Siste publikasjoner

• Lartillot, Olivier; Thedens, Hans-Hinrich & Jensenius, Alexander Refsum (2018). Computational model of pitch detection, perceptive foundations, and application to Norwegian fiddle music, In Richard Parncutt & Sabrina Sattmann (ed.),  Proceedings of ICMPC15/ESCOM10.  Centre for Systematic Musicology, University of Graz.  ISBN 978-3-200-05771-5.  article.  s 252 - 255 Vis sammendrag

  Background Automated detection of pitch in polyphonic music remains a difficult challenge (Benetos et al., 2013). Robust solutions can be found for simple cases such as monodies. Implementation of perceptive/cognitive models have been so far less successful than engineering methods, and in particular machine learning models. One reference model (Klapuri, 2006) preselects pitch candidates based on harmonic summation and searches for multiple pitches through cancellation. Aims The aim was to conceive a model for pitch detection in polyphonic music able to transcribe in details traditional Norwegian music played on Hardanger fiddle, where more than two strings are played at the same time. The new model should be applicable to other types of music as well. Perceptive and cognitive models should guide the improvement of the state of the art. Main Contribution The model is neither based on a machine-learning training on a given set of samples, nor explicitly relying on stylistic rules. Instead, the methodology consists in conceiving a set of rules as simple and general as possible while offering satisfying results for the chosen corpus of music. We follow some general principles of the model by (Klapuri 2006) while introducing new heuristics. We present a new method for harmonic summation that penalises harmonic series that are sparse, in particular when odd partials are absent, as it would indicate that the actual harmonic series is a multiple of the given pitch candidate. Besides, a multiple of a fundamental can be selected as pitch in addition to the fundamental itself if its attack phase is sufficiently distinctive. For that purpose, we introduce a concept of pitch percept that persists over the whole extent of the note, and that serves as a reference for the detection of higher pitches at harmonic intervals. Results The proposed method enables to obtain transcriptions of relatively good quality, with a low ratio of false positives and false negatives. The construction of the model is under refinement. We are applying this method to the analysis of recordings of Norwegian folk music, containing a large part of Hardinger fiddle pieces and a cappella singing. Implications Automated transcription is of high interest for musicology and music information retrieval. This enables for instance to build large corpora of scores for music analysis and opens news perspectives for computational musicology. By attempting to design computer models based on general rules as simple as possible rather than on machine learning, while resulting in a behaviour in terms of pitch detection that comes closer to human capabilities, we hypothesise that the underlying mechanisms thus modelled might suggest general computational capabilities that could be found in cognitive models as well. In the same time, an improvement of the model based on expertise in music perception and cognition is desired. References Benetos et al. (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, 41, 407-434 Klapuri, Multiple Fundamental Frequency Estimation by Summing Harmonic Amplitudes. ISMIR 2006 Keywords: pitch, computational model, harmonic summation, Norwegian folk music, Hardanger fiddle.

• Borregaard, Andreas; Vuoskoski, Jonna Katariina & Hawkins, Roddy (2018). Music, complexity, and embodiment in performance: a conversation with accordionist Andreas Borregaard. The Senses & Society.  ISSN 1745-8927.  13(3), s 335- 345 . doi: 10.1080/17458927.2018.1525200
• Godøy, Rolf Inge (2018). Motor Constraints Shaping Musical Experience. Music Theory Online.  ISSN 1067-3040.  24(3)
• Kelkar, Tejaswinee; Roy, Udit & Jensenius, Alexander Refsum (2018). Evaluating a collection of Sound-Tracing Data of Melodic Phrases, In Emilia Gómez; Xiao Hu; Eric Humphrey & Emmanouil Benetos (ed.),  Proceedings of the 19th International Society for Music Information Retrieval Conference.  Institut de Recherche et Coordination Acoustique/Musique.  ISBN 978-2-9540351-2-3.  KAPITTEL. Fulltekst i vitenarkiv. Vis sammendrag

  Melodic contour, the ‘shape’ of a melody, is a common way to visualize and remember a musical piece. The purpose of this paper is to explore the building blocks of a future ‘gesture-based’ melody retrieval system. We present a dataset containing 16 melodic phrases from four musical styles and with a large range of contour variability. This is accompanied by full-body motion capture data of 26 participants performing sound-tracing to the melodies. The dataset is analyzed using canonical correlation analysis (CCA), and its neural network variant (Deep CCA), to understand how melodic contours and sound tracings relate to each other. The analyses reveal non-linear relationships between sound and motion. The link between pitch and verticality does not appear strong enough for complex melodies. We also find that descending melodic contours have the least correlation with tracing.

• Câmara, Guilherme Schmidt & Danielsen, Anne (2018). Groove, In Rehding Alexander & Rings Steven (ed.),  The Oxford Handbook of Critical Concepts in Music Theory.  Oxford University Press.  ISBN 9780190454746.  Groove. Vis sammendrag

  This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).

• Gadir, Tami (2018). Understanding Agency from the Decks to the Dance Floor. Music Theory Online.  ISSN 1067-3040.  24(3) Vis sammendrag

  Agency is a concept employed widely and in varied ways across interdisciplinary music studies, from the philosophical to the experimental scientific. This article explores some of the theories and methodologies that inform such perspectives, bringing them into conversation with one another. It begins with a conceptual summary juxtaposing the accounts of musical agency that different fields employ and traces their intellectual influences. The article concludes with examples from interviews and fieldwork in contemporary dance club settings that illustrate, but also further complicate, the notion of musical agency.

• Danielsen, Anne; Kjus, Yngvar & Kraugerud, Emil (2018). Gendered patterns in music mediation: a study of male and female performers at the Øya festival using multiple data sources. Poetics.  ISSN 0304-422X. . doi: https://doi.org/10.1016/j.poetic.2018.09.002
• Jensenius, Alexander Refsum (2018). The Musical Gestures Toolbox for Matlab, In Emilia Gómez; Xiao Hu; Eric Humphrey & Emmanouil Benetos (ed.),  Proceedings of the 19th International Society for Music Information Retrieval Conference.  Institut de Recherche et Coordination Acoustique/Musique.  ISBN 978-2-9540351-2-3.  Demo. Fulltekst i vitenarkiv. Vis sammendrag

  The Musical Gestures Toolbox for Matlab (MGT) aims at assisting music researchers with importing, preprocessing, analyzing, and visualizing video, audio, and motion capture data in a coherent manner within Matlab.

• Størvold, Tore (2018). Sigur Rós: Reception, Borealism, and Musical Style. Popular Music.  ISSN 0261-1430.  37(3), s 371- 391 . doi: 10.1017/S0261143018000442
• Hawkins, Stan (2018). Introduction: David Bowie (1947-2016). Contemporary Music Review.  ISSN 0749-4467.  37(3), s 189- 192 . doi: 10.1080/07494467.2018.1507349
• Bradley, Catherine A. (2018). Origins and Interactions: Clausula, Motet, Conductus, In Jared C. Hartt (ed.),  A Critical Companion to Medieval Motets.  Boydell & Brewer.  ISBN 9781783273072.  Chapter 2.  s 43 - 60
• Patel-Grosz, Pritty; Grosz, Patrick Georg; Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2018). Coreference and disjoint reference in the semantics of narrative dance, In Uli Sauerland & Stephanie Solt (ed.),  Proceedings of Sinn und Bedeutung 22, vol. 2, ZASPiL 61.  Leibniz-Zentrum Allgemeine Sprachwissenschaft (ZAS).  Chapter in Vol. 2.  s 199 - 216
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Correspondences Between Music and Involuntary Human Micromotion During Standstill. Frontiers in Psychology.  ISSN 1664-1078.  9 . doi: 10.3389/fpsyg.2018.01382 Vis sammendrag

  The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.

