -the Portal -with a range of high-quality audiovisual technologies. The SALTO project focuses on how the Portal can be used for all activities in the program, with an emphasis on human-computer interaction, resource sharing and collaboration. This is done by students and teachers exploring educational, methodological, and technological solutions together. As such, the SALTO project uses the Portalas a "living lab", which is constantly evolving and being optimized for student-active learning scenarios. In this paper, we present and discuss three cases from the first year of the project: (1) The MCT Opening Ceremony, (2) A "Christmas concert" between to upper secondary schools in Trondheim and Oslo, (3) An intensive workshop-based course with a mix of preparations, lectures and hands-on exercises. The three cases do in various ways present some of the challenges and possibilities of two-campus teaching.

• Stover, Chris (2019). Deterritorialize Yourself! Four Meta-musical Vignettes for John Rahn. Perspectives of New Music.  ISSN 0031-6016.  57(1-2), s 255- 285
• Alarcón Diaz, Ximena & Jensenius, Alexander Refsum (2019). “Ellos no están entendiendo nada” [“They are not understanding anything”]: embodied remembering as complex narrative in a Telematic Sonic Improvisation, In Morten Søndergaard & Laura Beloff (ed.),  Proceedings of RE:SOUND 2019.  British Computer Society (BCS).  Chapter. Fulltekst i vitenarkiv. Vis sammendrag

  INTIMAL is a physical-virtual system for relational listening, exploring the role of the body as interface that keeps memory of place in migratory contexts. The system is developed to integrate the body movements of performers (and their voices) with an oral archive. The system has been informed and tested by nine Colombian migrant women in Europe in a telematic performance between the cities of Oslo, Barcelona and London. In the performance a “complex narrative” emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged. We reflect on how this distributed embodied expression—through technological mediated sound and movement interactions—might further aid processes of collective remembering and catharsis, in a context of conflict and gendered migration.

• Copiaco, Abigail; Ritz, Christian; Abdulaziz, Nidhal & Fasciani, Stefano (2020). Identifying Optimal Features for Multi-channel Acoustic Scene Classification, In Eesa M Bastaki & Husameldin Mukhtar (ed.),  2019 2nd International Conference on Signal Processing and Information Security (ICSPIS).  IEEE.  ISBN 978-1-7281-3873-2.  Conference Paper.
• Luniewska, Magdalena; Chyl, Katarzyna; Debska, Agnieszka; Banaszkiewicz, Anna; Zelechowska, Agata; Marchewka, Artur; Grabowska, Anna & Jednorog, Katarzyna (2019). Children With Dyslexia and Familial Risk for Dyslexia Present Atypical Development of the Neuronal Phonological Network. Frontiers in Neuroscience.  ISSN 1662-4548.  13, s 1- 19 . doi: 10.3389/fnins.2019.01287 Fulltekst i vitenarkiv.
• Stover, Christopher (2019). Contextual Theory, or Theorizing Between the Discursive and the Material. Analytical Approaches to World Music.  ISSN 2158-5296.  7(2) Fulltekst i vitenarkiv.
• Stover, Christopher (2019). A música como pesquisa nômade (Music as nomad research). Atos de pesquisa em educação.  ISSN 1809-0354.  14(3) Fulltekst i vitenarkiv.
• Lan, Qichao & Jensenius, Alexander Refsum (2019). QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies, In Anna Xambo Sedo; Sara R. Martin & Gerard Roma (ed.),  Proceedings of the International Web Audio Conference.  NTNU.  1. Fulltekst i vitenarkiv. Vis sammendrag

  QuaverSeries consists of a domain-specific language and a single-page web application for collaborative live coding in music performances. Its domain-specific language borrows principles from both programming and digital interface design in its syntax rules, and hence adopts the paradigm of functional programming. The collaborative environment features the concept of 'virtual rooms', in which performers can collaborate from different locations, and the audience can watch the collaboration at the same time. Not only is the code synchronised among all the performers and online audience connected to the server, but the code executing command is also broadcast. This communication strategy, achieved by the integration of the language design and the environment design, provides a new form of interaction for web-based live coding performances.

• Xambo Sedo, Anna; Støckert, Robin; Jensenius, Alexander Refsum & Saue, Sigurd (2019). Facilitating Team-Based Programming Learning with Web Audio, In Anna Xambo Sedo; Sara R. Martin & Gerard Roma (ed.),  Proceedings of the International Web Audio Conference.  NTNU.  Paper.  s 2 - 7 Fulltekst i vitenarkiv. Vis sammendrag

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Wallace, Benedikte; Martin, Charles Patrick & Nymoen, Kristian (2019). Tracing from Sound to Movement with Mixture Density Recurrent Neural Networks, In Grisha Coleman (ed.),  Proceedings of the 6th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-7654-9.  Artikkel. Vis sammendrag

  In this work, we present a method for generating sound-tracings using a mixture density recurrent neural network (MDRNN). A sound-tracing is a rendering of perceptual qualities of short sound objects through body motion. The model is trained on a dataset of single point sound-tracings with multimodal input data and learns to generate novel tracings. We use a second neural network classifier to show that the input sound can be identified from generated tracings. This is part of an ongoing research effort to examine the complex correlations between sound and movement and the possibility of modelling these relationships using deep learning.

• Bromham, Gary; Moffat, David; Barthet, Mathieu; Danielsen, Anne & Fazekas, György (2019). The Impact of Audio Effects Processing on the Perception of Brightness and Warmth, In  AM'19: Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ.  Association for Computing Machinery (ACM).  ISBN 9781450372978.  Research article.  s 183 - 190 Vis sammendrag

  It is not uncommon to hear musicians and audio engineers speak of warmth and brightness when describing analog technologies such as vintage mixing consoles, multitrack tape machines, and valve compressors. What is perhaps less common, is hearing this term used in association with retro digital technology. A question exists as to how much the low bit rate and low-grade conversion quality contribute to the overall brightness or warmth of a sound when processed with audio effects simulating early sampling technologies. These two dimensions of timbre are notoriously difficult to define and more importantly, measure. We present a subjective user study of brightness and warmth, where a series of audio examples are processed with different audio effects. 26 participants rated the perceived level of brightness and warmth of various instrumental sequences for 5 different audio effects including bit depth reduction, compression and equalisation. Results show that 8 bit reduction tends to increase brightness and decrease warmth whereas 12 bit reduction tends to do the opposite, although this is very much dependent on the instrument. Interestingly, the most significant brightness changes, due to bit reduction, were obtained for bass sounds. For comparison purposes, instrument phrases were also processed with both an analogue compressor and an equalisation plugin to see if any subjective difference was noticed when simulating sonic characteristics that might be associated with warmth. Greater significance was observed when the sound excerpts were processed with the plugins being used to simulate the effects of bit depth reduction.

• Novovic, Milos (2019). Fighting European ‘Copyright Tourism’: Lessons from Defamation Laws. European Review of Private Law.  ISSN 0928-9801.  27(5), s 949- 971 Vis sammendrag

  In the recent cases of Pinckney and Hejduk, the ECJ revised European rules on jurisdiction over online copyright infringement disputes – making it possible for claimants to bring their lawsuits in virtually any European country. Due to the application of lex loci protectionis, this choice of venue also affects the law applicable to disputes. This article shows that this results in a substantial forum shopping risk, despite safety mechanisms built into the ECJ judgments. It explains that forum shopping is not inherently bad, but that it creates major problems for copyright laws, given its potential to shift the balance between the authors and exploiters of the work. In an attempt to identify a possible solution, this article turns to the substantive implementation of de minimis principle in Principles on Conflict of Laws in Intellectual Property (CLIP) Principles. The success of this approach is illustrated through the field of media law, and specifically, the way in which United Kingdom solved the problem of libel tourism. Examining the substantive requirement of ‘serious harm’ found in the UK Defamation Act of 2013, the article proposes amending national copyright laws as to state that absent showing of the intention to target a certain Member State by the online infringing activity or, alternatively, a ‘serious harm’ suffered on its territory, no copyright infringement is to be found. This way, forum shopping in online copyright infringement cases may be stopped in its tracks, before it becomes a rampant practice in Europe

• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance, In Arthur Flexer; Geoffroy Peeters; Julián Urbano & Anja Volk (ed.),  Proceedings of the 20th International Society for Music Information Retrieval Conference, ISMIR 2019.  International Society for Music Information Retrieval.  ISBN 9781732729919.  F-17.
• Skaansar, Jo Fougner; Laeng, Bruno & Danielsen, Anne (2019). Microtiming and Mental Effort. Onset Asynchronies in Musical Rhythm Modulate Pupil Size. Music Perception.  ISSN 0730-7829.  37(2), s 111- 133 . doi: 10.1525/mp.2019.37.2.111 Fulltekst i vitenarkiv. Vis sammendrag

  The present study tested two assumptions concerning the auditory processing of microtiming in musical grooves (i.e., repeating, movement-inducing rhythmic patterns): 1) Microtiming challenges the listener's internal framework of timing regularities, or meter, and demands cognitive effort. 2) Microtiming promotes a “groove” experience—a pleasant sense of wanting to move along with the music. Using professional jazz musicians and nonmusicians as participants, we hypothesized that microtiming asynchronies between bass and drums (varying from −80 to 80 ms) were related to a) an increase in “mental effort” (as indexed by pupillometry), and b) a decrease in the quality of sensorimotor synchronization (as indexed by reduced finger tapping stability). We found bass/drums-microtiming asynchronies to be positively related to pupil dilation and negatively related to tapping stability. In contrast, we found that steady timekeeping (presence of eighth note hi-hat in the grooves) decreased pupil size and increased tapping performance, though there were no conclusive differences in pupil response between musicians and nonmusicians. However, jazz musicians consistently tapped with higher stability than nonmusicians, reflecting an effect of rhythmic expertise. Except for the condition most closely resembling real music, participants preferred the on-the-grid grooves to displacements in microtiming and bass-succeeding-drums-conditions were preferred over the reverse.

• Godøy, Rolf Inge (2019). Musical Shape Cognition, In Mark Grimshaw; Mads Walther-Hansen & Martin Knakkergaard (ed.),  The Oxford Handbook of Sound and Imagination, Volume 2.  Oxford University Press.  ISBN 9780190460242.  Chapter 12.  s 237 - 258 Vis sammendrag

  Rolf Inge Godøy focusses on how notions of shape, understood as geometric figures and images stemming from body-motion, metaphors, graphic representation, and so forth, can be associated with the production and perception of music. Central to the chapter is the understanding that shape cognition is not only deeply rooted in the human experience of music and in specific musical imagery, but also that it has the potential to enhance our understanding of music as a phenomenon in general. Godøy also discusses how musical shape cognition, given that it is becoming increasingly more feasible to analyze with new technology, can contribute to various domains of music-related research, and, further, that it can be highly valuable to practical applications in musical and multimedia artistic creation.

• Maasø, Arnt & Hagen, Anja Nylund (2019). Metrics and decision-making in music streaming. Popular Communication - The International Journal of Media and Culture.  ISSN 1540-5702. . doi: 10.1080/15405702.2019.1701675 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.

• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation. Applied Sciences.  ISSN 2076-3417.  9(23) . doi: 10.3390/app9235121 Fulltekst i vitenarkiv. Vis sammendrag

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

• Devine, Kyle (2019). Musicology Without Music, In Nick Braae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  1.  s 15 - 37
• Becker, Artur; Herrebrøden, Henrik; Gonzalez Sanchez, Victor Evaristo; Nymoen, Kristian; Dal Sasso Freitas, Carla Maria; Tørresen, Jim & Jensenius, Alexander Refsum (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data, In Grisha Coleman (ed.),  Proceedings of the 6th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-7654-9.  Article 12. Vis sammendrag

  We present an approach to analyzing the motion capture data of rowers using bivariate functional principal component analysis (bfPCA). The method has been applied on data from six elite rowers rowing on an ergometer. The analyses of the upper and lower body coordination during the rowing cycle revealed significant differ- ences between the rowers, even though the data was normalized to account for differences in body dimensions. We make an argument for the use of bfPCA and other functional data analysis methods for the quantitative evaluation and description of technique in sports.

• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2019). Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill. Journal of Motor Behavior.  ISSN 0022-2895. . doi: 10.1080/00222895.2019.1689909 Fulltekst i vitenarkiv. Vis sammendrag

  The links between music and human movement have been shown to provide insight into crucial aspects of human’s perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500 seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.

• 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.
• Høffding, Simon; Roald, Tone & Mette, Houlberg (2019). Participation and Receptivity in the Art Museum –a Phenomenological Exposition. Curator: The Museum Journal.  ISSN 0011-3069. . doi: 10.1111/cura.12344 Fulltekst i vitenarkiv.
• Mangaoang, Áine (2019). Music and Tourism, In John Buckley & John O'Flynn (ed.),  Ceol Phádraig: Music at St Patrick's College Drumcondra, 1875-2016.  Peter Lang Publishing Group.  ISBN 978-1-78997-622-9.  Chapter 9.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P.3.  s 20 - 25
• Weisethaunet, Hans (2019). Escaping Nordic musical exoticism? Chapter 2. The Nature of Nordic Music, In Tim Howell (ed.),  The Nature of Nordic Music.  Routledge.  ISBN 978-1-138-20718-9.  Chapter 2.  s 20 - 47
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2019). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society.  ISSN 0300-7766.  43(5) . doi: 10.1080/03007766.2019.1650990
• Hesmondhalgh, David; Jones, Ellis Nathaniel & Rauh, Andreas (2019). SoundCloud and Bandcamp as Alternative Music Platforms. Social Media + Society.  ISSN 2056-3051.  5(4) . doi: 10.1177/2056305119883429 Fulltekst i vitenarkiv.
• Jones, Ellis Nathaniel (2019). DIY and popular music: mapping an ambivalent relationship across three historical case studies. Popular music and society.  ISSN 0300-7766. . doi: 10.1080/03007766.2019.1671112
• Jones, Ellis Nathaniel (2019). What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation. Media, Culture and Society.  ISSN 0163-4437.  s 1- 16 . doi: 10.1177/0163443719853498
• Brøvig-Hanssen, Ragnhild (2019). Mixing with Quotations: Mashups and Contextual Transformation, In Simon Zagorski-Thomas; Katia Isakoff; Sophie Stévance & Serge Lacasse (ed.),  The Art of Record Production, Volume 2: Creative Practice in the Studio.  Routledge.  ISBN 978-1138205109.  Chapter 3.  s 50 - 65
• Brøvig-Hanssen, Ragnhild (2019). Humor's Role in Mashups and Remixes, In Nick Braae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  Kapittel.  s 189 - 207
• 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 Vis sammendrag

  This article interrogates ideas of popular music "sound(s)" linked to place by interpreting data gathered during the applied research project Mapping Popular Music in Dublin (MPMiD) 2015-16. An outline background, rationale and framework for MPMiD is presented, followed by a review of methods developed and overall themes that emerged. Focusing on the project's "Sounding Dublin" strand, the article analyses the responses of 366 participants from a section of MPMiD's e-survey relating to music, musicians, sounds and soundtracks that might be considered "typical" (or otherwise) of Dublin. Although a substantial minority of participants eschew notions of sonic uniqueness linked to place in the abstract sense, the data reveal a rich tapestry of experiences and standpoints linked to ideas of a Dublin sound or sounds. Some appear to concur with conventional hagiographies of rock and folk, with others challenging received narratives and proposing alternative viewpoints, scenes and pathways. "Dublin-specific" associations emerging across various genres are based on appraisals of performer engagement, accent and timbre, and narrative/lyrical style.

• Hawkins, Stan & Størvold, Tore (2019). Justin Timberlake's "Man of the Woods": Lumbersexuality, Nature, and Larking Around, In Stan Hawkins & Lori A. Burns (ed.),  The Bloomsbury Handbook of Popular Music Video Analysis.  Bloomsbury Academic.  ISBN 978-1-5013-4233-2.  Kapittel 17.  s 317 - 336
• Alarcón Diaz, Ximena; Lopez Bojórquez, Lucia Nikolaia; Lartillot, Olivier & Flamtermesky, Helga (2019). From collecting an archive to artistic practice in the INTIMAL project: lessons learned from listening to a Colombian migrant women’s oral history archive. Acervo. Revista do Arquivo Nacional.  ISSN 0102-700X.  32(3), s 48- 63 Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes a multidisciplinary encounter with oral testimony archives and their incorporation in the artistic research project Intimal. It explores ways in which to creatively listen to stories which might be emotionally challenging, and to create and sustain empathy with these disembodied voices, which contain a shared history as fissures of sixty years of violence.

• Xambo Sedo, Anna; Saue, Sigurd; Jensenius, Alexander Refsum; Støckert, Robin & Brandtsegg, Øyvind (2019). NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Conference paper.  s 216 - 221 Fulltekst i vitenarkiv. Vis sammendrag

  In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses.

• Holbrook, Ulf A. S. (2019). A question of backgrounds: Sites of listening, In Monty Adkins & Simon Cummings (ed.),  Music beyond airports: Appraising ambient music.  University of Huddersfield Press.  ISBN 978-1-86218-161-8.  3.  s 51 - 66 Fulltekst i vitenarkiv. Vis sammendrag

  This chapter examines ambience as it was defined in Brian Eno's liner notes in Ambient 1: Music for Airports and from John Cage's experiences leaning up to the composition of 4'33'', in regards to the background and the potential sonic landscape it can inhabit. It looks at the importance of the background for our perception of the foreground.

• Godøy, Rolf Inge (2019). Thinking Sound-Motion Objects, In Michael Filimowicz (ed.),  Foundations in Sound Design for Interactive Media.  Routledge.  ISBN 9781138093942.  8.  s 161 - 178 Vis sammendrag

  It can be argued that sound perception is event-based, focused on chunks of sound, on what has been called sound objects. Also, it can be argued that these sound objects are closely linked with sensations of body motion, hence, should be understood as sound-motion objects. The advantage of thinking sound-motion objects is to provide us with lucid representations of salient sound features as multimodal shape images, providing solid and tangible images of the otherwise ephemeral sound features. Drawing on the rich tradition of sound object theory from the work of Pierre Schaeffer and co-workers, the present scheme for thinking sound-motion objects also draws on insights from more recent research on human motor cognition demonstrating that sensations of body motion are integral to the perception and cognition of sound.

• 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.
• Høffding, Simon & Satne, Glenda (2019). Interactive expertise in solo and joint musical performance. Synthese.  ISSN 0039-7857.  s 1- 19 . doi: 10.1007/s11229-019-02339-x
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to feel place, breathing to feel presence. Proceedings of the International Conference on New Interfaces for Musical Expression.  ISSN 2220-4792. Fulltekst i vitenarkiv. Vis sammendrag

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Nielsen, Nanette (2019). 'Carl Nielsen, the Modern Musical Philosopher: Life as an Aesthetic Experience', In Perrakis Manos (ed.),  Life as an Aesthetic Idea of Music.  Universal Edition.  ISBN 978-3-7024-7621-2.  Chapter 5.  s 79 - 103
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Federico Visi (ed.),  Music Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  1. Fulltekst i vitenarkiv. Vis sammendrag

  What if a musician could step outside the familiar instrumental paradigm and adopt a new embodied language for moving through sound with a dancer in true partnership? And what if a dancer’s body could coalesce with a musician’s skills and intuitively render movements into instrumental actions for active sound-making?

• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  1.  s 477 - 482 Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes the process of developing a shared instrument for music–dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew from the idea of enabling a true partnership between a musician and a dancer, developing an instrument that would allow for active co-performance. Using a participatory design approach, we worked with sonification as a tool for systematically exploring the dancer’s bodily expressions. The exploration used a “spatiotemporal matrix,” with a particular focus on sonic microinteraction. In the final performance, two Myo armbands were used for capturing muscle activity of the arm and leg of the dancer, together with a wireless headset microphone capturing the sound of breathing. In the paper we reflect on multi-user instrument paradigms, discuss our approach to creating a shared instrument using sonification as a tool for the sound design, and reflect on the performers’ subjective evaluation of the instrument.

• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  Paper.  s 97 - 104 Fulltekst i vitenarkiv. Vis sammendrag

  In this paper we introduce a hardware platform to proto- type interfaces of demanding sonic interactive systems. We target applications featuring a large array of analog sensors requiring data acquisition and transmission to computers at fast rates, with low latency, and high band- width. This work is part of an ongoing project which aims to provide designers with a cost effective and acces- sible platform for fast prototyping of complex interfaces for sonic interactive systems or musical instruments. The high performances are guaranteed by a SoC FPGA. The functionality of the platform can be customized without requiring significant technical expertise. In this paper, we discuss the principles, the current design, and the prelim- inary evaluation against common microcontroller-based platforms. The proposed platform can sample up to 96 analog channels at rates up to 24 kHz and stream the data via UDP to computers with a sub millisecond latency.

• Lartillot, Olivier (2019). Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  D3.1.  s 489 - 489
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  S2.6.  s 174 - 181 Fulltekst i vitenarkiv.
• Lan, Qichao; Tørresen, Jim & Jensenius, Alexander Refsum (2019). RaveForce: A Deep Reinforcement Learning Environment for Music Generation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P2.1.  s 217 - 222 Fulltekst i vitenarkiv. Vis sammendrag

  RaveForce is a programming framework designed for a computational music generation method that involves audio sample level evaluation in symbolic music representation generation. It comprises a Python module and a SuperCollider quark. When connected with deep learning frameworks in Python, RaveForce can send the symbolic music representation generated by the neural network as Open Sound Control messages to the SuperCollider for non-realtime synthesis. SuperCollider can convert the symbolic representation into an audio file which will be sent back to the Python as the input of the neural network. With this iterative training, the neural network can be improved with deep reinforcement learning algorithms, taking the quantitative evaluation of the audio file as the reward. In this paper, we find that the proposed method can be used to search new synthesis parameters for a specific timbre of an electronic music note or loop.

• Holbrook, Ulf A. S. (2019). Sound Objects and Spatial Morphologies. Organised Sound.  ISSN 1355-7718.  24(1), s 20- 29 . doi: 10.1017/S1355771819000037 Fulltekst i vitenarkiv. Vis sammendrag

  One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenom- enological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.

• Danielsen, Anne (2019). Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation, In Mark Grimshaw; Mads Walther-Hansen & Martin Knakkergaard (ed.),  The Oxford Handbook of Sound and Imagination, Volume 2.  Oxford University Press.  ISBN 9780190460242.  Chapter 29. 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. Vis sammendrag

  In speech and music, the acoustic and perceptual onset(s) of a sound are usually not congruent with its perceived temporal location. Rather, these "P-centers" are heard some milliseconds after the acoustic onset, and a variety of techniques have been used in speech and music research to find them. Here we report on a comparative study that uses various forms of the method of adjustment (aligning a click or filtered noise in-phase or anti-phase to a repeated target sound), as well as tapping in synchrony with a repeated target sound. The advantages and disadvantages of each method and probe type are discussed, and then all methods are tested using a set of musical instrument sounds that systematically vary in terms of onset/rise time (fast vs. slow), duration (short vs. long), and center frequency (high vs. low). For each method, the dependent variables were (a) the mean P-center location found for each stimulus type, and (b) the variability of the mean P-center location found for each stimulus type. Interactions between methods and stimulus categories were also assessed. We show that (a) in-phase and anti-phase methods of adjustment produce nearly identical results, (b) tapping vs. click alignment can provide different yet useful information regarding P-center locations, (c) the method of adjustment is sensitive to different sounds in terms of variability while tapping is not, and (d) using filtered noise as an alignment probe yields consistently earlier probe-onset locations in comparison to using a click as a probe.

Se alle arbeider i Cristin

• Devine, Kyle & Boudreault-Fournier, Alexandrine (ed.) (2021). Audible Infrastructures: Music, Sound, Media. Oxford University Press.  ISBN 9780190932640.  352 s.
• Stover, Chris; Cachopo, João Pedro & Nickleson, Patrick (ed.) (2020). Rancière and Music. Edinburgh University Press.  ISBN 9781474440226.  396 s.
• Hawkins, Stan & Nielsen, Nina (2020). Gaahl–Monster or Postmodern Prometheus? Masculinity, Class and Norwegian Black Metal (The Bloomsbury Handbook of Popular Music and Social Class). Bloomsbury Academic.  ISBN 978-1-5013-4536-4.  19 s.
• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (ed.) (2020). Made in Ireland: Studies in Popular Music. Routledge.  ISBN 9781138336032.  336 s. Vis sammendrag

  Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth and twenty-first century Irish popular music. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Industries and Historiographies; Roots and Routes; and Scenes and Networks.

• Mangaoang, Áine (2019). Dangerous Mediations: Pop Music in a Philippine Prison Video. Bloomsbury Academic.  ISBN 9781501331541.  256 s.
• Herrebrøden, Henrik (2019). Ti idrettsutøvere som søkte hjelp – og fikk det. Cappelen Damm Akademisk.  ISBN 9788202621407.  176 s.
• Hawkins, Stan & Burns, Lori A. (ed.) (2019). The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Academic.  ISBN 978-1-5013-4233-2.  445 s.
• Bradley, Catherine (2019). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press.  ISBN 1561592390.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music. MIT Press.  ISBN 9780262537780.  328 s.

Se alle arbeider i Cristin

• Bradley, Catherine (2021). Fragments from A Medieval Motet Manuscript in Stockholm: Perspectives for Theory and Analysis.
• 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, 17. oktober). Hvorfor føles Stein Torleif Bjellas musikk så nær?. [Internett].  forskning.no.
• Hui, Alan (2020). English Translation of Pelham v Hütter Press Release 46/20 (including decision), German Federal Court of Justice, I ZR 115/16 - Metal on Metal IV, 30 April 2020. IPKat.
• Dybsand, Øyvin (2020). Johan Halvorsen in Leipzig.
• 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.
• 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).

• Haugen, Mari Romarheim (2020). "Brain in Research(ers)" Panel.
• 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
• Haugen, Mari Romarheim (2020). Musical performance.
• Lartillot, Olivier & Toiviainen, Petri (2020). Read about the Matlab MIRtoolbox.. Young Acousticians Network (YAN) Newsletter.  (92), s 4- 10 Vis sammendrag

  MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyväskylä, Finland) You can also check out the MIRtoolbox website at: shorturl.at/oA038

• Lartillot, Olivier & Toiviainen, Petri (2020, 09. september). Read about the Matlab MIRtoolbox.. [Internett].  Young Acousticians Network Newsletter. Vis sammendrag

  MIRtoolbox is a Matlab toolbox dedicated to the analysis of music and sound from audio recordings and to the extraction of musical features such as tonality, rhythm, or structures. It has also been used for non- musical applications, such as in Non Destructive Testing, and with non-audio signals. In this issue of the newsletter, the YAN discusses the MIRtoolbox with Olivier Lartillot (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway) and Petri Toiviainen (University of Jyväskylä, Finland) You can also check out the MIRtoolbox website at: shorturl.at/oA038

• Brøvig-Hanssen, Ragnhild & Smedsrud, Morten Skipenes (2020, 15. september). Algoritmene lammer kreativiteten. [Fagblad].  Apollon.
• Lartillot, Olivier & Bruford, Fred (2020). Bistate reduction and comparison of drum patterns. Vis sammendrag

  This paper develops the hypothesis that symbolic drum patterns can be represented in a reduced form as a sim- ple oscillation between two states, a Low state (commonly associated with kick drum events) and a High state (often associated with either snare drum or high hat). Both an onset time and an accent time is associated to each state. The systematic inference of the reduced form is formal- ized. This enables the specification of a rhythmic struc- tural similarity measure on drum patterns, where reduced patterns are compared through alignment. The two-state representation allows a low computational cost alignment, once the complex topological formalization is fully taken into account. A comparison with the Hamming distance, as well as similarity ratings collected from listeners on a drum loop dataset, indicates that the bistate reduction enables to convey subtle aspects that goes beyond surface-level com- parison of rhythmic textures.

• Jensenius, Alexander Refsum; Erdem, Cagri; Kwak, Dongho Daniel; Rahman, Habibur; Glette, Kyrre; Krzyzaniak, Michael Joseph; Lan, Qichao & Fasciani, Stefano (2020). Strings On-Line. Vis sammendrag

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

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Vis sammendrag

  ‘Mashup’ is a form of music that, in its use of samples from existing popular music recordings, has often been seen as an exemplar of the participatory cultural environment that many expected the internet to foster. It is a musical form that remains widely produced and consumed today. However, the contemporary internet is a complex environment for media distribution, with dominant platforms making use of a wide range of automatic and algorithmic regulatory tools in order to police, monitor, and remove unwelcome content – including that which is seen, rightly or wrongly, as copyright infringing. Drawing on recent empirical research on and with mashup producers – including 30 semi-structured interviews and an extensive survey (n=92) – this article explores the impact of platform regulation on mashup music today. It concludes that current regulation has significant stifling effects on this kind of remix creativity, including a substantial impact on where mashup producers distribute their music, on the aesthetics of their music, and – most pertinently – on their overall motivation to create. Having outlined these key findings, we argue that the ‘shutdown’ status of mashup producers raises profound questions concerning the balance between regulating online content in terms of protecting the artists’ rights, and cultivating participation and culturally valuable artistic expression. As such, this paper offers a timely contribution to scholarship on the complex relationship between popular music and new media in its critical exploration of internet’s detection algorithms and their implications for mashup music and cultural participation more generally.

• Brøvig-Hanssen, Ragnhild (2020). Presentasjon av MASHED-prosjektet.
• Brøvig-Hanssen, Ragnhild (2020). Mashup Music, Intertextuality, and Copyright.
• 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.
• Jones, Ellis Nathaniel (2020). Mashups, musicians, and majors: the politics of participatory culture today.
• Jones, Ellis Nathaniel (2020). The historical role of ‘mashup culture’ in envisioning a democratic media environment.
• Malec, Monika & Zelechowska, Agata (2020, 03. august). Pocztówka dźwiękowa. [Radio].  Polskie Radio Lublin.
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms. Vis sammendrag

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants' head movement was recorded with an optical motion capture system. We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Danielsen, Anne (2020). Groove studies.
• Jemterud, Torkild; Danielsen, Anne; Brodal, Per; Løvvik, Ole Martin; Goodwin, Morten & Knudsen, Pål Moddi (2020, 28. august). Abels tårn: En følsom AI tester visesang. [Radio]. Vis sammendrag

  Kan en AI lage bedre tekster enn en visesanger? Og bedre drinker enn en bartender? Vi tester begge deler. Prøvekanin er Pål Moddi Knudsen. En AI har tygd seg gjennom de gamle tekstene hans, og spytta ut en splitter ny. Dessuten - Hvorfor hører man bare bassen fra festen ved siden av? - Konsentrer man seg bedre med musikk? - Løper man raskere med musikk? - Hvorfor har vi så ulik musikksmak? - Hvorfor er Moddis gitar alltid sur? - Hvor varmt blir det i en peisovn? I panelet Visesanger Pål Moddi Knudsen Datalog Morten Goodwin Musikkviter Anne Danielsen Fysiker Ole Martin Løvvik Hjerneforsker Per Brodal

• 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.

• Hui, Alan (2020). An introduction to the copyright law of music.
• 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: https://doi.org/10.1017/S0261143020000306
• Jensenius, Alexander Refsum (2020). Hvorfor er åpen forskning bedre forskning?.
• 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, 20. juli). 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, 20. juli). 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, 20. juli). 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, 24. august). Festivalsjef: – Strømmekonsertene er kommet for å bli.  Aftenposten. Vis sammendrag

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

• Jensenius, Alexander Refsum & Andersson, Bård (2020, 12. august). Umulig å stå stille til musikk.  KulturPlot. Vis sammendrag

  Nå er det bevist: Det finnes en indre danseløve i oss alle. Ny forskning viser dessuten at den musikken som ikke får det til å rykke i dansefoten er norsk.

• Kraugerud, Emil (2020). Musikkens intimitet. ballade.no.
• Eriksen, Asbjørn Øfsthus (2020). Rapport om gjennomgåelse av Edvard Grieg: Samlede verker, bind 1 (1977) og del av bind 2 (1986).
• Jensenius, Alexander Refsum & Lilleslåtten, Mari (2020, 25. juni). You just can’t stand still. [Internett].  HF-aktuelt. Vis sammendrag

  Not moving to dance music is near impossible, according to new research.