• Eerola, Tuomas; Vuoskoski, Jonna Katariina; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2018). Towards a more explicit account of the transformation: Reply to comments on "An integrative review of the enjoyment of sadness associated with music". Physics of Life Reviews.  ISSN 1571-0645.  s 156- 166 . doi: 10.1016/j.plrev.2018.06.013
• Størvold, Tore (2018). Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland. Popular music and society.  ISSN 0300-7766. . doi: 10.1080/03007766.2018.1469390
• Serafin, Stefania; Dahl, Sofia; Bresin, Roberto; Jensenius, Alexander Refsum; Unnthorsson, Runar & Välimäki, Vesa (2018). NordicSMC: A Nordic University Hub on Sound and Music Computing, In Anastasia Georgaki (ed.),  Proceedings of the Sound and Music Computing Conference.  Cyprus University of Technology.  KAPITTEL. Fulltekst i vitenarkiv. Vis sammendrag

  Sound and music computing (SMC) is still an emerging field in many institutions, and the challenge is often to gain critical mass for developing study programs and undertake more ambitious research projects. We report on how a long-term collaboration between small and medium-sized SMC groups have led to an ambitious undertaking in the form of the Nordic Sound and Music Computing Network (NordicSMC), funded by the Nordic Research Council and institutions from all of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The constellation is unique in that it covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, the social and natural sciences, and engineering. This paper describes the goals, activities, and expected results of the network, with the aim of inspiring the creation of other joint efforts within the SMC community.

• Alarcón Diaz, Ximena (2018). Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra.. Resonancias: Revista de investigación musical.  ISSN 0717-3474.  22(42), s 151- 168 . doi: https://doi.org/10.7764/res.2018.42.9 Fulltekst i vitenarkiv. Vis sammendrag

  Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra.

• Martin, Charles Patrick; Jensenius, Alexander Refsum & Tørresen, Jim (2018). Composing an ensemble standstill work for Myo and Bela, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  KAPITTEL.  s 196 - 197 Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes the process of developing a standstill performance work using the Myo gesture control armband and the Bela embedded computing platform. The combination of Myo and Bela allows a portable and extensible version of the standstill performance concept while introducing muscle tension as an additional control parameter. We describe the technical details of our setup and introduce Myo-to-Bela and Myo-to-OSC software bridges that assist with prototyping compositions using the Myo controller.

• Gonzalez Sanchez, Victor Evaristo; Martin, Charles Patrick; Zelechowska, Agata; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria & Jensenius, Alexander Refsum (2018). Bela-based augmented acoustic guitars for sonic microinteraction, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  Chapter.  s 324 - 327 Fulltekst i vitenarkiv. Vis sammendrag

  This article describes the design and construction of a collection of digitally-controlled augmented acoustic guitars, and the use of these guitars in the installation \textit\{Sverm-Resonans\}. The installation was built around the idea of exploring `inverse’ sonic microinteraction, that is, controlling sounds by the micromotion observed when attempting to stand still. It consisted of six acoustic guitars, each equipped with a Bela embedded computer for sound processing (in Pure Data), an infrared distance sensor to detect the presence of users, and an actuator attached to the guitar body to produce sound. With an attached battery pack, the result was a set of completely autonomous instruments that were easy to hang in a gallery space. The installation encouraged explorations on the boundary between the tactile and the kinesthetic, the body and the mind, and between motion and sound. The use of guitars, albeit with an untraditional `performance’ technique, made the experience both familiar and unfamiliar at the same time. Many users reported heightened sensations of stillness, sound, and vibration, and that the `inverse’ control of the instrument was both challenging and pleasant.

• Hansen, Kai Arne & Hawkins, Stan (2018). Azealia Banks: 'Chasing Time', erotics, and body politics. Popular Music.  ISSN 0261-1430.  37(2), s 157- 174 . doi: 10.1017/S0261143018000053
• Zickfeld, Janis Heinrich; Schubert, Thomas; Seibt, Beate; Blomster, Johanna Katarina; Arriaga, Patrícia; Basabe, Nekane; Blaut, Agata; Caballero, A.; Carrera, Pilar; Dalgar, Ilker; Ding, Yi; Dumont, K; Gaulhofer, Valerie; Gračanin, Asmir; Gyenis, Réka; Hu, Chuan-Peng; Kardum, Igor; Lazarević, Ljiljana; Mathew, Leemamol; Mentser, Sari; Nussinson, Ravit; Onuki, Mayuko; Páez, Darío; Pásztor, Anna; Peng, Kaiping; Petrović, Boban; Pizarro, José J.; Schönefeld, Victoria; Śmieja, Magdalena; Tokaji, Akihiko; Vingerhoets, Ad; Vorster, Anja; Vuoskoski, Jonna Katariina; Zhu, Lei & Fiske, Alan Page (2018). Kama Muta: Conceptualizing and Measuring the Experience Often Labelled Being Moved Across 19 Nations and 15 Languages. Emotion.  ISSN 1528-3542. . doi: http://dx.doi.org/10.1037/emo0000450
• Godøy, Rolf Inge (2018). Sonic Object Cognition, In Rolf Bader (ed.),  Springer Handbook of Systematic Musicology.  Springer Nature.  ISBN 978-3-662-55002-1.  35.  s 761 - 777 Vis sammendrag

  We evidently have features at different timescales in music, ranging from the sub-millisecond timescale of single vibrations to the timescale of a couple of hundred milliseconds, manifesting perceptually salient features such as pitch, loudness, timbre , and various transients. At the larger timescales of several hundred milliseconds, we have features such as the overall dynamic and timbral envelopes of sonic events, and at slightly larger timescales, also of various rhythmic, textural, melodic, and harmonic patterns. And at still larger timescales, we have phrases, sections, and whole works of music, often lasting several minutes, and in some cases, even hours. Features at these different timescales all contribute to our experience of music, however the focus in the present chapter is on the salient features of what has been called sonic objects, meaning on holistically perceived chunks of musical sound in the very approximately 0.5 − 5 s duration range. A number of known constraints in the production and perception of musical sound as well as in human behavior and perception in general, seem to converge in designating this timescale as crucial for our experience of music. The aim of this chapter is then to try to understand how sequentially unfolding and ephemeral sound and sound-related body motion can somehow be transformed in our minds to sonic objects.

• Jensenius, Alexander Refsum (2018). Methods for Studying Music-Related Body Motion, In Rolf Bader (ed.),  Springer Handbook of Systematic Musicology.  Springer Nature.  ISBN 978-3-662-55002-1.  38.  s 805 - 818 Vis sammendrag

  This chapter presents an overview of some methodological approaches and technologies that can be used in the study of music-related body motion. The aim is not to cover all possible approaches, but rather to highlight some of the ones that are more relevant from a musicological point of view. This includes methods for video-based and sensor-based motion analyses, both qualitative and quantitative. It also includes discussions of the strengths and weaknesses of the different methods, and reflections on how the methods can be used in connection to other data in question, such as physiological or neurological data, symbolic notation, sound recordings and contextual data.

• Watne, Åshild & Nymoen, Kristian (2018). Entreprenørskap i høyere norsk musikkutdanning. Nordisk musikkpedagogisk forskning : Årbok.  ISSN 1504-5021.  s 367- 385 Fulltekst i vitenarkiv.
• Hawkins, Stan (2018). Performative Strategies and Musical Markers in the Eurythmics’ Album Savage, In Lori Burns & Serge Lacasse (ed.),  The Pop Palimpsest: Intertextuality in Recxorded Popular Music.  University of Michigan Press.  ISBN 978-0-472-13067-2.  Chapter 9.  s 252 - 272
• Danielsen, Anne (2018). Music, media and technological creativity in the digital age. Nordisk musikkpedagogisk forskning : Årbok.  ISSN 1504-5021.  18, s 9- 22
• Danielsen, Anne (2018). Novel, expressive and skilled!, In Knut Ove Eliassen; Jan Fredrik Hovden & Øyvind Prytz (ed.),  Contested qualities: negotiating value in arts and culture.  Fagbokforlaget.  ISBN 9788245023770.  kapittel.  s 187 - 202
• Brøvig-Hanssen, Ragnhild (2018). Listening To or Through Technology: Opaque and Transparent Mediation, In Samantha Bennett & Eliot Bates (ed.),  Critical Approaches to the Production of Music and Sound.  Bloomsbury Academic.  ISBN 9781501332.  Chapter 11.  s 195 - 210 Fulltekst i vitenarkiv.
• Godøy, Rolf Inge (2018). Motormimetic features in musical experience, In Patrizia Veroli & Gianfranco Vinay (ed.),  Music-dance: sound and motion in contemporary discourse.  Routledge.  ISBN 9781138280519.  12.  s 207 - 221 Vis sammendrag