• Jensenius, Alexander Refsum & Lilleslåtten, Mari (2020, 05. juni). Du klarer faktisk ikke å stå stille. [Internett].  HF-aktuelt. Vis sammendrag

  Å ikke bevege seg til dansemusikk, er så godt som umulig, viser ny forskning.

• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Hvor vanskelig er det egentlig å la være å bevege seg til fengende musikk?. [TV].  NRK Dagsrevyen.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Klarer du å stå stille til favorittlåta di?. [Internett].  NRK.no.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Forskning om danselyst. [Radio].  NRK P2.
• Jensenius, Alexander Refsum & Ingebrethsen, Christian (2020, 27. juli). Nesten umulig å stå i ro til musikk. [Radio].  NRK P2.
• Jensenius, Alexander Refsum & Svendsen, Njord Vegard (2020, 17. juli). Meiner forskarar må ha rett til å «klippe og lime» frå publiserte artiklar.  Khrono. Vis sammendrag

  - Vi må komme bort frå tanken om at ein publisert forskingsartikkel er ein digital versjon av ein papirartikkel, meiner musikkforskar Alexander Refsum Jensenius.

• Hagen, Anja Nylund (2020, 30. juni). 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, 30. juni). Fra TikTok til strømmetoppen. [Radio].  Nyhetsmorgen, P2. Vis sammendrag

  TikTok som promoteringsverktøy i musikkbransjen

• Hagen, Anja Nylund (2020, 30. juni). 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. Vis sammendrag

  Higher Education Session with EUNIS and SCHOMS: Learning and Teaching in a Distributed Environment. Look at award‑winning examples of hybrid and distance learning and talk about how universities across Europe are adapting their existing technologies in the face of the COVID‑19 pandemic.

• 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.

• Oddekalv, Kjell Andreas (2020). IMV PhD Midway Assessment for Kjell Andreas Oddekalv.
• Oddekalv, Kjell Andreas (2020). Brakkeskole: Kjell Andreas Oddekalv forskar på rapflow.
• Oddekalv, Kjell Andreas (2020). METRE MEETS METRE – HOW DO WE HEAR, ANALYSE AND LISTEN TO RAP FLOWS?.
• Oddekalv, Kjell Andreas (2020). Food & Paper: Metre on metre - a theoretical framework for rap analysis.
• Oddekalv, Kjell Andreas (2020). When Metre meets Metre: Rhythmic Ambiguity and Flexibility in Rap Flows.
• Hagen, Anja Nylund (2020, 12. juni). Krise i musikkbransjen. [Fagblad].  musikknyheter.no. Vis sammendrag

  Strømmekonserter forsterker problemet

• Gran, Anne-Britt; Linn-Birgit, Kampen Kristensen; Molde, Audun; Hagen, Anja Nylund & Booth, Peter (2020). Krise og kreativitet i musikkbransjen – koronapandemien 2020. 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.

• Danielsen, Anne (2020). Musical listening, micro-time.
• Danielsen, Anne (2020). Does genre expertise modulate micro level synchronisation to musical sounds?. Vis sammendrag

  Musical synchronization may be achieved with greater or lesser precision. Previous research has shown that acoustic factors systematically influence where a musician places one sound in relation to another in order to hear them as perfectly synchronized. However, it remains unclear how synchrony is affected by musical enculturation. In this talk, Anne Danielsen will present results from a comparative study where expert musicians and producers from jazz, folk music, and EDM/hip-hop did click alignment and tapping to different musical and quasi-musical sounds.

• Danielsen, Anne (2020). Råd og tips for søkere til SFF V.
• Danielsen, Anne (2020). The Experience of Time and the "Now": Groove studies.
• Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting. Vis sammendrag

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased between-system error rates. Both systems showed minimal within-trial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/mid-range system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• 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.

• Stover, Chris; Cachopo, João Pedro & Nickleson, Patrick (2020). Introduction, In Chris Stover; João Pedro Cachopo & Patrick Nickleson (ed.),  Rancière and Music.  Edinburgh University Press.  ISBN 9781474440226.  Introduction.  s 1 - 23
• Stover, Chris (2020). Rancière's Affective Impropriety, In Chris Stover; João Pedro Cachopo & Patrick Nickleson (ed.),  Rancière and Music.  Edinburgh University Press.  ISBN 9781474440226.  Chapter 10.  s 230 - 261
• Lartillot, Olivier; Cancino-Chacón, Carlos & Brazier, Charles (2020). Real-Time Visualisation Of Fugue Played By A String Quartet. Vis sammendrag

  We present a new system for real-time visualisation of music performance, focused for the moment on a fugue played by a string quartet. The basic principle is to offer a visual guide to better understand music using strategies that should be as engaging, accessible and effective as possible. The pitch curves related to the separate voices are drawn on a space whose temporal axis is normalised with respect to metrical positions, and aligned vertically with respect to their thematic and motivic classification. Aspects related to tonality are represented as well. We describe the underlying technologies we have developed and the technical setting. In particular, the rhythmical and structural representation of the piece relies on real-time polyphonic audio-to-score alignment using online dynamic time warping. The visualisation will be presented at a concert of the Danish String Quartet, performing the last piece of The Art of Fugue by Johann Sebastian Bach.

• Towse, Ruth (2020). Dealing with digital: the economic organisation of streamed music. Media, Culture and Society.  ISSN 0163-4437. . doi: 10.1177/0163443720919376 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.

• Guldbrandsen, Erling E. (2020, 09. juni). https://operaen.no/forestillinger/tirsdagskonserten/?fbclid=IwAR1p0pjlpeOq3UPOq9ehBvpOQ8TlPcqZmFfTIqsg7UE2SQDPcPVjGDo9uAw. [Internett].  Operaen.no.
• Swarbrick, Dana (2020, 02. juni). Nyhetsmorgen - radio (https://radio.nrk.no/serie/nyhetsmorgen/NPUB32010920?fbclid=IwAR07rA_odCCwd4tiHJDMLoNp7BWteHgosBJw9qi7_jna0u2SXbZJ5zw0OGk#t=1h14m30s). [Radio].  NRK radio.
• Swarbrick, Dana (2020, 02. juni). Koronakonsertene har 2 millioner avspillinger - Kan være utfordrende for artistene. [Internett].  NRK.
• Krzyzaniak, Michael Joseph; Veenstra, Frank; Erdem, Cagri; Glette, Kyrre & Jensenius, Alexander Refsum (2020). Interactive Rhythmic Robots.
• Guldbrandsen, Erling E. (2020, 07. mai). https://ofo.no/no/mellomspill. [Internett].  Oslo Philharmonic Orchestra.
• Herrebrøden, Henrik (2020). Psykologiske utfordringer ved skadeopphold, I: Ingrid Eitzen; Siri Marte Hollekim-Strand & Harald Markussen (red.),  Idrettsfysioterapeuten. Breddeidrett - toppidrett - aktivitetsmedisin.  Cappelen Damm Akademisk.  ISBN 9788202621414.  Kapittel 24.  s 351 - 360
• Hui, Alan (2020). 21 and illegal in all states? The German Pelham court confirms when sampling is illegal. IPKat.
• Hagen, Anja Nylund (2020, 22. mai). 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, 20. mai). 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, 19. mai). 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. Vis sammendrag

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21st century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• 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, 23. april). Maskulinitet er i endring i norsk black metal.  KILDEN.
• Jensenius, Alexander Refsum (2020). Video Visualization Strategies at RITMO.
• Jensenius, Alexander Refsum (2020). Hvordan bruke video som ressurs i digital undervisning?. Vis sammendrag

  Bli med og snakk om hvordan vi legger om vår undervisning i disse dager, denne gang med fokus på video. LINK og undervisere ved UiO vil bidra med faglige innlegg, etterfulgt av åpen erfaringsdeling og spørsmål & svar.

• Jensenius, Alexander Refsum & Svendsen, Njord Vegard (2020, 14. april). Spelelystene.  Khrono. Vis sammendrag

  For somme er ein arbeidsdag utan musikk utenkeleg.

• Hagen, Anja Nylund (2020, 07. april). Spotifys makt vokser i takt med nye lyttevaner. [Internett].  forskning.no.
• Hagen, Anja Nylund (2020, 27. mars). Hvilken musikk hører vi på i karantene?. [Radio].  NRK P2.
• Hagen, Anja Nylund (2020, 24. mars). Hva gjør musikere når de ikke kan spille konserter?. [Internett].  UiO: Det humanistiske fakultet. Sosiel medier. 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, 17. mars). 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.

• Aubinet, Stéphane (2020). The Craft of Yoiking: Philosophical Variations on Sámi Chants. Fulltekst i vitenarkiv. Vis sammendrag

  The yoik is a vocal technique practised by the Sámi of Northern Europe. It relies on circular melodies, chanted in everyday life and a cappella, with or without lyrics. Each melody evokes a particular being, usually a person, an animal species, or a place. ‘Yoiking them’ is a way of making them present, exploring an attachment, and unfolding memories. The yoik is considered by many of its practitioners as a gift received from the environment, a mysterious craft that they come to know through personal experience and experimentation. This thesis is based on conversations with yoikers, active in either the ‘traditional’ or ‘modern’ practices, and an apprenticeship in the craft of yoiking. It constitutes a series of essays, or ‘philosophical variations’, aimed at taking the yoik seriously and unfolding some of its philosophical affordances. As in the musical variations on popular melodies by classical composers, writing the yoik in variation means hosting it within another practice bearing its own constraints and possibilities. Practices of yoiking and writing are thus put in a dialogue at times converging, at times diverging, but always intended to be mutually stimulating. Various voices from social anthropology, ethnomusicology, psychology, theology, ethology, and the history of philosophy join the dialogue along the way. The variations are ‘philosophical’ in that each of them creates one concept: horizon, enchantment, creature, depth, echo, primordial. Each concept seeks to capture a layer of depth perceived in the yoik’s practice: (1) the risks of metamorphosis; (2) the chants of animals and the wind; (3) the creation of yoiks as outgrowths of the sensuous world; (4) the inner landscapes of humans; (5) the resurgence of past memories and of the dead; (6) the roots of human chants in a chthonic, original past; and (n) the power of repetition and interruption.

• Brøvig-Hanssen, Ragnhild (2020). Slutten på mashup musikk?. Vis sammendrag

  På starten av 2000-tallet eksploderte internett med såkalte mashup-videoer som utelukkende besto av samples fra tidligere musikkinnspillinger. De siste årene har vi sett en nedgang i mashups samtidig som flere internett-plattformer har tatt i bruk algoritmiske verktøy for å regulere innholdet på nettsidene, blant annet innhold som bruker opphavsberettiget materiale uten tillatelse. Har dette en sammenheng? Hvordan opplever mashup produsentene selv disse nye reguleringsverktøyene som har blitt tatt i bruk, og hvordan stiller denne musikken og disse reguleringsveiktøyene seg i forhold til opphavsrett?

• Haugen, Mari Romarheim & Kleppe, Synnøve Sudbø (2020, 05. mars). Bortebuaren.  Bø Blad.
• Hagen, Anja Nylund (2020). Norske musikkforlag: Muligheter og utfordringer. 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, 01. februar). Drecksmusik. [Tidsskrift].  enorm—Magazin für gesellschaftlichen Wandel.
• Devine, Kyle (2020, 28. februar). Emissions Possible: Streaming Music Swells Carbon Footprints.  Al Jazeera.
• Devine, Kyle (2020). Polluted Streams: The Environmental Costs of Analog and Digital Formats.
• Høffding, Simon (2020). shared musical absorption: A Phenomenological case study with the Danish string quartet.
• Danielsen, Anne (2020). Exploring the Hu/Machine: Shaping beats in contemporary African-American popular music.
• Krzyzaniak, Michael Joseph; Kwak, Dongho Daniel; Veenstra, Frank; Erdem, Cagri; Wallace, Benedikte; Jensenius, Alexander Refsum & Glette, Kyrre (2020). Dr. Squiggles rhythmical robots. Vis sammendrag

  Dr. Squiggles is an interactive musical robot that we designed, that plays rhythms by tapping. It listens for tapping produced by humans or other musical robots, and attempts to play along and improvise its own rhythms based on what it hears.

• Devine, Kyle (2020, 14. februar). Tutkimus: Musiikin kuuntelu striimattuna jättää isomman hiilijalanjäljen kuin cd- tai vinyylilevyt huippuaikoinaan.  Yle.
• Devine, Kyle (2020). Disco Downer. The Guardian Weekly.  ISSN 0958-9996.  202(8), s 24- 25
• Devine, Kyle (2020). Carbon Footprints of Music.
• Devine, Kyle (2020, 14. februar). Moni kuvittelee, että cd-levyistä luopuminen on ympäristöteko – Tutkija selvitti, että musiikin kuuntelun hiilijalanjälki on nyt suurempi kuin koskaan.
• Brøvig-Hanssen, Ragnhild (2020). Playful Rhythms and Mosaic Flow. Vis sammendrag

  Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.

• Devine, Kyle (2020). Rethinking Music Ecosystems.
• Devine, Kyle (2020, 05. februar). What is the Human and Environmental Cost of Music?. [Internett].  New Books in Critical Theory Podcast.
• Devine, Kyle (2020, 05. februar). The Vinyl Revival is Hurting the Environment, says Canadian Musicologist. [Radio].  Q (CBC Radio One).
• Devine, Kyle (2020). Nightmares on Wax: The Environmental Impact of the Vinyl Revival. The Guardian.  ISSN 0261-3077.
• Mari, Lilleslåtten & Høffding, Simon (2020, 24. januar). De dyktigste musikerne kan spille uten å tenke. [Internett].  https://www.uio.no/ritmo/aktuelt/aktuelle-saker/2020/de-dykt.
• Guldbrandsen, Erling E. (2020). Pierre Boulez III: Musical construction – musical listening.
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Introduksjon til seminar om musikk og medier i den digitale tiden.
• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Slutten på remix? Spenningsforholdet mellom mashup-musikk og automatiske reguleringsverktøy.
• Hawkins, Stan (2020). Keynote 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.
• Kelkar, Tejaswinee (2020, 10. januar). NTT: Noen forsker på musikk helt på ekte - Jazznytt. [Tidsskrift].
• Kjus, Yngvar (2020, 07. januar). Vil ha opphavsretten ut av lukkede rom. [Fagblad].  Ballade.no. 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, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7a.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7b.
• Herrebrøden, Henrik (2019). Mental effort in expert motor performers.
• Stover, Chris (2019). Introduction. Perspectives of New Music.  ISSN 0031-6016.  57(1-2), s 7- 10
• Brøvig-Hanssen, Ragnhild (2019). Music Listening - Meso time.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and it's aesthetics.
• Nielsen, Nanette & Høffding, Simon (2019). Absorption in Schizophrenia, Music and Mystical Experience.
• Nielsen, Nanette & Høffding, Simon (2019). A Musical Matter of Mind.
• Danielsen, Anne (2019). The Expanding Present (panel member).
• Danielsen, Anne & Nymoen, Kristian (2019). Where is the beat in that note?.
• Kverndokk, Kristin; Danielsen, Anne; Hellstenius, Jon Henrik & Orning, Tanja (2019, 27. oktober). Om språk og musikk. Spillerom søndag (NRK). [Radio].  NRK P2.
• Danielsen, Anne (2019). The impact of digitization on rhythm and groove in African-American popular music. Vis sammendrag

  Rhythm and groove are at the heart of many African-American musical traditions. In this lecture, I will discuss the ways in which creative use of new digital technology has changed how music sounds. As my examples I will use contemporary African-American popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon how sound processing can be used to alter the perceived timing of rhythmic events.

• Danielsen, Anne (2019). Workshop on microrhythmic analysis and groove.
• Halmrast, Tor (2019). Cepstrum for Rhythm Detection.
• Danielsen, Anne (2019). Utfordringer og løsninger for et tverrfakultært SFF.
• Watne, Åshild (2019). Sang og lyrespill i Kristiansand domkirke.
• Erdem, Cagri (2019). RAW: A Muscle-based instrument.
• Størvold, Tore (2019). Dissonant Landscapes: Nature and the Musical Imagination of Iceland. Vis sammendrag

  During the 2000s and 2010s, Iceland signaled a strong presence in the world through its music. Since the turn of the millennium, no other cultural activity or art form has been more important for shaping impressions of the island in the global imagination. And along with music, various notions of nature have permeated narratives of the Icelandic nation. Consequently, the intersection of music and concepts of nature is the primary research focus in this thesis, which develops existing critical musicological methods to encompass perspectives from ecocriticism and the environmental humanities. In this thesis, I attempt to illuminate cultural aspects of contemporary Iceland by way of analyzing specific examples of music from the mid-2000s to the mid-2010s, a period of upheavals in Icelandic society. The economic crash of 2008 would loom large over the following decade, which was characterized by a renewed actuality of nature-themed representations of the country as the exponential growth of the tourist sector came to the rescue of the national economy. Focusing on this period, the thesis provides a detailed insight into how music and concepts of nature coalesce to assume specific functions in the recent history of a small nation – from “interior” nation building to “exterior” nation branding. The thesis consists of case studies of music analysis, with examples drawn from both classical and popular genres. The artists and composers studied in the thesis include Mugison, Valgeir Sigurðsson, Björk, Sigur Rós, Jóhann Jóhannsson, Ólafur Arnalds, and Anna Þorvaldsdóttir. Implementing a hermeneutic method, the details of musical texts are taken as the springboard for a broad, interdisciplinary account of contemporary Iceland and its position in the global imagination. Central to this account is music’s powerful ability to articulate concepts of nature in various ways. As such, the thesis contributes to a textual direction in ecomusicology, seeking to evaluate the capacity of musical aesthetics in transforming ways of thinking about nature in the age of climate change. In six chapters, the analyses reveal a range of musical techniques and compositional decisions that musicians employ to configure nature differently, and thus provide different vantage points for hearing the relationship between humans and their environment.

• Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore (2019). First Things First.
• Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle (2019). Dragging the Lake.
• Guldbrandsen, Erling E. & Nielsen, Nina (2019). Hvorfor hater jeg julemusikk - hvorfor elsker jeg julemusikk. Panelsamtale.
• Knutsen, Paul & Guldbrandsen, Erling E. (2019). Roald Amundsens ansvar for Knutsens og Tessems død. Om polarekspedisjonen til Nordøstpassasjen 1918–1919. Foredrag ved Paul Knutsen.
• Guldbrandsen, Erling E. (2019). Restless Legs Syndrome. Presented at Oslo Brain Council Conference 2019, 01.07.2019, Lillestrøm.
• Guldbrandsen, Erling E. (2019, 24. februar). https://www.nettavisen.no/livsstil/erling-har-rastlose-bein---du-kan-ikke-tenke-deg-hvor-desperat-du-blir/3423595201.html.  nettavisen.no.
• Guldbrandsen, Erling E. (2019). Pierre Boulez II: Post-War Modernism and Tradition. Theory and practice.
• Guldbrandsen, Erling E. (2019). Pierre Boulez I: Music and text. Pli selon pli - portrait de Mallarmé.
• Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Lubell, James; Leske, Sabine Liliana; Llorens, Anaïs; Funderud, Ingrid; Collavini, Santiago; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Bekinschtein, Tristan; Kochen, Silvia; Knight, Robert T & Endestad, Tor (2019). Human brain network involved in auditory deviance detection: Evidence from intracranial EEG recordings. Vis sammendrag

  The neural network underlying human auditory deviance detection is not fully understood. To address this, we recorded intracranial EEG from 22 adult patients with drug resistant epilepsy undergoing presurgical monitoring who had depth electrodes implanted in all brain lobes (1193 channels in total). Patients passively heard a stream of bilaterally presented tones while reading. We used the Optimum-1 paradigm, that consisted of 300 standard tones interleaved with 300 randomly presented deviant tones per block. Patients completed between 3 to 10 blocks. Deviant tones differed from standards in: 1) intensity (louder or softer), 2) frequency (higher or lower), 3) sound source location (right or left), 4) a shorter duration, or 5) a silent gap in the middle of the tone (Näätänen et al., 2004). Electrode coordinates were obtained from coregistered MRI and CT images using iElectrodes toolbox (Blenkmann et al., 2017). Channels were bipolar referenced and high frequency band activity (HFA) analytic amplitude signal was obtained using the Hilbert transform (75-145 Hz). Compared to the baseline period, significant HFA responses to tones in general were observed in 31% of the channels. We used an ANOVA to quantify the HFA response variance across trials that could be explained by the different factors of the stimuli: Intensity, Laterality, Frequency, Duration and Gap. We estimated the amount of explained variance by using ?2 (Siegel et al., 2015). Eighteen % of the channels showed a significant increase of the condition-specific explained variance. Some channels showed condition-specific activations to one particular deviant, while others showed activations to a combination of two or more deviants. The channels showing responses to tones in general and condition-specific effects were mostly observed bilaterally in temporal cortex. Frontal, anterior cingulate, and parietal cortices were also involved to a lesser extent. Our results, in line with the predictive coding framework, reveal that a distributed brain network is involved in auditory processing and deviance detection.

• Zelechowska, Agata & Lokna, Maria (2019, 30. juli). Vi er konstant absorbert i en annen verden.
• Brøvig-Hanssen, Ragnhild (2019). Mashups as Bisociative.
• Sandvik, Bjørnar Ersland (2019). Grids, Waveforms, and “Blocks” of Sound: On the Increased Segmentation of Musical Content in Digital Music Production.
• Halmrast, Tor (2019). THE TIMBRE OF FLUTTER ECHOES, AND THE COMPOSITION “FLUTR”. Vis sammendrag

  Video: http://tor.halmrast.no/ICM2019Halmrast_Flutter.m4v

• Halmrast, Tor (2019). Oslo I Smug-trioen.
• Halmrast, Tor (2019). FLUTR.
• Halmrast, Tor (2019). FLUTR for 24 ch Audio (4 quadro + 20 Ambisonics loudspeakers). 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.
• Stover, Chris (2019). Structural Analysis, In Janet Sturman (ed.),  SAGE Encyclopedia of Music and Culture.  Sage Publications.  ISBN 1483317757.  Encyclopedia entry.  s 138 - 141
• Stover, Chris (2019). Rhythm and Meter, In Janet Sturman (ed.),  SAGE Encyclopedia of Music and Culture.  Sage Publications.  ISBN 1483317757.  Encyclopedia entry.  s 1825 - 1832
• Stover, Chris; Borca, Karen & Taylor, Cecil (2019). Unit Structures.
• Stover, Chris (2019). Sun Ra’s Fletcher Henderson.
• Stover, Chris (2019). Guattari's Sonorous Affect.
• Stover, Chris (2019). Four Assemblages for Improvising Chamber Quartet.
• Stover, Chris (2019). Four Assemblages for Improvising Chamber Quartet.
• Stover, Chris (2019). Jazz and the Constitution of Social Identity.
• Stover, Chris (2019). 'As gesture jazz became…': the genealogical role of Cecil Taylor’s standards.
• Stover, Christopher (2019). Musical interaction—between desire and enunciation.
• Haugen, Mari Romarheim & Habbestad, Ida (2019, 18. februar). Å studere dei små detaljane. Kva kan teknologi for rørslesporing bidra med i skildring av folkedansen?. [Tidsskrift].  Folkemusikk. Magasinet for folkemusikk og folkedans.
• Swarbrick, Dana; Kiss, Alex; Tremblay, Luc; Sabiston, Catherine; Trehub, Sandra; Alter, David & Chen, Joyce (2019). HIIT the Road Jack: The Effects of Exercise on Piano Learning.
• Lan, Qichao; Cagri, Erdem & Jensenius, Alexander Refsum (2019). Performing with QuaverSeries Live Coding Environment.
• Lan, Qichao (2019). QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies.
• Xambo Sedo, Anna; Støckert, Robin; Jensenius, Alexander Refsum & Saue, Sigurd (2019). Facilitating Team-Based Programming Learning with Web Audio. Vis sammendrag

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Jensenius, Alexander Refsum (2019). Musikkteknologi som døråpner til bedre forståelse. Vis sammendrag

  I seminaret vil du få presentert eksempler på hvordan musikkteknologi kan brukes i undervisning, både i små og store grupper. Både akustisk og elektronisk musikkteknologi fungerer godt for å forklare prinsipper også utenfor regulær musikkundervisning. I dette seminaret får du vite hvordan matematikk kan forklares med små synthesizere, fysikk med strengeinstrumenter og kroppskontroll med interaktiv musikk. Dette er prinsipper som kan tas i bruk med enkle virkemidler. Seminaret vil kunne være relevant for deg som ønsker tips til alternative tilnærminger overfor elever som strever med læring.

• Jensenius, Alexander Refsum (2019). Experimenting with Open Research Experiments. Vis sammendrag

  Is it possible to do experimental music research completely openly? And what can we gain by opening up the research process from beginning to end? In the talk I will present MusicLab, an open research project at the University of Oslo. The aim is to explore new methods for conducting research, research communication, and education. Each MusicLab event is organized around a public music performance, during which we collect data from both musicians and audience members. Here we explore different types of sensing systems that work in real-world contexts, such as breathing, heartbeat, muscle tension, or motion. The events also contain an edutainment element through panel discussions as well as "data jockeying" in the form of live data analysis. The collected data is made publicly available, and forms the basis for further analysis and publications after the event. Opening up the research process is conceptually, practically, and technologically challenging for everyone involved. The benefit is that it has helped us solve a number of issues when it comes to GDPR and copyright. It has also pushed our research in directions that we previously had never thought about, and helped us communicate this to new users.

• Jones, Ellis Nathaniel (2019). The historical role of ‘mashups’ in envisioning a democratic media environment. Vis sammendrag

  At the time of its emergence in the mid-2000s, many scholars and commentators saw ‘mashup’ music – the re-combining of recognizable samples from existing pop songs into new works – as emblematic of the digital age. Mashups were enabled by easy-to-use production software and, more importantly, the global distributive capacity of online networks, and as such became a repository for hopes (and fears) that the internet would bring about a radical re-working of relations between ‘everyday’ creativity and the cultural industries, especially in the realm of copyright. In this paper, I argue for the historical relevance of mashups by inverting this standard narrative of technological enablement. Rather than showing how mashups utilised the internet, I suggest that the more lasting legacy is how the internet utilised mashups. I employ the sociological concept of ‘articulation’ to show how the aesthetic characteristics of mashups were put to work in order to present the emerging social web as a specific kind of participatory media environment. Crucially, mashups helped to suggest that participation in and through ‘new media’ might necessarily entail the ‘borrowing’ of old media – legally or otherwise. This helped lobbyists like the Electronic Frontier Foundation frame existing media rights holders as luddites attempting to hold back a (purportedly unstoppable) tide of vernacular creativity. It also suggested that the archetypal form of online culture was particularly immaterial (mashups seemed devoid of ‘physical’ embodied sound-making) and particularly easy to make, helping to characterise online culture as particularly un-laboured (and unpaid) semiotic play.

• Bishop, Sophie & Jones, Ellis Nathaniel (2019). Just a folk theory? User understandings of algorithms as media critique. Vis sammendrag

  It is becoming commonplace in social media studies to refer to users’ “everyday” understandings of algorithms as “folk theories”. In this paper we suggest this concept offers a restrictive view of both algorithms and the people who engage with them. Our theoretical contribution to the study of online participation draws on our empirical research on cultural production and platformisation, using cases from influencer cultures, DIY musicians and mashup artists. The literature on folk theories often positions everyday engagement with algorithms as individualistic and complicit; we argue that algorithmic practices are often agentic acts of resistance. Implicit in the “folk theory” concept is the premise that there exists an authoritative, falsifiable understanding of how algorithms “actually” operate, about which users are either guessing, mistaken or uninformed. It is true that most users don’t know how algorithms operate in technical terms. But considering algorithms as socio-cultural phenomena expands the remit of what folk theories might address. The pertinent issue may not so much be about how algorithms work, as what purposes they serve, and for whom. Going by this socio-cultural definition, platform users’ so-called “folk theories” are often highly astute, and involve nuanced understandings of the power dynamics and economic incentives in play. Our point is not just that the folk theory concept can be patronizing (especially when our own scholarly understandings of algorithms are hardly comprehensive) but that it conceives of users “readings” of algorithms in personal–psychological terms, when they might be more fruitfully conceptualized as critical engagements with media power.

• Hui, Alan (2019). Norwegian copyright limitations and exceptions following Pelham v Hütter.
• Holbrook, Ulf A. S. (2019). Footprints of Creatures.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2019). Sinsenfist fister julen inn 2019.
• Jensenius, Alexander Refsum & Lieungh, Erik (2019, 28. desember). #26 Music Research. [Radio].  Open Science Talk. Vis sammendrag

  In this episode, we talk about Music Research, and how it is to practice open research within this field. Our guest is Alexander Jensenius, Associate Professor at the Department of Musicology - Centre for Interdisciplinary Studies in Rhythm, Time and Motion (IMV) at the University of Oslo. He is also behind MusicLAb, an event-based project where data is collected, during a musical performance, and analyzed on the fly.

• Weisethaunet, Hans (2019). “Is fieldwork about doing interviews?” NMH (Norwegian Academy of Music) ph.d. seminar, guest lecture.
• Weisethaunet, Hans (2019). Opponent, ph.d. avhandling, Smith, Erica: Collective Management Organisations (CMOs), Digital Disruption and Small Developing Economies: The Case of the Caribbean Music Industry, UiA.
• Watne, Åshild & Baur, Eckhard (2019). Jubileumskonsert i Oslo Konserthus med Kampen Janistjar, Wenche Myhre, IMV Vokalensemble m.fl.
• Sioros, George; Câmara, Guilherme Schmidt & Danielsen, Anne (2019). Mapping Timing Strategies in Drum Performance.
• Høffding, Simon (2019). Not being there: an analysis of expertise induced amnesia.
• Blenkmann, Alejandro Omar; Solbakk, Anne-Kristin; Lubell, James; Leske, Sabine Liliana; Llorens, Anaïs; Funderud, Ingrid; Collavini, Santiago; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Bekinschtein, Tristan; Kochen, Silvia; Knight, Robert T. & Endestad, Tor (2019). Human brain network involved in auditory deviance detection: Evidence from intracranial EEG recordings.
• Leske, Sabine Liliana; Lubell, James Isaac; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid; Foldal, Maja Dyhre; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Knight, Robert Thomas; Danielsen, Anne; Endestad, Tor & Solbakk, Anne-Kristin (2019). Auditory prediction and prediction error in self-generated tones.
• Leske, Sabine Liliana; Lubell, James; Blenkmann, Alejandro Omar; Llorens, Anaïs; Funderud, Ingrid; Foldal, Maja Dyhre; Larsson, Pål Gunnar; Ivanovic, Jugoslav; Meling, Torstein Ragnar; Knight, Robert Thomas; Danielsen, Anne; Endestad, Tor & Solbakk, Anne-Kristin (2019). Action-based auditory predictions. Vis sammendrag

  Sensory consequences of actions are predicted by the brain via an internal forward model to prepare sensory cortical areas, referred to as motor prediction. In a similar vein, the predictive coding framework suggests that perception is based on internal models making predictions about sensory events, based on statistical probabilities of the stimuli. In the current study we investigated action-based sensory predictions. We used a self-paced, two-choice random generation task, infrequently inducing deviant outcomes of voluntary action. Participants repeatedly pressed a right and a left button normatively associated with a 70 ms long 1 kHz and 2 kHz tone, respectively. Occasional deviants occurred, inverting the learned button-tone association. Participants were instructed that their button presses should be random, at a regular but self-paced tempo of one press per 1-2 s, and that they should press both buttons with equal probability. They were informed that the tones are task-irrelevant. We used intracranial EEG (iEEG) data recorded from 10 adult patients with electrodes localized in frontal and temporal lobes. The patients had drug resistant epilepsy and were undergoing presurgical monitoring via implanted stereotactic electrodes. Electrode coordinates and anatomical labels were obtained from coregistered MRI and CT images using iElectrodes toolbox. Initial results indicate that violations of action intentions modulated high frequency band activity (HFA, 75-145 Hz) in distributed brain regions including temporal and prefrontal cortices.

• Lartillot, Olivier (2019). A comprehensive framework for computational music analysis. Vis sammendrag

  During this presentation, Dr. Olivier Lartillot will give an overview of MIRtoolbox - a Matlab application enabling the extraction of a large range of audio and musical descriptions from recordings. MIRtoolbox is designed to be easy to use both for teaching at any level and for advanced research in musicology, signal analysis and music cognition. One initial aim of MIRtoolbox was to study the relationship between musical features and emotions evoked by music. MIRtoolbox focuses on signal-processing-based approaches that offer limited understanding of music. Lartillot is also developing computational methods for the analysis of notated music, starting from motivic analysis and aiming at building a comprehensive framework where audio and score are combined together.