  There can be no doubt that we often experience correspondences between different sense modalities in music, such as between sound, vision, motion, and touch (just to mention the most prominent ones). This is evident in dance and other kinds of music-related body motion, and also reflected in listeners' innumerable accounts of visual associations with music, and in the ubiquitous use of visual metaphors for musical sound such as "rough", "smooth", "narrow", "broad", etc. In short, it should not be controversial to say that music is a multimodal form of art, that music involves a number of sensations in addition to pure sound. But more precisely how different sense modalities are activated, and how they interact in musical experience, still presents us with a number of unanswered questions. In our research, we have been pursuing the idea of what we call "motormimetic cognition", meaning an incessant mental simulation of sound-related body motion in music perception, primarily of assumed sound-producing body motion (e.g. hitting, stroking, bowing, blowing), but also of various kinds of sound-accompanying body motion (e.g. dancing, walking, gesticulating). We regard such mental simulation of body motion as applicable to most features of music, and we believe motormimetic cognition also can translate between different modalities, for instance that mental simulation of motion can translate between sound and visual images in musical experience. We thus believe motormimetic cognition can be the basis for a systematic research effort on feature mapping between different modalities in music, by way of studying both musicians' and listeners' body motion trajectory shapes and/or posture shapes in music-related contexts. In this chapter, we shall present basic principles of motormimetic cognition and demonstrate how it is relevant for work with new technologies and in multimedia art. Starting out with a review of timescales in our experiences of sound and motion, we shall present a rudimentary taxonomy of sound-motion categories, proceeding in a top-down manner from some global, salient features down to a fairly large number of detail features. This should enable us to have a versatile and flexible conceptual apparatus, as well as a collection of practical tools (using available technologies for sound and motion research), that will allow us to explore our aesthetic and affective images of sound and motion in music, hopefully also contributing to bridging the gaps between quantitative and qualitative approaches in research.

• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2018). Analyzing Free-Hand Sound-Tracings of Melodic Phrases. Applied Sciences.  ISSN 2076-3417.  8(1), s 1- 21 . doi: 10.3390/app8010135 Fulltekst i vitenarkiv. Vis sammendrag

  In this paper, we report on a free-hand motion capture study in which 32 participants ‘traced’ 16 melodic vocal phrases with their hands in the air in two experimental conditions. Melodic contours are often thought of as correlated with vertical movement (up and down) in time, and this was also our initial expectation. We did find an arch shape for most of the tracings, although this did not correspond directly to the melodic contours. Furthermore, representation of pitch in the vertical dimension was but one of a diverse range of movement strategies used to trace the melodies. Six different mapping strategies were observed, and these strategies have been quantified and statistically tested. The conclusion is that metaphorical representation is much more common than a ‘graph-like’ rendering for such a melodic sound-tracing task. Other findings include a clear gender difference for some of the tracing strategies and an unexpected representation of melodies in terms of a small object for some of the Hindustani music examples. The data also show a tendency of participants moving within a shared ‘social box’.

• Danielsen, Anne (2018). Time and Time Again: Repetition and Difference in Repetitive Music, In Olivier Julien & Christophe Levaux (ed.),  Over and Over. Exploring Repetition in Popular Music.  Bloomsbury Academic.  ISBN 9781501324888.  kapittel 2.
• Adde, Lars; Yang, Hong; Sæther, Rannei; Jensenius, Alexander Refsum; Ihlen, Espen Alexander F.; Cao, Jia-yan & Støen, Ragnhild (2018). Characteristics of general movements in preterm infants assessed by computer-based video analysis. Physiotherapy Theory and Practice.  ISSN 0959-3985.  34(4), s 286- 292 . doi: 10.1080/09593985.2017.1391908 Vis sammendrag

  Background: Previous evidence suggests that the variability of the spatial center of infant movements, calculated by computer-based video analysis software, can identify fidgety general movements (GMs) and predict cerebral palsy. Aim: To evaluate whether computer-based video analysis quantifies specific characteristics of normal fidgety movements as opposed to writhing general movements. Methods: A longitudinal study design was applied. Twenty-seven low-to moderate-risk preterm infants (20 boys, 7 girls; mean gestational age 32 [SD 2.7, range 27–36] weeks, mean birth weight 1790 grams [SD 430g, range 1185–2700g]) were videotaped at the ages of 3–5 weeks (period of writhing GMs) and 10–15 weeks (period of fidgety GMs) post term. GMs were classified according to Prechtl’s general movement assessment method (GMA) and by computer-based video analysis. The variability of the centroid of motion (CSD), derived from differences between subsequent video frames, was calculated by means of computer-based video analysis software; group mean differences between GM periods were reported. Results: The mean variability of the centroid of motion (CSD) determined by computer-based video analysis was 7.5% lower during the period of fidgety GMs than during the period of writhing GMs (p = 0.004). Conclusion: Our findings support that the variability of the centroid of motion reflects small and variable movements evenly distributed across the body, and hence shows that computer-based video analysis qualifies for assessment of direction and amplitude of FMs in young infants.

• Hansen, Kai Arne (2018). Fashioning a Post Boy Band Masculinity: On the Seductive Dreamscape of Zayn´s Pillowtalk. Popular music and society.  ISSN 0300-7766.  41(2), s 194- 212 . doi: 10.1080/03007766.2016.1242994
• Danielsen, Anne (2017). Struktur og performativitet: mikrorytmikk i afroamerikansk populærmusikk. Svensk tidskrift för musikforskning.  ISSN 2002-021X.  99, s 3- 19 Fulltekst i vitenarkiv.
• Godøy, Rolf Inge (2017). Key-postures, trajectories and sonic shapes, In Daniel Leech-Wilkinson & Helen M. Prior (ed.),  Music and Shape.  Oxford University Press.  ISBN 978-0199351411.  1.  s 4 - 29 Vis sammendrag

  The focus of this chapter is on how our notions of shape in music emerge from experiences of sound-producing body motion such as hitting, stroking, bowing, shaking or blowing. Sound-producing body motion is seen as organized around postures at salient moments in the music, around so-called key-postures, and as making continuous trajectories between these key-postures. It is suggested that our experiences of making and/or seeing such key-postures and continuous trajectories in sound-producing body motion link the sonic and visual elements in music, meaning that body motion strongly contributes to our notions of shape in music.

• Weisser, Stéphanie; Lartillot, Olivier; Demoucron, Matthias & Conklin, Darrell (2017). L’ethnomusicologie computationnelle : Pour un renouveau de la discipline. Cahiers d'ethnomusicologie.  ISSN 2235-7688.  30, s 29- 44
• Bradley, Catherine Anne (2017). Song and quotation in two-voice motets for Saint Elizabeth of Hungary. Speculum.  ISSN 0038-7134.  92(3), s 661- 691 . doi: 10.1086/692323 Fulltekst i vitenarkiv.
• Støckert, Robin; Saue, Sigurd & Jensenius, Alexander Refsum (2017). Framework for a novel two-campus master's programme in music, communication and technology between the University of Oslo and the Norwegian University of Science and Technology in Trondheim. ICERI proceedings.  ISSN 2340-1095.  s 5831- 5840 . doi: 10.21125/iceri.2017.1526
• Hawkins, Stan (2017). Masculinity, Race, and Transculturalism in a Norwegian Context, In Fabian Holt & Antti-Ville Kärje (ed.),  The Oxford Handbook of Popular Music in the Nordic Countries.  Oxford University Press.  ISBN 9780190603908.  Chapter 15.  s 295 - 310
• Weisethaunet, Hans (2017). “Roots, Routes, and Cosmopolitanism. David Lindley Meets Harding Hank.”, In Fabian Holt & Antti-Ville Kärje (ed.),  The Oxford Handbook of Popular Music in the Nordic Countries.  Oxford University Press.  ISBN 9780190603908.  Chapter 4.  s 91 - 110
• Devine, Kyle (2017). Desert Island Discomorphoses: Listening Formations and the Material Cultures of Music, In Julie Brown; Nicholas Cook & Stephen Cottrell (ed.),  Defining the Discographic Self: Desert Island Discs in Context.  Oxford University Press.  ISBN 9780197266175.  Chapter 4.  s 67 - 82
• Eerola, Tuomas; Vuoskoski, Jonna Katariina; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2017). An integrative review of the enjoyment of sadness associated with music. Physics of Life Reviews.  ISSN 1571-0645. . doi: 10.1016/j.plrev.2017.11.016 Fulltekst i vitenarkiv.
• Alarcón Diaz, Ximena (2017). On DIs-location: Listening and Re-composing with Others. Reflections on Process in Sound.  (5), s 24- 37 Fulltekst i vitenarkiv. Vis sammendrag

  Since 2012 I compose telematic sonic performances using long-distance bi-directional transmission of sound through the Internet: a mediation that strengthens metaphors of migration and dislocation. I am interested in the situations of connection and disconnection that are created and in the ‘in-between’ sonic spaces, which defy predictability. In the performances, geographical migrants participate as well as other people with interest in the experience of cultural dis-location. I invite them to work with spoken word and vocal expression and pre-recorded or acoustic sounds, as driving forces for their exchange. With this work my intention is the exploration of sonic spaces that support the search for sense of place, healing the contradictory feelings associated with the migratory experience. Here, I am reflecting on this creative process, and the aesthetics produced as the result of the interactions between people, through improvisatory sound practice when listening and performing in the distance, and the mediation of networking technologies.