• Godøy, Rolf Inge (2019). Constraint-based musical expression - John Blacking Memorial Lecture, European Seminar of Ethnomusicology (ESEM), Durham University, September 5, 2019. Vis sammendrag

  The focus of my talk is on how various human and instrumental constraints shape musical expression. There can be no doubt that the repertoire of musical expression is vast, as is the variety of musical instruments and associated kinds of human sound-producing body motion. Yet there are obvious constraints on what sounds traditional musical instruments can produce (e.g. a flute cannot sound like trombone, a piano cannot sound like an oboe), and needless to say, also constraints on human sound-producing body motion (e.g. need for breathing, need for rests, limits to speed), engendering constraint-based idioms (easy and well-sounding vs. difficult and not so well-sounding snippets on instruments). This may all seem rather trivial, but the crucial point is to see how constraints are carried into musical expression and strongly influence it, even to the point that we expect such constraints in music. And: that musical expression is constraint-based does not diminish its value; it is rather a testimony to extensive human agency in music. It can be argued that human body motion constraints actually shape salient perceptual features of musical sound, first of all in what we perceive as motion and contour patterns in music, as well as in various details of articulation. Taking constraints into account amounts to a more holistic approach to musical expression by focusing on musical sound as produced by human body motion, or focusing on what I have previously called motormimetic features in musical experience. This perspective is a departure from Western abstract notions of pitch and duration in favor of holistic sound and body motion features in music, a shift of perspective I believe was also a recurrent topic for John Blacking.

• Oddekalv, Kjell Andreas (2019). Likeins, likeins, men annleis – ulike språk/rytme-interaksjonar i rap.
• Hagen, Anja Nylund (2019). Norsk musikkbransje og eksport.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus & Hole, Erik (2019, 15. november). Rapkjefta - Episode 5. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Sørli, Anders Ruud & Walderhaug, Bendik (2019, 18. oktober). Rapkjefta - Episode 4. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik; Walderhaug, Bendik & Sørli, Anders Ruud (2019, 20. september). Rapkjefta - Episode 3. [Radio].  Ordentlig Radio.
• Kelkar, Tejaswinee (2019). Spatial and Bodily Metaphors as means for Musical Sense-making.
• Kelkar, Tejaswinee (2019). WoNoMute LittleBits Workshop.
• Kelkar, Tejaswinee (2019). Girl Music Tech Camp. Vis sammendrag

  Vi inviterer elever fra videregående skole til å lære mer om musikkteknologi. Du får muligheten til å teste ulike instrumenter og synth'er, vil lære å programmere dine egne lyder, og forstå noen av prinsippene som ligger til grunn for digital lyd og musikk. Kurset avholdes hver dag i høstferien fra kl 10-14, og vi vil gå gjennom forskjellige temaer: Lydopptak og redigering Lydanalyse Lydmekking Lydprogrammering Sammenstilling av det hele Planen er å jobbe så praktisk som mulig. Vi legger opp til jam-sessions underveis, samt mulighet for lydopptak med ulike verktøy. Den siste dagen blir det en liten konsert hvor vi setter alt sammen. I løpet av uken får du møtt andre jenter som er opptatt av musikkteknologi, og får snakket med studenter ved Institutt for musikkvitenskap. Du vil også få omvisning i studioer og lab'er og høre litt om den spennende forskningen som foregår ved instituttet.

• Kelkar, Tejaswinee; Erdem, Cagri & Lan, Qichao (2019). Utopia.
• Kelkar, Tejaswinee (2019). Improverk: Chicago Connections + Kelkar & Shrestha.
• Alarcón Diaz, Ximena; Boddie, Paul; Erdem, Cagri; Aandahl, Eigil; Andersen, Elias Sukken; Dahl, Eirik; Lesteberg, Mari & Jensenius, Alexander Refsum (2019). Sensing Place and Presence in an INTIMAL Long-Distance Improvisation. Vis sammendrag

  INTIMAL is an interactive system for relational listening, which integrates physical-virtual interfaces for people to sonically improvise between distant locations. The aim is to embrace two key aspects in the context of human migration: the sense of place and the sense of presence. This paper reflects on the use of INTIMAL in a long-distance improvisation between the cities of Oslo, Barcelona and London in May 2019. This improvisation was performed by nine Colombian migrant women, who had been involved in a research process using the Deep Listening® practice developed by Pauline Oliveros. Here we describe the performance setting and the implementation of the first two interfaces of the system: MEMENTO, an “embodied” navigator of an oral archive of Colombian women’s testimonies of conflict and migration; and RESPIRO, a sonification system that transmits and sonifies live, breathing signals between distant locations. We reflect on how the two interfaces facilitated and challenged the improvisers’ listening experiences and connections.

• Guldbrandsen, Erling E. (2019). Flere kvinnelige dirigenter trengs. ballade.no. Vis sammendrag

  Selvsagt kan flere kvinner inkluderes i filosofiens historie. Og i musikkens og litteraturens historie. Selvsagt kan historie omskrives, omprioriteres, problematiseres og formuleres på etterskudd og på nytt. Det må den, uavlatelig, uansett. Trodde noen at historien(e) var avsluttet og skrevet i stein, verdifritt, nøytralt og objektivt, uten innslag av interesser og maktkamp, blinde flekker, perspektiver og fortolkning fram til nå? Det har slått meg at jeg jobber på noen av de mest tilbakeliggende saksfeltene som fins når det gjelder kjønnsbalanse. Musikkhistorie, komponisthistorie, litteraturhistorie, filosofiens historie. Orkesterdirigenter, gud bedre. Vis meg et felt hvor mannsdominansen har vært større helt fram til i dag. Lite av dette er naturgitt, for å si det sånn. De mennene som skriver (på Facebook og elsewhere) at vi ser “filosofiens slutt” og “undergang” når man bringer inn andre stemmer, tekster og perspektiver enn de vante og etablerte, oppviser vel ikke nevneverdig bevegelighet i tenkningen. Selv om tenkning altså er temaet de tar opp. Virkningshistorie er ett problem. Kvinnelige bidragsytere som ikke er blitt lest og kommentert av senere tenkere opp gjennom tradisjonen, mangler en virkningshistorie så langt. Sant nok. Så hva gjør man da? Fortsetter å fortie dem av samme grunn? Jeg vil heller si at det er all grunn til å bringe dem inn i debatten jo før jo heller. Fortidens strukturer er et annet problem. Det anføres som et historisk problem at siden kvinner vitterlig ikke fikk bekle lærestoler og professorater, og ikke engang slapp inn på lærestedene, så er det et beklagelig, men uavvendelig faktum at de heller ikke kan ha bidratt. Men det spørsmålet er først og fremst empirisk. Bedre å begynne å lete dem fram, da, enn å la saken ligge. Kvalitet er et tredje problem. Det menes og hevdes at mennene dominerer fordi bidragene deres holder høyere kvalitet enn kvinnenes. Oj. Det er litt av en påstand. Den krever belegg og avprøving fra tilfelle til tilfelle. Igjen er det bare å gå i gang. Bringer man nye tenkere inn, vil de rett som det er kunne påvirke, ikke bare etterfølgerne, men også sine forgjengere, fordi de endrer måten vi blir i stand til å lese forgjengerne på. Dette er Jorge Luis Borges’ gamle poeng. Eksempler? Jeg skal ta ett, fra et uventet felt. Den yngre, kvinnelige dirigenten Elena Schwarz fortolker visse sentrale verker innen vestlig kunstmusikk mer nyansert og raffinert enn de fleste andre dirigenter jeg kjenner til i nåtiden. Perspektivet er et annet. Ikke hørt om henne? Da lurer jeg på hva det kan komme av. For dårlig kvalitet? Neppe. Kjør debatt.

• Guldbrandsen, Erling E. (2019). Gustav Mahlers Åttende symfoni - Die Sinfonie der Tausend.
• Guldbrandsen, Erling E. (2019). Han var en større dirigent enn vi kanskje helt fikk med oss i Norge. Mariss Jansons (1943-2019). Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.  s 40- 40 Vis sammendrag

  En smertelig nyhet møtte oss på søndag. Dirigenten Mariss Jansons er gått bort. Han ble 76 år. Han døde i går natt i St. Petersburg. Mariss Jansons (1943–2019) var en større dirigent enn vi kanskje helt fikk med oss i Norge. Han vil bli stående. Han ruver helt der oppe i de blå høyder. Som musiker hadde han dette romantiske suget som kunne løfte interpretasjonen til det helt usedvanlige. Årene hans med Oslo-Filharmonien (1979–2002) ble avgjørende for OFO, for byen og for norsk musikkliv, med ringvirkninger langt forbi det øyeblikket da han sa opp og reiste, etter en forgjeves kamp for å skaffe orkesteret bedre arbeidsbetingelser og et bedre konserthus. Han var en musikalsk idealist som fikk det for trangt i provinsbyen Oslo. Gjennom sin inngående lytting og grundighet, sin særegne blanding av intuisjon og arbeid, inspirasjon og disiplin, løftet han orkesteret til et nivå det aldri tidligere hadde vært i nærheten av. OFO ble i en periode omtalt som et av de seks beste orkestre i verden. Med Jansons’ hjerteproblemer har vi lenge fryktet for hans livslengde. Under Puccinis La Bohème holdt han på å dø på podiet i Oslo i 1996. Hans far døde faktisk av hjertet, på podiet under en konsert med Hallé Orchestra. Mariss var sønn av den latviske dirigenten Arvid Jansons og hadde jødisk mor, sangeren Iraīda Jansons. Han ble født under krigen, mens moren lå i dekning utenfor Riga, i skjul for nazistene. Som ung studerte han fiolin, bratsj, klaver og direksjon i Leningrad, og kom til å samarbeide tett med Jevgenij Mravinskij, som ledet Leningrad-filharmonien i femti år, 1938–88, og som preget orkesteret i den grad at han – som det ble sagt – kunne få hele fiolingruppen til å spille et svakere pianissimo enn én enkelt fiolin kunne makte alene! Jansons ble selv en orkesterbygger, og det er derfor dobbelt sørgelig at han senere så seg nødt til å forlate Oslo. I Wien studerte Jansons direksjon med Hans Swarowsky, som ledet dirigentklassen ved Wiener Musikakademie helt fra krigens slutt i 1946 og til 1975. Swarowsky var elev av komponistene Schönberg og Webern, og ble lærer for en dirigentgenerasjon som omfattet Zubin Mehta, Claudio Abbado, Ivàn Fischer, Peter Schneider og Giuseppe Sinopoli. Det er litt av noen navn. Med sine idealer om "Werktreue", presisjon og saklighet var Swarowsky preget av etterkrigstidens nøkterne stil, i en reaksjon mot det man oppfattet som "romantiske" overdrivelser med subjektiv frasering og tempofluktuasjoner. Jansons gikk imidlertid videre og ble en langt mer betydelig dirigent enn sin lærer, mykere og varmere i klang og mer fleksibel i artikulasjon. Han lærte mye under studiene med Herbert von Karajan i Salzburg, men ble helt og fullt seg selv. Mariss ble selv lærer for en rad med vesentlige dirigenter, blant annet latviske Andris Nelsons, og la stor intensitet i arbeidet med yngre musikere og ungdomssymfoniorkestre i Europa. Mariss Jansons kom aldri tilbake til Oslo-Filharmonien, heller ikke i jubileumsåret 2019. Han sa nei. Skuffelsene fra sist lå nok tungt over ham. Han var sjefdirigent for Pittburgh SO fra 1997, og fra 2004 overtok han Concertgebouworkest i Amsterdam etter Riccardo Chailly. Samtidig ble han sjefdirigent for Sinfonieorchester des Bayerischen Rundfunks i München (i tradisjonen fra Eugen Jochum, Colin Davis, Rafael Kubelik og Lorin Maazel). Han ledet dermed to av de viktigste orkestrene i Europa, og han gjorde det på et nivå som ytterligere styrket deres posisjon. Så hva har vi med oss videre, fra Mariss-epoken i norsk musikkliv? Vi har ettervirkningene, med et OFO som fortsatt er et orkester i toppklasse. Nivået har flere av etterfølgerne til Jansons ivaretatt og videreutviklet, ikke minst Jukka-Pekka Saraste, etter mitt syn. Vi har Jansons’ plateinnspillinger med OFO. De rager, ikke minst innen hans sentrale repertoar, med Tsjajkovskij, Sjostakovitsj, Mahler. Orkesterkonserter er

• Devine, Kyle (2019, 28. november). UiO-forsker: Musikkstrømming er enda verre for miljøet enn CD-platen. [Internett].  Ballade.
• Devine, Kyle (2019, 03. oktober). Ohne Energie und Arbeit könnte es Streaming nicht geben.  SPEX—Magazin für Popkultur.
• Devine, Kyle (2019, 17. november). Derfor er strømming en miljøversting.  Dagbladet.
• Kraugerud, Emil (2019). The acousmatic intimacy of domestic spatialities.
• Hagen, Anja Nylund (2019, 03. desember). Hva definerer musikken på 2010-tallet?. [Radio].  NRK, P2. 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..
• Jensenius, Alexander Refsum & Jørgensen, Paul Arvid (2019, 18. november). Kulturstripa: Musikken som beveger. [Radio].  NRK P2. Vis sammendrag

  Er du av typen som berre må danse når du høyrer ein viss type musikk? Paul Arvid Jørgensen har møtt ein forskar som ser på om vi menneske er fødd med dansefot, og om ein type musikk fører til meir rørsle enn en annan.

• Danielsen, Anne (2019). Glitched and Warped: Shaping the “Beat Bin” in Contemporary African-American Popular Music.
• Danielsen, Anne (2019). Erfaringer fra SFF IV..
• Kelkar, Tejaswinee (2019). Computational Analysis of Melodic Contour and Body Movement. Fulltekst i vitenarkiv. Vis sammendrag

  The aim of this dissertation is to understand the role of embodiment in melodic contour perception. In other words, it studies how we move our bodies in response to music. Melodies play an important role in both speech and music. This thesis consists of two parts, the first part being a background section discussing the theoretical motivations and methods used. The second part is a collection of four articles. Each of the articles explores a dimension of melodic contour: verticality, motion metaphors, body use, and multi-feature correlational analysis. The empirical work is based on sound-tracing as an experimental paradigm. This brings together the multimodal mappings of pitched sound, gestural imagery evoked by these sounds, and defining geometries of these contours. Two sound-tracing experiments were conducted, resulting in three datasets that have been used in the analyses. In the experiments, participants listened to 16 melodies from four different genres: operatic vocalise, jazz scatting, North-Indian singing, and Sámi joik. The participants listened to each melody twice, the first time standing still, and the second time ``drawing'' the sounds in the air. Infrared motion capture was used to record the participants' body movement, and the analysis is focused primarily on the movement of their hands. The sound analysis is based on signal processing algorithms for pitch detection and methods for contour representation. Cross-correlation of the data is performed using a range of methods from statistical hypothesis testing to canonical correlation analysis. The analysis reveals that although there is a natural propensity to describe pitches in terms of the vertical dimension, the experimental data do not clearly show such an association. Average profiles of movement responses to melodies have an arch-like representation, regardless of the contour of the melody. Spatial height is associated more with relative pitch in the melodic context traced, rather than an absolute pitch scale. In addition, movement indicating metaphoric representation of sound was used more often by participants.

• Becker, Artur; Herrebrøden, Henrik; Gonzalez Sanchez, Victor Evaristo; Nymoen, Kristian; Dal Sasso Freitas, Carla Maria; Tørresen, Jim & Jensenius, Alexander Refsum (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data. Vis sammendrag

  We present an approach to analyzing the motion capture data ofrowers using bivariate functional principal component analysis(bfPCA). The method has been applied on data from six elite rowersrowing on an ergometer. The analyses of the upper and lower bodycoordination during the rowing cycle revealed significant differences between the rowers, even though the data was normalized toaccount for differences in body dimensions. We make an argumentfor the use of bfPCA and other functional data analysis methods forthe quantitative evaluation and description of technique in sports.

• Gonzalez Sanchez, Victor Evaristo (2019). Toward a Generic Measure of Fluency. Vis sammendrag

  Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements.

• Gonzalez Sanchez, Victor Evaristo (2019). MICRO: Human Bodily Micromotion in Music Perception and Interaction. Vis sammendrag

  This talk will highlight links between music and human movement, aiming at providing insight into crucial aspects of human perception, cognition, and sensorimotor systems. It will analyze responses to a wide range of music and sound features, exploiting concepts such as the groove, embodied music cognition, and entrainment. Victor will be glad to discuss potential implications of movement-analysis research for embodiment perspectives on technologically enabled conceptual learning.

• Gonzalez Sanchez, Victor Evaristo (2019). Characterizing Movement Fluency in Musical Performance. Vis sammendrag

  Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements.

• 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.

• Sørbø, Solveig Isis; Good, Matthew & Jensenius, Alexander Refsum (2019). RITMO + UB = MusicLab. Vis sammendrag

  MusicLab er et samarbeidsprosjekt mellom UB og RITMO og en pilot på åpen forskning ved UiO. Konseptet kombinerer live musikk, live forskning og vitenskapsformidling. Det er mye vi har fått til med MusicLab, men i slikt nybrottsarbeid støter man også på nye typer utfordringer. Hvor langt kan man trekke åpenheten?

• 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.

• Enli, Gunn & Jensenius, Alexander Refsum (2019). Mikroutdanninger gir nye muligheter for videreutdanning. Uniforum.  ISSN 1891-5825.
• Jensenius, Alexander Refsum (2019). Scientific Computing Use Case: RITMO.
• Eriksen, Asbjørn Øfsthus (2019). Grieg in Rachmaninoff's music: similarities and influences.
• Høffding, Simon (2019). Sammen i Musikken: Fri improvisation som unik social begivenhed.
• Høffding, Simon (2019). At a distance from myself – on the phenomenology of hyper reflection and ex-static musical absorption.
• Jensenius, Alexander Refsum (2019). Lecture-demo: Music-Related Micromotion. Vis sammendrag

  This presentation will summarize findings from my research into music-related micromotion. This includes the smallest human motion that we can perform and perceive, typically measured at at a scale of millimeters. We have carried out a series of studies of such micromotion, in which people have been asked to try to stand still on the floor, both in silence and with (musical) sound. By measuring their bodily responses with different types of motion tracking and physiological devices we find a number of similarities between people's quantity and quality of motion. This has been the starting point for exploring the use of micromotion in musical practice, what I call 'sonic microinteraction'. This includes standstill performances with interactive sound and light. It also includes several installations with our ensemble of self-playing guitars. These are hybrid instruments, using digital sound-production through acoustically resonating guitars. They are controlled through inverse microinteraction, meaning that you need to focus on standing still to produce any sound. This challenges our traditional understanding of the affordance of musical instruments, and opens for both artistically and scientifically interesting perspectives.

• Jensenius, Alexander Refsum (2019). Sound actions: An embodied approach to a digital organology. Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Jensenius, Alexander Refsum (2019). Sound actions: An embodied approach to a digital organology. Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• 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.
• Høffding, Simon (2019). What do expert musicians perceive when they perform? Phenomenological Explorations.
• Høffding, Simon; Wallot, Sebastian & Roepstorff, Andreas (2019). The Danish String Quartet: Absorption and Interaction.
• Høffding, Simon (2019). Phenomenological interviews.
• Høffding, Simon (2019). Informing phenomenology through interviews: Dreyfus’ experts and musical virtuosos.
• Høffding, Simon (2019). Musical Empathy and expert automaticity: Applying phenomenology to Music performance.
• Westner, Britta; Andersen, Lau Møller; Blenkmann, Alejandro Omar & Leske, Sabine Liliana (2019). RITMO International EEG FieldTrip workshop, Lectures and Hands-on sessions.
• Leske, Sabine Liliana (2019). Oscillations and their functional relevance and Experimental design issues in EEG studies investigating oscillations.
• 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, 05. september). 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, 21. september). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio].  ABC Radio Perth, Australia.
• Sioros, George & Danielsen, Anne (2019). How do Rhythmic Features Affect our Movement?.
• Jensenius, Alexander Refsum (2019). Hvordan fremme tverrfaglighet?.
• 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.
• Jensenius, Alexander Refsum (2019). Hva kan kroppslig stillstand si om opplevelsen av musikk?.
• Jones, Ellis Nathaniel & Hyland, Patrick (2019). Negotiating conceptions of “lo-fi” authenticity in collaborative work.
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). Bandcamp and SoundCloud as alternative music platforms.
• Jones, Ellis Nathaniel (2019). Book Review: Spotify Teardown: Inside the Black Box of Streaming Music. Convergence. The International Journal of Research into New Media Technologies.  ISSN 1354-8565.  25(4), s 782- 785 . doi: https://doi.org/10.1177/1354856519854204
• Brøvig-Hanssen, Ragnhild (2019). Presentation of MASHED; TIME; and MusFrag.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Dual-Planed Temporality.
• Brøvig-Hanssen, Ragnhild (2019). Mashup and Parody.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal chops and Rhythm.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Pleasure.
• Sioros, George; Câmara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian (2019). Timing and drummers’ movement: A novel methodology for performance analysis. Vis sammendrag

  Timing is an important aspect of groove music. The relationship between musicians’ body motion in performance and timing is, however, as yet not well understood Timing and drummers’ movement: A novel methodology for performance analysis . In the present study we recorded movement of 20 drummers performing the same rhythmic pattern under four different timing instructions: natural, on- the-beat, laid-back and pushed. Motion capture data synchronized to audio recordings of their performances were collected as part of a larger experimental project. This presentation focuses on our method for analyzing motion capture data. The aim of the analysis is a) to identify common movement strategies for sub-groups of drummers, and b) to identify strategies for achieving the four different timing conditions across drummers. In this presentation we focus on the movement of the left arm, and particularly on the preparation and rebound phase of the snare strokes. To explore and analyze the data without statistically testing a priori hypotheses about specific performance techniques, we combined existing practices from different disciplines into a novel methodology. First, we reduce the data into motion templates (Müller and Röder 2006). We design a set of 22 binary features to describe the movement of the arm. Second, we perform a phylogenetic analysis of the motion templates, in which we identify clusters within each timing condition. A comparison between clusters reveals differences in the coordination of the participants’ movements that correspond to the different performance strategies. Preliminary analysis has shown distinct clusters within all timing conditions that differ in specific features. For instance, we observe three groups of participants within the “natural” condition that differ in the flexion of the wrist and elbow. Besides our findings we will present the details of the methodology, which can be applied in the study of music-related movements beyond the scope of this project.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). Does moderate syncopation increase groove? The answer depends on the syncopation pattern. Vis sammendrag

  Recent research points towards a relation between syncopation and groove (Witek et al., 2014; Madison and Sioros, 2014), i.e. the pleasurable sensation of wanting to move to music (Janata et al., 2012). We aimed at confirming the inverted-U shape relation found in previous research, using more controlled music examples (MEs). To this end, we asked twenty-seven participants to listen to and rate variations of MEs that only differ in their syncopation. Ten short funk and rock loops consisting of drums, bass and keyboards were algorithmically transformed (Sioros and Guedes, 2014) to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 25% (roughly equal amount to the original), 50%, and 70%. The MEs were produced using professional sound samples. The participants rated the groove of the original versions higher than all the transformed versions, including the version with a similar amount of algorithmic syncopation, while the 50% and 70% versions had the lowest scores. Statistically significant differences were observed between 1) the original and the rest, and 2) the 25% and the 50% and 70%, but not between the 25% and the deadpan. To understand this result, we compared the original and algorithmic syncopation. Our findings include: 1) The algorithmic syncopation is relatively uniformly distributed. In contrast, the original versions have less syncopated drums with almost no syncopated hi-hats. Certain metrical positions in the drums are never syncopated, e.g. the back-beat snare. 2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style (Danielsen, 2006). 3) The micro-timing alignment of sounds differs between versions. This experiment concludes that groove is increased by syncopation, however, not every pattern will do. Our analysis calls attention to the complex nature of syncopation and its possible dependence on structural factors.

• Sioros, George; Madison, Guy; Cocharro, Diogo; Danielsen, Anne & Gouyon, Fabien (2019). The relation between groove and syncopation is intricate – not any pattern will do. Vis sammendrag

  Groove is the pleasurable sensation of wanting to move to music. A series of studies has attempted to understand the function of this phenomenon by examining its relation to physical properties in the sound signal and found, among other things, that groove increases at optimal levels of syncopation. Here, we tested if the amount of syncopation is the critical factor, rather than the specific pattern of notes that are syncopated. To this end, our algorithm transformed ten short funk and rock loops consisting of drums, bass and keyboards to 1) remove the original syncopation, and 2) introduce various amounts of new syncopation: 0%, 25% (similar amount to the original), 50%, and 70%. All the examples were produced using profes- sional sound samples and were rated by 27 listeners. The ratings were highest for the original versions, next highest for the 0 and 25% versions, and lowest for 50% and 70% versions, with statistically significant differences between the original and the rest, and the 25% and the 50% and 70%, but not between the 0% and 25%. Apparently, our algorithm failed to recreate the groove of the original music. Comparing the origi- nal and algorithmic syncopation we found: (1) The algorithmic syncopation is relatively uniformly distributed across the instruments, while the original versions have less syncopated drums with almost no syncopated hi-hats, and the back-beat snare never syncopated. (2) The original syncopation forms more and longer cross-rhythmic or metrically shifted patterns, as often encountered in the funk style. (3) Differences in the micro-timing alignment of sounds. In conclusion, groove is greatly increased by syncopation; although, not necessarily by syncopation per se, as the results point to several structural factors that may be important and can be further tested and add to our understanding of the functional properties that underlie the sensation of groove.

• 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)

• Câmara, Guilherme Schmidt; Nymoen, Kristian & Danielsen, Anne (2019). Timing is Everything... Or is it? Part II: Effects of Instructed Timing Style and Timing Reference on Drum-Kit Sound in Groove Performance.
• Câmara, Guilherme Schmidt; Nymoen, Kristian; Lartillot, Olivier & Danielsen, Anne (2019). Timing is Everything... Or is it? Part I: Effects of Instructed Timing and Reference on Guitar and Bass Sound in Groove Performance.
• Lartillot, Olivier (2019). Computational analysis of tempo and metre: from signal processing to cognitive musicology. Vis sammendrag

  Computational models for the analysis of tempo, metre and the tracking of beats have made significant progress during the last decades. I first present a synthetic overview of the state of the art. Up to recently, classical approaches were based on signal processing, with the integration of heuristics based on assumptions related to music perception and cognition. The standard approach is to first detect percussive events through the establishment of an accentuation curve, followed by periodicity detection, and the construction and tracking of meter. Because rhythmic emphasis can develop on various metrical levels across time, it is necessary to track the metrical structure on multiple levels. I show the benefit of such detailed analysis with the use of a model I have developed, and which obtained one of the highest grades in the MIREX tempo estimation competition. New approaches based on deep learning have achieved impressive progress and have largely surpassed signal-processing-based approached (including mine) in the recent yearly editions of MIREX. One limitation of these approaches, at least in their current stages, is that they appear as black boxes able to imitate a particular behaviour for which they were trained on particular examples. As such, they hardly offer insight on the cognitive mechanisms underlying the perception of metre. I will discuss the limitations of signal processing approaches and highlight the complexity of the musical structure. Pulsation in music is not always expressed through a periodic repetition of percussive events, but may emerge from a subtle propagation of motivic or harmonic structures. I present an approach under development that models the different components of music analysis and combine them altogether, extending further Lerdahl and Jackendoff’s vision. Motivic repetition, which plays a core role, is also one of the dimensions that is the most difficult to model and automate.

• Danielsen, Anne (2019). Hvor er egentlig beatet? Rytme og timing i rytmisk musikk.
• 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)

• Alarcón Diaz, Ximena & Jensenius, Alexander Refsum (2019). "Ellos no están entendiendo nada" ("They are not understanding anything"): Listening to Embodied Memories of Colombian Migrant Women Reflecting on Conflict and Migration. Vis sammendrag

  Exploring the role of the body as an interface that keeps memory of place, INTIMAL physical-virtual “embodied” system, integrates body movement, voice, and an oral archive, as an artistic platform for relational listening (Alarcón, 2019), using networking technologies for telematic sonic improvisatory performances, in the context of geographical migration. INTIMAL has been informed by a case study with nine Colombian migrant women in Europe, listening to their migrations, and to an oral archive with testimonies of conflict and migration by other Colombian migrant women.1 The first two interfaces created for the system: MEMENTO (a spoken word retrieval system), and RESPIRO (for transmission and sonification of breathing data), have been tested by the research participants in a telematic sonic improvisatory public improvisatory performance between the cities of Oslo, Barcelona, and London. In the performance, proposed as a shared dream, a “complex narrative” (Grishakova & Poulaki, 2019) emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged—including body movement, voice, spoken word, and breathing—establishing connections between gendered migration, and Colombian conflict. We reflect on how distributed improvisatory embodied expression, and relational listening through technological mediations, aids the process of collective remembering (Wertsch, 2001), in a complex context of conflict and migration.

• Hui, Alan (2019). IPTrollet blog: After the Kraftwerk ruling: Narrower limitations and exceptions for EU and EEA?. Vis sammendrag

  The recent EU Court of Justice’s preliminary ruling in the Kraftwerk case (Pelham v Hütter, C-476/17) clarifies the nature and scope of exceptions and limitations in the EU, and the EOS (EEA) by virtue of the EFTA. Here, we delve deeper into implications for limitations and exceptions beyond remixes and consider how the this ruling should be read with other authorities.

• Sørbø, Solveig Isis; Bentham, John; Watson, Pia; Lartillot, Olivier; Gonzalez Sanchez, Victor Evaristo & González, María Isabel (2019). Aether Trouble. Vis sammendrag

  Music video for "Aether Trouble" by PYSJ. With: Pia Watson Víctor González (RITMO*) Torgeir Koppang (PYSJ) Solveig Sørbø (PYSJ) Cinematography: John Bentham Camera Operators: Morten Malerstuen (camera and additional cinematography) Kristoffer Haugen Lighting: Nicholas Blakstad Andresen Morten Malerstuen Breath data collection (using FLOW* by SweetZpot): Víctor González, RITMO* Visualization of breath data and audio: MIRAGE* and MIRtoolbox by Olivier Lartillot, RITMO* Editing: María Isabel González Story / Concept: Solveig Sørbø Olivier Lartillot Pia Watson Directed by: John Bentham Solveig Sørbø Consultant: Nicholas Blakstad Andresen Produced by: Solveig Sørbø Extras: The dogs Vips and Willy Special thanks: Sagar Sen Naín Mendoza Fonseca Turid Svensøy SweetZpot RITMO* Workaway.info Filter Musikk Thanks to F21 for letting us use their studio MUSIC: Find the audio track on your plattform of choice: https://fanlink.to/aether Find the audio track on your plattform of choice: https://fanlink.to/aether Aether Trouble by PYSJ Written by: Solveig Sørbø Performed by PYSJ Solveig Sørbø Torgeir Koppang Andreas Rødland Haga Stig Frogner Mixing: Stig Frogner Mastering: Björn Engelmann / The Cutting Room Production: Solveig Sørbø * RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo. This work was partially supported by the Research Council of Norway through its Centres of Excellence scheme, project number 262762. * Learn more about the visualization technologies on the MIRAGE project website: http://bit.ly/MirageProject * Data was collected using FLOW™ sensors from SweetZpot. For more information about this technology see: https://www.sweetzpot.com/flow

• Jensenius, Alexander Refsum (2019). Ett år med MCT-programmet ved IMV.
• Jensenius, Alexander Refsum (2019). Å stå stille. [www ].
• Hui, Alan; Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2019). Grey Tuesday (Musikk I gråsonen). Vis sammendrag

  Hva betyr kreativitet og originalitet, og hvem definerer disse begrepene? Hva er de konkrete konsekvensene av mangel på en konseptuell klarhet på kreativitet og originalitet? Dette er spørsmålene som interesserer forskergruppen MASHED. For å forsøke å besvare disse spørsmålene skal forskergruppen se på Mashups. Mashups er en musikksjanger som kombinerer og redigerer annen innspilt musikk til et nytt, og avhengig av hvem du spør, unikt lydspor. Dette kan gjøres ved å kombinere vokalspor fra én innspilling med instrumentalspor fra en annen til en A+B-Mashup, eller ved å kombinere vokal- og instrumentalspor fra flere innspillinger til en Megamix-Mashups. Sosiale media plattformers implementering av algoritmiske reguleringsverktøy har fornyet den langvarige debatten om hvordan en slik musikalsk lånekultur kan forsvares juridisk og hvordan dette påvirker ytringsfriheten. Programutvalget ved Institutt for musikkvitenskap inviterer Ragnhild Brøvig-Hanssen, Ellis N. Jones og Alan Hui til en åpen samtale om Mashup-musikk, opphavsrett, kreativitet og originalitet. Etter samtalen vil det være åpent for spørsmål fra salen.