• Gadir, Tami (2017). Forty-Seven DJs, Four Women: Meritocracy, Talent and Postfeminist Politics. Dancecult: Journal of Electronic Dance Music Culture.  ISSN 1947-5403.  9(1), s 50- 72 Fulltekst i vitenarkiv.
• Edwards, Peter (2017). Bartók, Ligeti and the Innovative Middle Road, In Amy Bauer & Márton Kerékfy (ed.),  György Ligeti's Cultural Identities.  Routledge.  ISBN 978-1472473646.  Chapter 9.  s 149 - 162
• Halmrast, Tor (2017). ACOUSTICS IN BETWEEN: PERCEPTION OF SOUND IN ROOMS BEYOND STANDARD CRITERIA. Proceedings of the Institute of Acoustics.  ISSN 1478-6095.  6, s 4177- 4184
• Halmrast, Tor (2017). ANALYSIS OF MUSIC PERFORMED IN DIFFERENT ACOUSTIC SETTINGS IN STAVANGER CONCERT HALL. Proceedings of the Institute of Acoustics.  ISSN 1478-6095.  6, s 4169- 4176
• Kayser, Diana (2017). Using Facial Expressions of Emotion as a Means for Studying Music-Induced Emotions. Psychomusicology: Music, Mind & Brain.  ISSN 0275-3987.  27(3), s 219- 222 . doi: 10.1037/pmu0000187
• Kraugerud, Emil (2017). Meanings of Spatial Formation in Recorded Sound. Journal on the Art of Record Production.  ISSN 1754-9892.  (11) Fulltekst i vitenarkiv.
• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2017). Representation Strategies in Two-handed Melodic Sound-Tracing, In Marco Gillies (ed.),  Proceedings of the 4th International Conference on Movement Computing.  ACM Publications.  ISBN 978-1-4503-5209-3.  KAPITTEL. Fulltekst i vitenarkiv. Vis sammendrag

  This paper describes an experiment in which the subjects performed a sound-tracing task to vocal melodies. They could move freely in the air with two hands, and their motion was captured using an infrared, marker-based system. We present a typology of distinct strategies used by the recruited participants to represent their perception of the melodies. These strategies appear as ways to represent time and space through the finite motion possibilities of two hands moving freely in space. We observe these strategies and present their typology through qualitative analysis. Then we numerically verify the consistency of these strategies by conducting tests of significance between labeled and random samples.

• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2017). Exploring melody and motion features in “sound-tracings”, In Tapio Lokki; Jukka Pätynen & Vesa Välimäki (ed.),  Proceedings of the 14th Sound and Music Computing Conference 2017.  Aalto University.  ISBN 978-952-60-3729-5.  KAPITTEL.  s 98 - 103 Fulltekst i vitenarkiv. Vis sammendrag

  Pitch and spatial height are often associated when describing music. In this paper we present results from a sound tracing study in which we investigate such sound–motion relationships. The subjects were asked to move as if they were creating the melodies they heard, and their motion was captured with an infra-red, marker-based camera system. The analysis is focused on calculating feature vectors typically used for melodic contour analysis. We use these features to compare melodic contour typologies with motion contour typologies. This is based on using proposed feature sets that were made for melodic contour similarity measurement. We apply these features to both the melodies and the motion contours to establish whether there is a correspondence between the two, and find the features that match the most. We find a relationship between vertical motion and pitch contour when evaluated through features rather than simply comparing contours.

• Godøy, Rolf Inge; Song, Min-Ho & Dahl, Sofia (2017). Exploring Sound-Motion Textures in Drum Set Performance. Proceedings of the SMC Conferences.  ISSN 2518-3672.  s 145- 152 Vis sammendrag

  A musical texture, be that of an ensemble or of a solo instrumentalist, may be perceived as combinations of both simultaneous and sequential sound events. However, we believe that also sensations of the corresponding sound-producing events (e.g. hitting, stroking, bowing, blowing) contribute to our perceptions of musical textures. Musical textures could thus be understood as multimodal, with features of both sound and motion, hence the idea here of sound-motion textures in music. The study of such multimodal sound-motion textures will necessitate collecting and analyzing data of both the produced sound and of the sound-producing body motion, thus entailing a number of methodological challenges. In our current work on sound-motion textures in music, we focus on short and idiomatic figures for different instruments (e.g. ornaments on various instruments), and in this paper, we present some ideas, challenges, and findings on typical sound-motion textures in drum set performance. Drum set performance is particularly interesting because the often very complex textures are produced by one single performer, entailing a number of issues of human motion and motor control.

• Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2017). Music Production: Recording Technology and Acousmatic Listening, In Richard D Ashley & Renee Timmers (ed.),  The Routledge Companion to Music Cognition.  Routledge.  ISBN 9781138721050.  kapittel 16.
• Haugen, Mari Romarheim (2017). Investigating Musical Meter as Shape: Two Case Studies of Brazilian Samba and Norwegian Telespringar, In Edith Van Dyck (ed.),  Proceedings of the 25th Anniversary Conference of the European Society for the Cognitive Sciences of Music.  IPEM, University of Ghent, Belgium.  Article in proceedings.  s 67 - 74 Fulltekst i vitenarkiv. Vis sammendrag

  The perception of musical meter is fundamental for rhythm production and perception in much music. Underlying structures such as pulse, meter, and metrical subdivisions are often described as successive points in time. This paper investigates whether experienced musical meter may not only include such points in time, but also trajectories between the points–that is, metrical shapes. Previous studies have pointed out that there seems to be a relationship between musical meter and periodic body motion like foot tapping, head nodding and dancing. This paper investigates musical meter in music styles with an intimate relationship with dance, and whether metrical points and trajectories can be understood by investigating performers’ periodic body motion. Two motion capture studies form the empirical basis of this paper; first, a percussionist and a dancer performing Brazilian samba; second, a fiddler and two dancers performing Norwegian telespringar. The analysis showed that it seemed to be a relationship between the periodic fluctuation in audio amplitude and the performers’ periodic foot motion on sixteenth note level in samba. Furthermore, motion analysis revealed similar periodic shapes in both percussionist and dancer foot motion. In telespringar there seemed to be a relationship between the metrical beat level and the fiddler’s foot stamping. In addition, the beat duration pattern, as indicated by the fiddler’s periodic foot stamping, seemed to correspond to the shape of the dancers’ vertical body motion. The results support the view that there is a close relationship between musical meter and performers’ periodic body motion. This suggest that the underlying meter may not only include metrical points in time, but that each metrical beat/subdivision duration has a corresponding metrical trajectory with a certain shape. If this is the case, then perceivers’ and performers’ implicit knowledge of the underlying reference structure in samba and telespringar might incorporate knowledge about the underlying metrical shape.