• Hui, Alan (2019). Platform regulation of mashup makers in a post-Brexit UK. Vis sammendrag

  Over one decade ago, Lawrence Lessig described how the Apple had removed mashup maker Girl Talk’s album Night Ripper from iTunes (Lessig, 2008). He yearned for copyright laws that encouraged Girl Talk and other participants in Read/Write culture to create and re-create the culture around them. Instead, he saw copyright wars reinforcing Read/Only culture, espousing a system where professionals create and amateurs consume. He argued that Read/Write culture could only flourish under different regulation. A decade on, Night Ripper is now available on iTunes, Spotify, Amazon Music and other platforms. And mashups, GIFs and memes are commonplace across platforms. But have we come close to the system Lessig envisioned? This paper considers the regulatory landscape that mashup makers traverse on contemporary music platforms. It considers platform regulation in the context of UK copyright laws and the uncertain relationship between UK and EU law in post-Brexit UK. It sketches the scale and scope of regulation of mashups, as part of Read/Write culture. It observes the rise of UK regulation ostensibly targeting Read/Only culture, and questions whether mashups have again been the innocent bystander. Recent UK copyright enforcement measures include a UK domain registrar suspending the Sowndhaus mashup website (Maxwell 2017), and courts ordering internet service providers to block websites hosting torrents and unauthorised live-streaming. The threat of enforcement also led to Google Search and Microsoft Bing removing copyright-infringing search results under a Code of Practice. The UK has also introduced copyright exceptions for quotation, parody, pastiche and caricature which permit some Read/Write uses. How have these regulatory mechanisms worked in tandem? This paper argues that content ID systems, ostensibly designed to tackle Read/Only infringement, also regulate mashups and other Read/Write culture. Content ID systems such as Zefr and Dubset have become commonplace and influential across music and social media platforms, but received less attention in literature than platforms such as YouTube and Spotify (Vaidhyanathan 2011, Eriksson et al. 2019). It considers how the recently passed EU Copyright Directive may affect music licensing and amplify the role of content ID systems, both in deterring infringement and safeguarding reliance on copyright exceptions. Does the directive mark a change in regulation to ‘licence first, ask questions later’ (Erikson 2019)? If so, how might content ID systems evolve to enable licencing agreements? Alternatively, does the directive establish stronger rights to quote and make parodies, and therefore aid the making of mashups? Finally, the paper adapts Vaidhyanathan’s concept of ‘trust bias’ from search engines to content platforms (Vaidhyanathan 2011). Does the availability of mashups on content platforms contribute to user trust of suggestions, playlists and ranked search results? Should mashup makers and mashup communities trust content platforms, despite concerns over streaming royalties, opaque content moderation outcomes, and the complexity of copyright? With the imminent Brexit or implementation the EU Copyright Directive, I consider possible futures for platform regulation of music. If courts no longer oversee website blocking decisions, or content platforms are required by law to moderate content, how does this affect systems of trust?

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019, 06. september). 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.

• Hagen, Maren Kvamme & Danielsen, Anne (2019, 01. september). Ein hest og ei landeplage. [Internett].  nrk.no.
• 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.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019, 23. august). Rapkjefta - episode 2. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Samfunnet Bislet 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Byfest Kongsvinger 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Verksøya 2019.
• Holbrook, Ulf A. S. (2019). City Dwellers II. Vis sammendrag

  I City Dwellers II møter vi et hundretalls stemmer i et prosjekt som undersøker sceneteksten som et potensielt "thirdspace", et omsluttende rom der flere tider, hendelser og forløp kan pågå samtidig.

• 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, 19. august). The World Remade. [Internett].  Reasonably Sound (podcast).
• Hagen, Anja Nylund (2019, 11. august). Slik kan Emir (26) leve av musikken: – Men jeg tenkte aldri «oi shit, her kan vi tjene mer penger».  Dagens Næringsliv.
• Hagen, Anja Nylund (2019, 15. august). Thomas Hayes har signert med Sony, skal gi ut musikk.  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, 23. juli). 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. Vis sammendrag

  It has been postulated that empathy and emotional contagion might be some of the fundamental mechanisms through which music induces emotional responses in listeners. Previous studies have reported correlations between questionnaire measures of trait empathy and self-reported intensity of music-induced emotion (particularly in response to sad and tender music), but it is not yet known whether this association only exists at the level of self-report. us, the aim of this study was to investigate the relationship between trait empathy and psychophysiological indices of music-induced emotion. Fi y-four participants heard 10 1-minute music excerpts representing ve di erent emotions (sad, happy, scary, tender, and neutral). For each excerpt, participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales (happy, tender, peaceful, moved, anxious, and energetic). In addition, participants’ electrodermal activity and heart rate variability (HRV) were measured. Trait empathy was measured using the Interpersonal Reactivity Index (Davis, 1980). Trait empathy correlated signi cantly with the mean ratings of overall intensity of felt emotion (averaged across all excerpts; r = .29). Trait empathy also correlated with phasic skin conductance activity in response to sad (r = .28) and tender (r = .33) excerpts, and with high- frequency HRV in response to happy excerpts (r = .36; all p < .05). ese results corroborate previous ndings that have associated trait empathy with the self-reported intensity of music-induced emotions, and provide novel evidence of a similar pattern also on the level of psychophysiology.

• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2019). Everything but the sound: Investigating the relationships between movement features and perceptual ratings of silent music performances. Vis sammendrag

  In musical performance, the gestures and mannerisms of a musician can have a profound impact on the observer’s experience of the music. In this presentation, we investigate to what degree this holds true when presenting participants silent videos of abstracted movement (stick figure animations derived from motion capture data). [P] A pianist and violinist individually performed four pieces (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry and deadpan. The 32 performances were tracked using optical motion capture. Subsequently, participants (piano group: n = 31; violin group: n = 34) viewed the performances as stick-figure animations and provided ratings of perceived happiness, anger, sadness, and tenderness for each performance. [P] From the 3D motion capture data for each performance, we computed variables based on the movements of the head, torso, shoulders, arms and hands. We computed the average velocity, acceleration and jerk of each direction (x, y, z) as well as the norm of the vectors. We compared these features with the averaged perceptual ratings. [P] Correlation analyses revealed that participants were likely to rate a performer’s intention high on happiness and anger when the movements were high in activity (e.g. quick movements, many changes in directions), while the performances were rated high on sadness and tenderness when the movement were low in activity. For both the pianist and the violinist, no single part of the body stood out as correlating more highly with the perceptual ratings than others. [P] The results support past research that the communication of emotional intentions in a musical performance is possible even when viewing the performances without sound and in an abstracted setting. They also indicate that the visual aspects of a performance are experienced as a single gestalt (as opposed to paying attention to individual parts of the body).

• Vuoskoski, Jonna Katariina & Thompson, Marc Richard (2019). The contribution of visual and auditory cues to the perception of emotion in musical performance. Vis sammendrag

  In musical performance, emotional expression emerges from the interplay between the structural features of the music (i.e., the composition) and the expressive efforts of the performer. Previous research has shown that the body movements and gestures of the performer constitute an important source of expressive information, successfully communicating different expressive intentions to audiences. However, it is still un- known whether visual kinematic information about performers’ movements could also modulate perceived emotions. [P] This study aimed to investigate the relative contributions of auditory and visual cues to the communication of emotion in musical performance. A pianist and a violinist performed four short musical passages (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry, and deadpan. The musicians’ movements were tracked using optical motion capture. [P] A total of 90 participants took part in three perceptual experiments, where they rated perceived emotions using four scales. There were four rating conditions: audio-only, video-only (with point-light animations generated from motion capture data), audiovisual, and time-warped audiovisual. In the time-warped condition, motion capture animations from all four expressive conditions were combined and synchronized with the audio of the deadpan performances. [P] Repeated-measures ANOVAs revealed that participants could accurately recognize emotional expressive intentions based on vi- sual information alone. In the audio-only condition, Type of Composition (mean effect size = .40; generalized eta- squared; Bakeman, 2005) accounted for more variance than Expressive Intention (mean effect size = .17) in participants’ emotion ratings. In the audiovisual condition, the difference between mean effect sizes was reduced (Type of Composition = .36; Expressive Intention = .20), indicating that visual kinematic infor- mation enhanced the perceptual salience of expressive intentions. The time-warped audiovisual condition (where animations with different expressive intentions were paired with deadpan audio) also revealed that visual information could modulate perceived emotions.

• Huron, David & Vuoskoski, Jonna Katariina (2019). On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy. Vis sammendrag

  Why do people enjoy listening to nominally sad music? In the first instance, only about half the population reports enjoying sad music (Garrido & Schubert, 2011; Taruffi & Koelsch, 2014). Such individual variability suggests that either culture, experience, and/or personal trait factors play a decisive role in the seemingly paradoxical phenomenon of sad-music enjoyment. Recent experiments implicate trait empathy. Specifically, those listeners who most enjoy sad music typically score high on ”empathetic concern” (or compassion), with nominal ”personal distress” (or commiseration) (Eerola, et al., 2016; Kawakami & Katahira, 2015; Sattmann & Parncutt, 2018; Vuoskoski & Eerola, 2017). That is, when encountering sadness-related stimuli, sad- music lovers are more likely to experience pity or compassion rather than an emotional contagion of evoked sadness or commiseration. The authors review literature implicating compassion as a positively valenced affect. Neuroimagining studies show that altruistic thoughts alone are sufficient to activate regions of the medial forebrain pleasure circuit (Harbaugh, Mayr & Burghart, 2007; Izuma, Saito, & Sadato, 2008). Since compassion is a precursor affect intended to motivate altruistic behaviors, compassion must also be pos- itively valenced. In this regard, the pleasure of compassion conforms to classic research on dopamine function, where over time, dopamine rewards shift from consummatory behaviors to anticipatory behaviors (Berridge & Robinson, 1998; Gebauer, et al., 2012; Weiss, et al., 1993). Overall, Pleasurable Compassion Theory suggests that sad-music lovers experience only moderate levels of “I feel your pain” but high levels of “I feel sympathy for you.” If compassion is a positively valenced affect, then high levels of sympathy, pity, or compassion will produce a broadly pleasurable experience. Finally, Pleasureable Compassion Theory is shown to avoid a number of classic pitfalls identified by aesthetic philosophers when accounting for the paradox of negative emotions in the arts (e.g., Levison, 2013).

• Godøy, Rolf Inge (2019). Music and Body Motion. Vis sammendrag

  How, and to what extent, is our experience of music influenced by the body motion of the musicians, both those we can see and those we can only imagine? Could it be that music is just as much a matter of choreogrphy as a matter of sound?

• Rygg Haanaes, Øystein & Bradley, Catherine (2019, 29. juli). 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.
• Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, György (2019). Digital Warmth: The Retro in Digital.
• 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.
• Høffding, Simon (2019). Hvad er musikalsk fordybelse?.
• Høffding, Simon (2019). Grounding Enactivism - Review of Dan Hutto and Erik Myin, Evolving Enactivism (2017, MIT press); Shaun Gallagher, Enactivist Interventions (2017, Oxford University Press); Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. Barandiaran, Sensorimotor Life (2017, Oxford University Press). Philosophy.  ISSN 0031-8191. . doi: 10.1017/S0031819119000044
• Devine, Kyle; Brennan, Matt & Collinson Scott, Jo (2019). The Cost of Music.
• Devine, Kyle (2019, 13. juli). E-mails, applications mobiles, centres de données : le numérique, un véritable glouton énergétique. [Internett].  L'Orient-Le Jour.
• Devine, Kyle (2019, 15. juli). The Internet’s Carbon Footprint. [Internett].  IRL: Online Life is Real Podcast.
• Devine, Kyle (2019, 28. juli). Vinyle ou streaming : quel support musical pollue le plus la planète ?. [Internett].  Télérama.
• Jensenius, Alexander Refsum (2019). Music Technology Developments at University of Oslo.
• Gonzalez Sanchez, Victor Evaristo; Herrebrøden, Henrik; Olimstad, Jostein & Jensenius, Alexander Refsum (2019). Effects of acoustic pacing on the smoothness of rowing movements. Vis sammendrag

  The influence of acoustic stimuli and feedback in sport has been explored as means of optimizing technique, in particular during training. Interactive and adaptive acoustic systems have been evaluated for rowing, with results showing a significant increase in boat velocity. However, assessment of the effects of acoustic feedback and pacing in the technical aspects of rowing is still scarce. Previous studies on the smoothness of the stroke force profile have shown that smoothness metrics can qualitatively reflect movement coordination. In this study, we quantify and compare hand movement smoothness from rowers performing under three acoustic conditions: silence, verbal instructions, and acoustic pacing.

• Nielsen, Nanette (2019). Alfred Hitchcock og Bernard Herrmann: mestere i spenning. Z filmtidsskrift.  ISSN 0800-1464.  (2)
• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Jensenius, Alexander Refsum (2019, 01. juli). Reflections from a Carpentries Train the Trainer Workshop. [Fagblad].  Carpentries.org. Vis sammendrag

  In this post, Alexander Refsum Jensenius shares thoughts and takeaways from a recent Train the Trainer Workshop

• Kjus, Yngvar (2019). Is streaming streamlining copyright in music?.
• Haugen, Mari Romarheim; Johansson, Mats Sigvard & Lartillot, Olivier (2019). Investigating rhythm production and perception in traditional scandinavian dance music in non-isochronous meter: A case study of norwegian telespringar.
• Brøvig-Hanssen, Ragnhild (2019). Humor, Parody and Mashups. Vis sammendrag

  Due to the affordances of new digital technology and user-generated Internet platforms, we have, during the last decade, witnessed an explosion of remixes, here understood broadly as works based on prior material. One such remix is mashup music, which primarily relies on the editing and combining of recognizable popular songs. In this paper I argue that while the dominating theories of humor and parody are focusing on verbal puns and/or literary texts, they prove useful to the study of audiovisual musical remixes, such as mashups. Mashups often seek to exploit an incongruity between the mashed tracks in a way that associates them despite their divergences. As such, they are often constructed in a manner reminiscent of linguistic jokes as theorized by Raskin (1985), Attardo & Raskin (1991), and Veatch (1998), among others. Yet, the incongruity and congruity/resolution factors are in these audiovisual mashups distributed differently than in literary jokes. I further argue that mashups conforms to the concept of parody as theorized by, among others, Hutcheon (2000) and Rose (1993). I then use mashup music as a lens through which to consider the much-debated relationship between humor and parody.

• Erdem, Cagri & Saga, Yuki (2019). Meeting Yuki Saga.
• Høffding, Simon (2019). Kvalitativ forskning og fænomenologi tur-retur.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019, 14. juni). Rapkjefta - episode 1. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Rokken.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Strynefestivalen 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Walderhaug, Bendik; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist Sommerfest // Rockefeller // Legendiske gjester.
• Hagen, Anja Nylund (2019). En lesning av Engasjement og arrangement: Ei utgreiing om konsertarrangørar.
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to find place, breathing to feel presence. Vis sammendrag

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Støckert, Robin; Jensenius, Alexander Refsum; Xambo Sedo, Anna & Brandtsegg, Øyvind (2019). A case study in learning spaces for physical-virtual two-campus interaction. Vis sammendrag

  Norwegian University of Science and Technology (NTNU) Teaching Excellence is an integrated and wide-ranging initiative aimed at helping NTNU to achieve its goal to providing education characterized by quality at a high international level. The initiative consists of a portfolio of development measures, with the purpose to develop innovative approaches to learning, teaching and assessment. SALTO (Student Active Learning in a Two campus Organization) is one of the development projects founded for the period 2018-2020. The project is based on a study where the students are divided into two campuses. The aim is to develop effective pedagogy with activity at both campuses at the same time, with particular emphasis on interaction, resource sharing and communication/collaboration. The project aims to allow students and teachers to explore educational, methodological, and technological solutions together. A new joint master's program in "Music, Communication and Technology" (MCT) between NTNU and University in Oslo (UiO), constitutes the framework for the SALTO project. The common pedagogy, technology and shared learning space between the two Universities, is hereafter defined as the Portal. SALTO will utilize the MCT Portal as an arena/living lab to evolve and optimize student active learning scenarios. In this paper, we elaborate on the issues, challenges and potential with three different scenarios, which emerged during the first 6 months of the project: (1) The Opening Ceremony between NTNU and UiO, with a combo of talks and performance. (2) A live Christmas concert connecting two high schools 500 km apart (Trondheim-Oslo). (3) An intense cross-university course with a combo of preparations, lectures and hands-on exercises.