• Støen, Ragnhild; Songstad, Nils Thomas; Silberg, Inger Elisabeth; Fjørtoft, Toril Synnøve Larsso; Jensenius, Alexander Refsum & Adde, Lars (2017). Computer-based video analysis identifies infants with absence of fidgety movements. Pediatric Research.  ISSN 0031-3998.  82(4), s 665- 670 . doi: 10.1038/pr.2017.121 Fulltekst i vitenarkiv. Vis sammendrag

  Background: Absence of fidgety movements (FMs) at 3 months’ corrected age is a strong predictor of cerebral palsy (CP) in high-risk infants. This study evaluates the association between computer-based video analysis and the temporal organization of FMs assessed with the General Movement Assessment (GMA). Methods: Infants were eligible for this prospective cohort study if referred to a high-risk follow-up program in a participating hospital. Video recordings taken at 10–15 weeks post term age were used for GMA and computer-based analysis. The variation of the spatial center of motion, derived from differences between subsequent video frames, was used for quantitative analysis. Results: Of 241 recordings from 150 infants, 48 (24.1%) were classified with absence of FMs or sporadic FMs using the GMA. The variation of the spatial center of motion (CSD) during a recording was significantly lower in infants with normal (0.320; 95% confidence interval (CI) 0.309, 0.330) vs. absence of or sporadic (0.380; 95% CI 0.361, 0.398) FMs (P<0.001). A triage model with CSD thresholds chosen for sensitivity of 90% and specificity of 80% gave a 40% referral rate for GMA. Conclusion: Quantitative video analysis during the FMs’ period can be used to triage infants at high risk of CP to early intervention or observational GMA.

• Solberg, Ragnhild Torvanger & Jensenius, Alexander Refsum (2017). Group behaviour and interpersonal synchronization to electronic dance music. Musicae scientiae.  ISSN 1029-8649. . doi: 10.1177/1029864917712345 Fulltekst i vitenarkiv. Vis sammendrag

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

• Jensenius, Alexander Refsum; Zelechowska, Agata & Gonzalez Sanchez, Victor Evaristo (2017). The Musical Influence on People's Micromotion when Standing Still in Groups, In Tapio Lokki; Jukka Pätynen & Vesa Välimäki (ed.),  Proceedings of the 14th Sound and Music Computing Conference 2017.  Aalto University.  ISBN 978-952-60-3729-5.  Social interaction.  s 195 - 200 Fulltekst i vitenarkiv. Vis sammendrag

  The paper presents results from an experiment in which 91 subjects stood still on the floor for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with mu- sic. The head motion of the subjects was captured using an infra-red optical system. The results show that the average quantity of motion of standstill is 6.5 mm/s, and that the subjects moved more when listening to music (6.6 mm/s) than when standing still in silence (6.3 mm/s). This result confirms the belief that music induces motion, even when people try to stand still.

• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox, In Tapio Lokki; Jukka Pätynen & Vesa Välimäki (ed.),  Proceedings of the 14th Sound and Music Computing Conference 2017.  Aalto University.  ISBN 978-952-60-3729-5.  KAPITTEL.  s 214 - 219 Fulltekst i vitenarkiv. Vis sammendrag

  The attack phase of sound events plays an important role in how sounds and music are perceived. Several approaches have been suggested for locating salient time points and critical time spans within the attack portion of a sound, and some have been made widely accessible to the research community in toolboxes for Matlab. While some work exists where proposed audio descriptors are grounded in listening tests, the approaches used in two of the most popular toolboxes for musical analysis have not been thoroughly compared against perceptual results. This article evaluates the calculation of attack phase descriptors in the Timbre toolbox and the MIRtoolbox by comparing their predictions to empirical results from a listening test. The results show that the default parameters in both toolboxes give inaccurate predictions for the sound stimuli in our experiment. We apply a grid search algorithm to obtain alternative parameter settings for these toolboxes that align their estimations with our empirical results.

• Danielsen, Anne & Kjus, Yngvar (2017). The Mediated Festival: Live Music as Trigger of Music Streaming and Social Media Engagement. Convergence. The International Journal of Research into New Media Technologies.  ISSN 1354-8565. . doi: 10.1177/1354856517721808 Fulltekst i vitenarkiv. Vis sammendrag

  Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents sta- tistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.

• Aksnes, Hallgjerd (2017). Filosofiske perspektiver på Even Ruuds samhandlingsbegrep, I: Karette Stensæth; Gro Trondalen & Øivind Varkøy (red.),  Musikk, handlinger, muligheter. Festskrift til Even Ruud.  Norges musikkhøgskole.  ISBN 978-82-7853-225-6.  Kap. 15.  s 169 - 185
• Hawkins, Stan (2017). Introduction chapters: Part1: Masculinities, femininities, community and transcultural practice Part 2: Audiovisuality, sex(uality), women, and the politics of looking Part 3: Vernacular soundworlds, narratives and stardom Part 4: Gender, race, and the female celebrity Part 5: Challenging hegemonic practices: new masculinities, queerness, and transgenderism, In Stan Hawkins (ed.),  The Routledge Research Companion to Popular Music and Gender.  Routledge.  ISBN 9781472456830.  Parts 1, 2, 3, 4, 5..
• Hawkins, Stan (2017). Introduction: Sensing gender in popular music, In  The Routledge Research Companion to Popular Music and Gender.  Routledge.  ISBN 9781472456830.  1.  s 1 - 12
• Danielsen, Anne (2017). "Hot rhythms": Rytmisk musikk som den vestlige rasjonalitetens andre, I: Karette Stensæth; Gro Trondalen & Øivind Varkøy (red.),  Musikk, handlinger, muligheter. Festskrift til Even Ruud.  Norges musikkhøgskole.  ISBN 978-82-7853-225-6.  kapittel.  s 197 - 206
• Godøy, Rolf Inge (2017). Postures and motion shaping musical experience, In Micheline Lesaffre; Pieter-Jan Maes & Marc Leman (ed.),  The Routledge Companion to Embodied Music Interaction.  Routledge.  ISBN 9781138657403.  Chapter 12.  s 113 - 121 Vis sammendrag

  Abstract: Sound-producing body motion and associated body postures shape musical sound in interaction with musical instruments or the vocal apparatus, making images of such body motion and postures integral to our experiences of music. In this chapter we shall look at some sound-producing body motion features, and focus on how postures at salient moments in time serve as landmarks for both motion and sound, as well as how the fusion of small-scale motion units and sounds by so-called coarticulation creates posture-centered sound-motion objects in musical experience.

• Jensenius, Alexander Refsum; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Bjerkestrand, Kari Anne Vadstensvik (2017). Exploring the Myo controller for sonic microinteraction, In Cumhur Erkut (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Aalborg University Copenhagen.  KAPITTEL.  s 442 - 445 Fulltekst i vitenarkiv. Vis sammendrag

  This paper explores sonic microinteraction using muscle sensing through the Myo armband. The first part presents results from a small series of experiments aimed at finding the baseline micromotion and muscle activation data of people being at rest or performing short/small actions. The second part presents the prototype instrument MicroMyo, built around the concept of making sound with little motion. The instrument plays with the convention that inputting more energy into an instrument results in more sound. MicroMyo, on the other hand, is built so that the less you move, the more it sounds. Our user study shows that while such an "inverse instrument" may seem puzzling at first, it also opens a space for interesting musical interactions.

• Hansen, Kai Arne (2017). Holding on for Dear Life: Gender, Celebrity Status, and Vulnerability-On-Display in Sia's 'Chandelier', In  The Routledge Research Companion to Popular Music and Gender.  Routledge.  ISBN 9781472456830.  kapittel 7.  s 89 - 101
• Solberg, Ragnhild Torvanger & Jensenius, Alexander Refsum (2017). Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music. Empirical Musicology Review.  ISSN 1559-5749.  11(3-4), s 301- 318 . doi: 10.18061/emr.v11i3-4 Fulltekst i vitenarkiv. Vis sammendrag

  How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group’s bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group’s quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers' movements. Pronounced changes occurred in the group's quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one's own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience.

• Gadir, Tami (2017). I Don't Play Girly House Music: Women, Sonic Stereotyping and the Dancing DJ, In  The Routledge Research Companion to Popular Music and Gender.  Routledge.  ISBN 9781472456830.  Chapter 14.  s 196 - 210 Fulltekst i vitenarkiv.
• Nymoen, Kristian (2017). Expert Commentary: Gesture Following Made Accessible, In Alexander Refsum Jensenius & Michael J. Lyons (ed.),  A NIME Reader: Fifteen Years of New Interfaces for Musical Expression.  Springer Science+Business Media B.V..  ISBN 978-3-319-47213-3.  Expert Commentary.  s 281 - 282
• Hawkins, Stan (2017). The Sun, the Moon and Stars: Prince Roger Nelson, 1958-2016. Popular music and society.  ISSN 0300-7766.  40(1), s 124- 128 . doi: https://doi.org/10.1080/03007766.2016.1245482
• Jensenius, Alexander Refsum (2017). Sonic Microinteraction in "the Air", In Micheline Lesaffre; Pieter-Jan Maes & Marc Leman (ed.),  The Routledge Companion to Embodied Music Interaction.  Routledge.  ISBN 9781138657403.  46. Fulltekst i vitenarkiv. Vis sammendrag

  This chapter looks at the ways in which micromotion, the smallest controllable and perceivable human body motion, can be used in interactive sound systems. It presents a general taxonomy, followed by examples of how sonic microinteraction was designed and rehearsed in the scientific-artistic project Sverm. Here, the focus was on micromotion and microaction performed in “the air,” but the concepts developed by the project can also be transferred to other types of microinteraction.