• Holbrook, Ulf A. S. (2019). Forest Glade.
• Holbrook, Ulf A. S. (2019). Tessellation Rift. Vis sammendrag

  Is there an inside and an outside of a sound? "Tessallation rift” is a 3D, higher order ambisonics acousmatic composition which explores the internal/external problematic of sounds. Ordinarily, sounds arrive at our ears from a source located outside of ourselves, from our surrounding environment. Is there a way in which we can not just listen to the sound but in the sound? This piece explores the rich multiplicity of sounds and spaces.

• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Parkour.
• Oddekalv, Kjell Andreas (2019). Surrender to the flow – rhyme as the defining structural element in rap.
• Oddekalv, Kjell Andreas (2019). The urge to «clean up» the rap: rhythm and plasticity in rap music.
• 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. . doi: https://theconversation.com/music-streaming-has-a-far-worse-carbon-footprint-than-the-heyday-of-records-and-cds-new-findings-114944
• Devine, Kyle (2019, 09. april). Real Cost of Streaming. [Radio].  Cape Talk (South Africa).
• Devine, Kyle (2019, 21. april). Noise pollution: What you need to know about the carbon footprint of streaming music. [Internett].  Canadian Broadcasting Corporation.
• Devine, Kyle (2019, 09. april). Streaming Music Shamed for its Inadvertent Carbon Output. [Internett].  Gizmodo.
• Devine, Kyle (2019, 08. april). 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; Ojeda, Myriam; Scott, Bruna; A, Juliana & A, LaChiki (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). Taller INTIMAL London. Vis sammendrag

  El taller INTIMAL, dedicado a mujeres Colombianas, para escuchar a nuestras migraciones, y respirar juntas. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otras, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Sábado 4 de Mayo Hora: 11am a 4pm Lugar: Iklectik Art Lab, London ‘Old Paradise Yard’ 20 Carlisle Lane (Royal Street corner) next to Archbishop’s Park. SE1 7LG Almuerzo incluido.

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

  El taller INTIMAL, dedicado a mujeres Colombianas, y abierto a Colombianxs con identidades no binarias, para escuchar a nuestras migraciones, y respirar juntxs. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otrxs, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Domingo 28 de Abril Hora: 11am a 4pm Lugar: Melahuset, Mariboes gate 8, 0183 Oslo Almuerzo incluido. Inscríbete: x.a.diaz@imv.uio.no

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

  El taller INTIMAL, dedicado a mujeres Colombianas y latinoamericanas, para escuchar a nuestras migraciones, y respirar juntas. En este taller, escucharemos de manera profunda a nuestro cuerpo, a las voces de otras, y a nuestros sueños. Introduciré la herramienta INTIMAL para navegar a través de grabaciones sonoras de testimonios de mujeres colombianas migrantes recogidos por la Comisión de la Verdad, Memoria, y Reconciliación de Mujeres Colombianas en Diáspora, y estableceremos improvisaciones de expresión libre con cuerpo, voz y palabra, a partir de esta navegación. El taller tiene cupo limitado y se requiere que las participantes se comprometan a asistir al taller completo. Fecha: Viernes 26 de Abril Hora: 11am a 4pm Lugar: Fundación Phonos, Barcelona Almuerzo incluido.

• Devine, Kyle (2019, 08. april). Emissions From Music Consumption Reach Unprecedented High, Study Shows. [Internett].  Pitchfork.
• Devine, Kyle (2019, 04. juni). Is streaming music worse for the environment than buying CDs and records?. [Internett].  Australian Broadcasting Corporation.
• Devine, Kyle (2019, 23. mai). Is Streaming Music Dangerous to the Environment? One Researcher Is Sounding the Alarm. [Internett].  Rolling Stone.
• Jensenius, Alexander Refsum; Schramm, Rodrigo; Coccioli, Lamberto; Mancini, Clara & Lyons, Michael J. (2019). Ethics at NIME. Vis sammendrag

  This workshop is intended to discuss how we think about and handle research ethics at NIME conferences. A number of NIME papers involved studies on/with humans. Most of these are on volunteering adults, but there are also examples of studies with children, and with patients. We also see an interest in the community to carry out research on/with animals. NIME’s current ethical guidelines do not take these perspectives into account. The Steering Committee therefore sees the need to develop better and more up-to-date ethical guidelines for the conference. This is to create an increased awareness about the needs for ethical considerations in the community, but also as guidelines for reviewers and conference chairs. NIME is proud of being a very heterogeneous community, covering people working in a large number of different scientific disciplines, artistic practices, as well as R&D in the industry. Needless to say, this breadth of perspectives also means that it is difficult to impose the same guidelines on all studies. NIME researchers also have to abide to a number of different regulations at institutional, regional, national, continental and international levels. The workshop will consist of short introductions to some challenges faced when carrying out research on/with humans and animals, in both scientific and artistic contexts. This will be followed by group-based brainstorming and a final plenary discussion.

• Alarcón Diaz, Ximena (2019). INTIMAL Long Distance Improvisation (Telematic Sonic Improvisatory Performance). Oslo-Barcelona-London. Vis sammendrag

  This is an online version of the Long Distance Improvisation (telematic sonic performance) that took place on May 7, 2019, between nine Colombian and Latin American migrant women residing in the cities of Oslo – Barcelona – London. After a year of sharing dreams and listening to their migrations they expressed their Migratory Journeys, and also they responded to oral memory from Colombian Women in Diaspora who they don’t know. Their breathing movement was sonified and amplified in real time in the three cities, as a form of having their embodied presence. This was a shared dream.

• Jensenius, Alexander Refsum; McPherson, Andrew; Xambo Sedo, Anna; Overholt, Dan; Pellerin, Guillaume; Bukvic, Ivica Ico; Fiebrink, Rebecca & Schramm, Rodrigo (2019). Open Research Strategies and Tools in the NIME Community. Vis sammendrag

  This workshop is intended for discussing how we can develop more and better strategies and tools for opening up research processes and results within the NIME community. The development of more openness in research has been in progress for a fairly long time, and has recently received a lot of more political attention through the Plan S initiative, The Declaration on Research Assessment (DORA), EU's Horizon Europe, and so on. The NIME community has been positive to openness since the beginning, but still has not been able to fully explore this within the community. We call for a workshop to discuss how we can move forwards in making the NIME community (even) more open throughout all its activities.

• Lartillot, Olivier (2019). Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches.
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation.
• Hawkins, Stan (2019). Rock Personas and Issues of Vocality.
• Holbrook, Ulf A. S. (2019). The Telephone. Vis sammendrag

  In the summer of 2017 I spent a week in Helsinki. Despite being a city full of the usual traffic noise, it was pretty quiet. A lot of activity was centered around the shopping center Kamppi in the center of the city. In amongst all the buskers and selfie-sticks there was a woman with a portable speaker, a microphone and a message about Jesus. The Telephone is composed for 5th order 3D higher ambisonics, presented in stereo.

• Holbrook, Ulf A. S. (2019). Superimposed Landscape (Lista). Vis sammendrag

  Det er mye som forandrer seg gjennom tid, men ikke alt: 50 år etter at Øivind Brune og Bjørn Krogstad startet den første Sørlandsutstillingen i regi av kunstforeningen i Kristiansand, er Sørlandsutstillingen fremdeles i live. Utstillingen er fremdeles en landsdelsutstilling for Aust-Agder, Vest-Agder og Telemark fylke. Utstillingen baserer seg fremdeles på fri innsendelse. Det søkes fremdeles om deltakelse og juryen velger fremdeles ut hva og hvem som skal være med. Formålet er fremdeles å formidle samtidskunst fra regionen, men det sier seg selv at både kunsten og samtiden har endret seg i løpet av disse 50 årene. 2019 er første gang Sørlandsutstillingen finner sted ene og alene på Lista. Det er første gang utstillingen arrangeres som en landskapsbasert utstilling og det er første og eneste gang utstillingen er 50 år. Når Sørlandets kunstnere skal utfordres på dette med landskap er Lista et godt valg. Det er vanskelig å forestille seg et sted hvor naturen er tydeligere og mer insisterende enn akkurat her. Listalandskapet er unikt. Det er brutalt. Det er mykt. Det er vind. Det er brattere og hardere enn steinene som er hugget av hav. Det er sol, det er idyll. Det er flatere enn havet før det forsvinner i horisonten hvor sørlandet og vår verden slutter. Det er fruktbart og nakent. Det er spor etter krig og ødeleggelse. Det er fullt av liv. Det er i stadig endring, konstant, variabelt. Det må bevares og tas vare på. Det er fylt av galskap, men følger likevel naturens lover. Det er skjørt og trenger omsorg og pleie. Det trenger å bli sett. Det trenger å oppleves. Det trenger at vi tar oss tid. Det trenger at vi beveger oss for å finne le. Det kan ikke forstås, men fortjener likevel at vi gjør vårt beste i å godta nettopp dette. Kunst i landskap er nytt for Sørlandsutstillingen, men det er slettes ikke nytt for Lista. Lista har en lang tradisjon for dette. En tradisjon startet og vedlikeholdt av Alfred Vaagsvold. Sørlandsutstillingens tilstedeværelse på Lista er vanskelig å forestille seg uten denne tradisjonen. Sørlandsutstillingen er stolt av å kunne invitere publikum til å vandre, være og samtidig oppdage både landskapet og kunsten – for første gang, på nytt eller enda en gang. Sørlandsutstillingen vil takke årets jury og samtlige deltakere for en utstilling som er like variert, like mangfoldig og like kontrastfullt som Lista selv.

• Jensenius, Alexander Refsum (2019). Technology and the voice.
• Jensenius, Alexander Refsum (2019). Exploring the Spatiotemporal Matrix in Music-Dance Performance. Vis sammendrag

  I will present the spatiotemporal matrix, a system for categorizing human actions into different spatial and temporal levels: micro, meso, macro. Most regular human actions would be categorized as meso-meso, that is, medium-sized motion within a timespan that fits our short-term memory. Exploring combinations of micro and macro levels in both space and time is challenging, but is also conceptually, practically and artistically interesting. I will show an example of this from the music-dance performance Sverm, and explain how the matrix was informed by my research into the effect of music on the micromotion observed when people try to stand still.

• Alarcón Diaz, Ximena (2019). Talk in Mixtur Festival, Barcelona: INTIMAL: Interfaces for Relational Listening. Body, Memory, Migration, Telematics.
• Alarcón Diaz, Ximena (2019). Keynote Speaker: "INTIMAL: un espacio de escucha relacional para fluir entre fragmentos de memoria, migración y conflicto". Vis sammendrag

  Cuando migramos, experimentamos un cambio radical en nuestra experiencia multisensorial espacial y temporal en el cuerpo (Ahmed, 2000), que influye en la percepción de nosotros mismos y de los demás. Escuchamos de forma sutil y directa cuestiones de género, clase y estigma cultural a través de voces, idiomas y en el entorno acústico circundante; al mismo tiempo, guardamos la memoria de nuestra tierra natal en sonidos, que reflejan o desafían la experiencia en la tierra extranjera. Durante siete años he explorado el espacio intermedio sonoro, con migrantes de todo el mundo, a través de la práctica de la escucha profunda – Deep Listening (Oliveros, 2005) y la improvisación sonora telemática, con palabra hablada y otros sonidos, abriendo espacios para la expresión y conexión entre migrantes y sus narrativas (Alarcón 2014; 2015; 2016; 2017). La escucha profunda envuelve meditaciones, trabajo de sueños y movimiento corporal energético, que nos invitan a disolver las fronteras creadas por identidades fijas que imponen juicios. La mediación tecnológica fortalece las metáforas de migración, ampliando nuestra percepción del tiempo y el espacio, y la posibilidad de establecer diálogos con desconocidos. El trabajo de investigación se convierte en una estrategia artística para unir fragmentos de memorias de lugar, disolver las barreras culturales, permitiendo la expresión de sentimientos de pérdida, y la generación de empatía. En esta charla, hablaré de INTIMAL, un sistema virtual físico “incorporado” para la escucha relacional que integra movimientos del cuerpo, la palabra hablada y la voz, y archivos orales. Investigando las experiencias de escucha de nueve mujeres migrantes colombianas en Londres, Oslo y Barcelona, ​​en el contexto del postconflicto, he integrado métodos de cognición musical del cuerpo (Jensenius, 2018), para observar la expresión plena de sus “viajes migratorios”, y sus reacciones de escucha a archivos orales con testimonios de otras mujeres colombianas sobre experiencias del conflicto. El sistema estimula la escucha relacional, para fluir entre fragmentos de recuerdos de migración y conflicto, en improvisaciones físicas (co-locadas) y telemáticas, alimentando la sensación de lugar, y la sensación de presencia en la distancia, como una práctica acústica y vibracional (Eidsheim, 2015). Las narrativas emergentes abren vías para expandir espacios corporales y acústicos en la vida cotidiana, mejorando su intervención social y abriendo espacios intermedios en la perspectiva dual de Insider/Outsider.

• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2019). Paper on the Panel Resist, Rebel, Remix: Politics and Practice in Digital Culture.
• Edwards, Peter (2019). Udo Zimmermann's Weiße Rose.
• Kraugerud, Emil (2019). Domestic intimate space in recorded music.
• Jensenius, Alexander Refsum (2019). Developing the self-playing guitars. Vis sammendrag

  The AAAI project holds a final workshop showcasing instruments developed and techniques explored. The workshop also consists of a performance with new pieces for augmented guitars, violins, double basses, ukuleles, as well as six self-playing guitars.

• Jensenius, Alexander Refsum; Erdem, Cagri; Zelechowska, Agata; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo (2019). Entraining Guitars.
• Jensenius, Alexander Refsum (2019). The RITMO Centre at University of Oslo.
• Jensenius, Alexander Refsum (2019). Tutorial: Musical Gestures Toolbox. Vis sammendrag

  An intensive PhD-level training course on sound and motion analysis with experts in sound and music computing from the Nordic countries.

• Brøvig-Hanssen, Ragnhild; Théberge, Paul; Lefford, Nyssim; Provenzano, Catherine & Williams, Alan (2019). Methodology Panel. Vis sammendrag

  Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.

• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and its Aesthetics.
• Brøvig-Hanssen, Ragnhild; Jones, Ellis Nathaniel; Hui, Alan & Perrett, Josh (2019). Mashup Music, Copyright, and Platform Regulation: A promo video. Vis sammendrag

  Short presentation of the research project MASHED followed by screening of the project's promo video

• Cederkvist, Vibeke & Brøvig-Hanssen, Ragnhild (2019, 18. februar). Musikkverdenen voksne ikke forstår. [Internett].  NRK.no. Vis sammendrag

  Bedroom pop: En undergrunnskultur.

• Marte, Dæhlen & Brøvig-Hanssen, Ragnhild (2019, 19. april). Hvem er den egentlige artisten bak mashups og sample-musikk?. [Fagblad].  Forskning.no. Vis sammendrag

  Sak om mashups og opphavsrettsregulering basert på intervju med Ragnhild Brøvig-Hanssen fra forskningsprosjektet MASHED ved UiO.

• Danielsen, Anne (2019). Roundtable: Translating, transferring (and maybe transcending) musical knowledge. Chair and respondent, session 3: Practices..
• Lan, Qichao; Tørresen, Jim & Jensenius, Alexander Refsum (2019). RaveForce: A Deep Reinforcement Learning Environment for Music.

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