• Jensenius, Alexander Refsum (2017). Exploring music-related micromotion, In Clemens Wöllner (ed.),  Body, Sound and Space in Music and Beyond: Multimodal Explorations.  Routledge.  ISBN 9781472485403.  Chapter. Fulltekst i vitenarkiv. Vis sammendrag

  As living human beings we are constantly in motion. Even when we try to stand absolutely still, our breathing, pulse and postural adjustments lead to motion at the micro-level. Such micromotion is small, but it is still possible to experience it in the body and it is also visible to others. This chapter reflects on such (un)conscious and (in)voluntary micromotion observed and experienced when one attempts to stand physically still, and how musical sound influences such micromotion.

• Jensenius, Alexander Refsum (2017). 2014: To Gesture or Not? An Analysis of Terminology in NIME Proceedings 2001–2013, In Alexander Refsum Jensenius & Michael J. Lyons (ed.),  A NIME Reader: Fifteen Years of New Interfaces for Musical Expression.  Springer Science+Business Media B.V..  ISBN 978-3-319-47213-3.  Chapter. Vis sammendrag

  The term 'gesture' has represented a buzzword in the NIME community since the beginning of its conference series. But how often is it actually used, what is it used to describe, and how does its usage here differ from its usage in other fields of study? This paper presents a linguistic analysis of the motion-related terminology used in all of the papers published in the NIME conference proceedings to date (2001-2013). The results show that 'gesture' is in fact used in 62 % of all NIME papers, which is a significantly higher percentage than in other music conferences (ICMC and SMC), and much more frequently than it is used in the HCI and biomechanics communities. The results from a collocation analysis support the claim that 'gesture' is used broadly in the NIME community, and indicate that it ranges from the description of concrete human motion and system control to quite metaphorical applications.

• Jensenius, Alexander Refsum (2017). Expert Commentary: Pushing The Sensor Boundaries In Digital Musical Instruments, In Alexander Refsum Jensenius & Michael J. Lyons (ed.),  A NIME Reader: Fifteen Years of New Interfaces for Musical Expression.  Springer Science+Business Media B.V..  ISBN 978-3-319-47213-3.  Expert Commentary.  s 402 - 403 Vis sammendrag

  The Fingerphone, a reworking of the Stylophone in conductive paper, is presented as an example of new design approaches for sustainability and playability of electronic musical instruments.

• Haugen, Mari Romarheim (2016). Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance. Empirical Musicology Review.  ISSN 1559-5749.  11(3-4), s 272- 294 . doi: 10.18061/emr.v11i3-4.5029 Fulltekst i vitenarkiv. Vis sammendrag

  The pulse level in music is often described as a series of isochronous beats that provides an underlying reference structure against which we perceive rhythmic patterns. This notion is challenged by music styles that seem to feature an underlying reference structure that consists of beats of uneven duration, such as certain traditional Scandinavian dance music genres in so-called asymmetrical meter. This study investigates periodic body motion as a reference structure in a specific style of traditional Norwegian dance music called telespringar. The intimate relationship between music and motion is often highlighted in rhythm studies of telespringar, so this study encompasses both sound and motion analyses. It is based on a motion capture study of three telespringar performers; one fiddler and two dancers. Motion analysis of the fiddler's foot stamping indicates a stable long–medium–short duration pattern at beat level. Motion analysis of the dancers' vertical motion of the hips revealed a periodic pattern in synchrony with the beat duration pattern determined by the fiddler's foot stamping. This result implies that the underlying rhythmic structures in telespringar depend upon a shared and embodied knowledge of the underlying asymmetrical reference structure that is implicit in the production and perception of telespringar.

• Kvalbein, Astrid (2016). Frå "den sorte gryte" og ut i verda: Fartein Valen og Pauline Hall i ISCM. Studia Musicologica Norvegica.  ISSN 0332-5024.  42, s 27- 51 . doi: 10.18261/issn.1504-2960-2016-01-04 Fulltekst i vitenarkiv. Vis sammendrag

  From "the black cauldron" out into the world: Fartein Valen and Pauline Hall in the ISCM.

• Godøy, Rolf Inge (2016). Timescales in Musical Experience, In Sven Hroar Klempe (ed.),  Cultural Psychology of Musical Experience.  Information Age Publishing.  ISBN 978-1681234847.  Chapter 9.  s 165 - 178
• Dybsand, Øyvin (2016). Johan Halvorsen og Musikkfesten i Bergen 1898. Studia Musicologica Norvegica.  ISSN 0332-5024.  42, s 7- 26 . doi: 10.18261/issn.1504-2960-2016-01-03
• Devine, Kyle (2016). L’intensité matérielle de l’écoute musicale sous forme de données, I: Philippe Le Guern (red.),  Où va la musique? Numérophose et nouvelles experiences d’écoute.  Presses des Mines.  ISBN 9782356714077.  Chapter 1.  s 47 - 64
• Zeiner-Henriksen, Hans T. (2016). Emotional Experiences of Ascending Melodic Lines, In Richard Kronland-Martinet; Mitsuko Aramaki & Sølvi Ystad (ed.),  Music, Mind, and Embodiment :11th International Symposium, CMMR 2015, Plymouth, UK, June 16-19, 2015, Revised Selected Papers.  Springer.  ISBN 978-3-319-46281-3.  Music Analysis, Music Generation and Emotion.  s 373 - 386
• Haugen, Mari Romarheim & Nymoen, Kristian (2016). Evaluating Input Devices for Dance Research, In Richard Kronland-Martinet; Mitsuko Aramaki & Sølvi Ystad (ed.),  Music, Mind, and Embodiment :11th International Symposium, CMMR 2015, Plymouth, UK, June 16-19, 2015, Revised Selected Papers.  Springer.  ISBN 978-3-319-46281-3.  Sound, Motion and Gesture.  s 58 - 70 Fulltekst i vitenarkiv. Vis sammendrag

  Recording music-related motions in ecologically valid situations can be challenging. We investigate the performance of three devices providing 3D acceleration data, namely Axivity AX3, iPhone 4s and a Wii controller tracking rhythmic motions. The devices are benchmarked against an infrared motion capture system, tested on both simple and complex music-related body motions, and evaluations are presented of the data quality and suitability for tracking music-related motions in real-world situations. The various systems represent different trade-offs with respect to data quality, user interface and physical attributes.

• Guldbrandsen, Erling E. (2016). On Boulezian Serialism: Unpredictability and Free Choice in the Composition of Pli selon pli – portrait de Mallarmé, In Edward J Campbell & Peter O'Hagan (ed.),  Pierre Boulez Studies.  Cambridge University Press.  ISBN 978-1-107-06265-8.  Kapittel.  s 193 - 220

Se alle arbeider i Cristin

• Bradley, Catherine A. (2018). Polyphony in Medieval Paris: The Art of Composing with Plainchant. Cambridge University Press.  ISBN 9781108418584.  298 s.
• Bradley, Catherine A. & Desmond, Karen (ed.) (2018). The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies. Boydell & Brewer.  ISBN 978-1-78327-272-3.  351 s.
• Nielsen, Nanette (2017). Paul Bekker's Musical Ethics. Routledge.  ISBN 9781472486226.  242 s.
• Hawkins, Stan (ed.) (2017). The Routledge Research Companion to Popular Music and Gender. Routledge.  ISBN 9781472456830.  382 s.
• Hawkins, Stan (2017). The Routledge Research Companion to Popular Music and Gender. Routledge.  ISBN 9781472456830.  382 s.
• Jensenius, Alexander Refsum & Lyons, Michael J. (ed.) (2017). A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. Springer Science+Business Media B.V..  ISBN 978-3-319-47213-3.  485 s. Vis sammendrag

  What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies. Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences. The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments.

• Guldbrandsen, Erling E. (2016). Brødre. Aschehoug & Co.  ISBN 978-82-03-36107-4.  512 s.
• Engeset, Bjarte; Fossheim, Jørn & Dybsand, Øyvin (2016). Johan Halvorsen: Fiolinkonsert, op. 28, kritisk utgave. Norsk Musikforlag.  ISBN 978-82-00-01246-7.  150 s.
• Ruud, Even (2016). Musikkvitenskap. Universitetsforlaget.  ISBN 9788215027609.  368 s.
• Barrett, Natasha & Mair, Karen (2016). Listening to 3D topography data with interactive sonification. Uni Research AS, Uni Research CIPR 2016.  ISBN 978-82-8361-005-5.  212 s. Vis sammendrag

  In this presentation we demonstrate how interactive spatial sonification can be used as an auditory display for 3-D topographical data. We sonify high-resolution virtual outcrop data obtained by Structure-from-Motion photogrammetry of UAV based images. (Barrett, N., Mair, K. 2016. Listening to 3D topography data with interactive sonification. Proceedings of the 2nd Virtual Geoscience Conference, Bergen, Norway, 21-23 September 2016: 51-52)

• Barrett, Natasha (2016). A 3D Future for Loudspeaker Orchestras Emulated in Higher-Order Ambisonics. International Computer Music Association.  ISBN 978-0-9845274-5-8.  607 s.

Se alle arbeider i Cristin

• Lartillot, Olivier (2018). Computational musicological analysis of notated music: a brief overview. Vis sammendrag

  Since the dawn of informatics, computer-based analysis of notated music has been attempted. I present a brief overview of the research in this area, covering the various tasks of music analysis, such as melodic, rhythmic, metrical, motivic or structural analyses, and evoking diverse methodological alternatives. I will discuss about the current state of the art, in particular the limitations of computational approaches so far, the technical challenges, and how I propose to transcend the current limitations. Practical applications of this area of research will be discussed, such as retrieval of musical queries in databases, automated identification (of genre, composer, etc.) or music performance and generation.

• Jensenius, Alexander Refsum & Tømte, Even (2018, 08. november). Når bassisten står 500 kilometer unna. [Fagblad].  Musikkultur. Vis sammendrag

  På masterprogrammet Music, communication, and technology bruker studenter i Oslo og Trondheim avansert videokonferanseutstyr til å jamme i sanntid.

• Aareskjold, Jon Marius (2018). Sound of Light.
• Aareskjold, Jon Marius (2018). Torun Eriksen - Luxury and Waste.
• Kjus, Yngvar (2018). Musical negotiations: How singer-songwriters relate to economy and copyright in digital times. Vis sammendrag

  Musical negotiations: How singer-songwriters relate to economy and copyright in digital times

• Nymoen, Kristian (2018). Soundtracer - Et innblikk i innholdsbasert arkivsøk. Vis sammendrag

  Et musikkopptak inneholder store mengder informasjon. I fagfaltet Music Information Retrieval forskes det på teknikker for å hente ut informasjon fra selve lydsignalet. Disse teknikkene gir nye og spennende muligheter for søk i lydarkiv – enten som supplement til, eller i stedet for, metadata. Hvordan kan man søke i et lydarkiv etter et bestemt intonasjonsmønster eller en bestemt rytmikk? Og hva skal til for å søke i et arkiv ved å nynne, klappe, eller bevege seg?

• Nymoen, Kristian (2018). Music Information Retrieval.
• Jensenius, Alexander Refsum (2018). Sophus Bugges Salong: Rytmer og følelser. Vis sammendrag

  Hvorfor opplever vi rytmer og tid slik vi gjør? "RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse" vil gi oss svaret.

• Alarcón Diaz, Ximena (2018). Workshop: Listening to Migration. Vis sammendrag

  Workshop: Listening To Migration Sentralen/Gymsalen 14/9, 11 – 15 Free Entry, including refreshments Artistic research project INTIMAL invites everyone interested to a one-day workshop dedicated to listening deeply to traces of human migration. Led by Ximena Alarcón Diaz, participants will carry out sonic meditations involving breathing, body movement, dream awareness and voice expression. Participants are invited to explore in-between sonic spaces through the actions and to connect with individual memories and collective migratory journeys. Inspired by Pauline Oliveros’s Deep Listening practice, combined with Embodied Music Cognition methods, this INTIMAL workshop explores the role of the body as a medium that carries a memory of place. The project is developed by Ximena Alarcón Diaz at RITMO (Centre for Interdisciplinary Studies in Rhythm, Time and Motion), Department of Musicology, University of Oslo. The workshop has a capacity of 15 and is open to all comers. Free Pre-registration here is required by 3 September: http://bit.ly/2nC7QSy Produced in collaboration with INTIMAL. Ultima Context is supported by Norsk Komponistforening, Fritt Ord and Bergesenstiftelsen.

• Alarcón Diaz, Ximena (2018). INTIMAL: Migrant Women's Sonic Statements of Presence. Vis sammendrag

  Departing from the fieldwork of the art research project INTIMAL, and reflecting on studies of gender, emotions, embodiment and migration (Brooks & Simpson, 2013; Ahmed, 2000), listening, language and voice studies (Oliveros, 2005; Choi, 2017; Cavarero, 2005; El Haouli, 2014) this paper suggests how listening and improvisatory mediated telematic performance (Alarcon, 2014), become key relational processes opening paths for women to explore identities, and heal feelings of loss, while augmenting their sense of space and acoustic presence. INTIMAL is a physical-virtual embodied interactive system that explores the body as an “interface” that keeps memory of place in migratory contexts, and through the practice of telematic sonic improvisatory performance. In the historical context of Colombian post-conflict and European diaspora, the research analyses the embodied acoustic experiences of nine Colombian migrant women living in Barcelona, London and Oslo, following their creative and personal healing process as they engage in a Deep Listening process (Oliveros, 2005) to their surroundings, language, voice, and silences, through memories and dreams (Lewis, 2005), and listening body (Gold, 2008), meeting physically and using internet-mediated communication. In the process, they also respond to an oral archive of testimonies from the Commission of Colombian Women in Diaspora (2017) with experiences rooted in the Colombian conflict. The resulting narratives have been recorded through Embodied Music Cognition methods (Jensenius, 2018), looking at individual agency and togetherness. Thus, the paper highlights how listening and expression processes through body movement, language and voice, free and technologically mediated improvisatory physical-virtual performance, help in the unfolding of layers of historical and cultural memory of conflict, including gendered violence (Thomas, 2006; Tolton, 2011; Tolton, 2014), as women move from a sense of place to the creation of a sense of presence (and telepresence) (ISPR, 2000), through individual and collective statements of presence.

• Jensenius, Alexander Refsum (2018, 14. oktober). Forskerbloggen: Hvorfor får man lyst til å danse til musikk?. [TV].  NRK.
• Aubinet, Stéphane (2018). Sámi joik and the singing body as a more-than-human ecology.
• Aubinet, Stéphane (2018). Musical notation and non-human voices in Sámi joik.
• Aubinet, Stéphane (2018). Franchir l'horizon par la voix dans le joik Sámi (Laponie).
• Werner, Ann; Gadir, Tami & de Boise, Sam (2018). Past the Point of Representation: New Agendas in Research on Music and Gender. Vis sammendrag

  Gender inequalities have long been documented within and across different music spaces. Yet whilst there has been an emphasis on equality as an issue of quantitative representation, or ‘more equal’ numbers of binary genders, inequalities still persist. Furthermore, intersectional feminist critiques have indicated that quantitative, binary measures tend to privilege white, cisgendered bodies, whilst post- and de-colonial approaches have argued that radically reforming patriarchal and colonial institutions, including greater appreciation of geopolitics, mean thinking beyond issues of quantitative representation within institutions. This panel aims to demonstrate how emerging work within cultural and gender studies can help to develop new questions around aesthetics and music practice, in tandem with analyses of intersectionally gendered inequalities. Through exploring the affective dimensions of gender, ontological questions of gendered subjectivity(/ies) and the gendered structuring of material music environments, it aims to offer affirmative strategies for studying, analysing and transforming gender inequalities in relation to music.

• Gadir, Tami (2018). Musical “Quality” over Gender Equality? When Culture Clashes with Law. Vis sammendrag

  My proposed presentation addresses the disparities between the legal and the cultural: on the one hand, equality legislation enacted through formalised workplace policies; on the other, the everyday cultural and political attitudes inscribed into musical practices. I use the case of Musikkfest, Oslo, and a recent history of gender equality in Norway, to show how the rhetorics of postfeminism, individualism, and meritocracy affect musicians who are not male and not white. This aligns with current, global, populist backlashes against so-called political correctness. I further critique the profoundly gendered ideas of “talent” or “skill” in the discourses of music practitioners. Providing further examples of DJs from around the world, I show how such paradigms currently dominate music cultures as much as they do world politics. Overarchingly, I critique the ways that such paradigms are woven into musical aesthetic judgements that, in effect, validate discriminatory practices.

• Gadir, Tami; Meanwell, Peter; Jensen, Juno & Bellebono, Jon (2018). Borealis Festival Presents: Creating Spaces, Taking Risks (Panel).
• Gadir, Tami (2018). Dance Music: Just Being Human.
• Gadir, Tami (2018). Dance Music: Just Being Human.
• Sioros, Georgios (2018). What we do when we move to music v.2.
• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter. Vis sammendrag

  Head movements of groups of participants moving to music allowing for both duple and triple subdivisions were analysed using Recurrence Quantification Analysis. As expected the maximum recurrence rate varied between participant, position in the music, and between groups. The lags of maximum recurrence were only partly corresponding to the metrical levels of the music and syncopated sections confused participants so that they moved to 4/4 rather than 6/8.

• Haugen, Mari Romarheim (2018). Meter i Skandinavisk folkemusikk.
• Kraugerud, Emil (2018). Take Time.
• Jensenius, Alexander Refsum (2018). The Musical Gestures Toolbox for Matlab. Vis sammendrag

  The Musical Gestures Toolbox for Matlab (MGT) aims at assisting music researchers with importing, preprocessing, analyzing, and visualizing video, audio, and motion capture data in a coherent manner within Matlab.

• Hawkins, Stan (2018). Nordic Utopias and the Project of Daydreaming.
• Jensenius, Alexander Refsum (2018). Hvilken type IKT-kompetanse trenger humanister og samfunnsvitere?.
• Bøhn, Einar Duenger; Smajdor, Anna Colette & Jensenius, Alexander Refsum (2018). Humaniora og teknologi.
• Danielsen, Anne & Jensenius, Alexander Refsum (2018). Rytme i tid og rom.
• Martin, Charles Patrick; Lesteberg, Mari; Jawad, Karolina; Aandahl, Eigil; Xambó, Anna & Jensenius, Alexander Refsum (2018). Stillness under Tension.
• Martin, Charles Patrick; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata; Erdem, Cagri & Jensenius, Alexander Refsum (2018). Stillness under Tension.
• Jensenius, Alexander Refsum (2018). Introduction to Musical Gestures Toolbox for Matlab.
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Muscle activity response of the audience during an experimental music performance. Vis sammendrag

  This exploratory study investigates muscular activity characteristics of a group of audience members during an experimental music performance. The study was designed to be as ecologically valid as possible, collecting data in a concert venue and making use of low-invasive measurement techniques. Muscle activity (EMG) from the forearms of 8 participants revealed that sitting in a group could be an indication of a level of group engagement, while comparatively greater muscular activity from a participant sitting at close distance to the stage suggests performance-induced bodily responses. The self-reported measures rendered little evidence supporting the links between muscular activity and live music exposure, although a larger sample size and a wider range of music styles need to be included in future studies to provide conclusive results.

• Oddekalv, Kjell Andreas (2018). Konsert med Sinsenfist.
• Brøvig-Hanssen, Ragnhild; Aareskjold, Jon Marius & Sandvik, Bjørnar (2018). EDM Producers' Reflections on Groove.
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2018). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump.
• London, Justin; Danielsen, Anne & Nymoen, Kristian (2018). Where is the beat in that note? Effects of attack, frequency, and duration on the p-centers of musical and quasi-musical sounds.
• Jensenius, Alexander Refsum (2018). Fremtiden er analog - perspektiver på humaniora og teknologi.
• Jensenius, Alexander Refsum (2018). Ny musikkforskning ved RITMO.
• Jensenius, Alexander Refsum (2018). Kunnskapsledelse av et Senter for fremragende forskning.
• Kraugerud, Emil (2018). Hyperintimacy in St. Vincent's "Hang On Me".
• Vuoskoski, Jonna Katariina; Zickfeld, Janis Heinrich; Alluri, Vinoo & Seibt, Beate (2018). Moved by music: Investigating continuous ratings and contributing musical features. Vis sammendrag

  In the past few years, the emotion commonly labelled ‘being moved’ has attracted increasing research interest in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). ‘Being moved’ is typically characterized as a mixed or predominantly positive emotion, with joy and sadness as its main ingredients. In the context of music listening, feelings of being moved have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). However, little is known about the time course of such experiences. The aim of the present study was to investigate continuously rated experiences of ‘being moved’ in response to music, and how these experiences relate to perceived sadness, happiness, and beauty. 415 participants took part in a pre-registered online experiment where they heard 7 moving music excerpts (3 sad, 3 happy, and 1 neutral; duration 121-186 s) and continuously rated their experience or perception (1 scale per participant per excerpt). Before analyses, the continuous rating data was averaged (within each song), de-trended, and downsampled. Perceived beauty cross-correlated highly with being moved across all excerpts (CCF0 = .59). Being moved correlated with perceived happiness in both joyfully (CCF0 = .66) and sadly (CCF0 = .52) moving excerpts, but with perceived sadness only in the sadly moving excerpts (CCF0 = .48). An exploratory analysis of computationally extracted musical features revealed partly excerpt-dependent patterns of correlations, but RMS energy and spectral entropy – reflecting changes in loudness and broadness of the frequency range – significantly correlated with being moved across most pieces.

• Danielsen, Anne (2018, 16. august). Intervju om Aretha Franklin til NTB.
• Danielsen, Anne (2018, 16. august). Intervju om Aretha Franklin i Dagsnytt, NRK 2. [TV].
• Danielsen, Anne (2018). Microrhythms and Microsounds: The impact of digitization on African-American popular music.
• Bradley, Catherine A. & Desmond, Karen (2018). Introduction, In Catherine A. Bradley & Karen Desmond (ed.),  The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies.  Boydell & Brewer.  ISBN 978-1-78327-272-3.  Introduction.  s 1 - 10
• Hagen, Anja Nylund (2018). Changing practices in a globalised and digitalised music industry.
• Hagen, Anja Nylund (2018). Norwegian music industry as global and digital media industry.
• Jensenius, Alexander Refsum & Klausen, Aslaug Olette (2018, 30. august). Nytt musikkteknologstudie skal foregå i Oslo og Trondheim samtidig. [Internett].  Ballade. Vis sammendrag

  Masterprogrammet er det første delte studiet i sitt slag, mellom NTNU og Universitet i Oslo.

• Jensenius, Alexander Refsum & Lie, Tove (2018, 21. august). Ønsker lærernorm i høyere utdanning: Maksimalt 20 studenter per foreleser. [Internett].  Khrono. Vis sammendrag

  Det er på tide å diskutere en lærernorm for høyere utdanning, mener førsteamanuensis ved Universitetet i Oslo, Alexander Refsum Jensenius.

• Jensenius, Alexander Refsum & Tønnessen, Eva (2018, 22. mars). Står mot hverandre om hva som er best for å sikre topp forskning. [Internett].  Khrono. Vis sammendrag

  Forskningsmiljøer står mot hverandre i en debatt om hvordan best satse langsiktig på å utvikle forskningsmiljøer i verdenstoppen. Nå tar Arbeiderpartiets Nina Sandberg debatten inn i Stortinget.

• Jære, Lisbet; Danielsen, Anne & Jensenius, Alexander Refsum (2018, 30. august). På sporet av rytmen. [Internett].  Uniforum. Vis sammendrag

  Hvorfor får vi lyst til å bevege oss når vi hører musikk? Vinnerne av UiOs innovasjonspris, Anne Danielsen og Alexander Refsum Jensenius, finner forhåpentligvis svaret når de fordyper seg i mennesket og rytmens mysterier.

• Toft, Martin & Jensenius, Alexander Refsum (2018, 29. august). UiO og NTNU har starta revolusjonerande studium i musikkteknologi. [Internett].  Uniforum. Vis sammendrag

  I dag opna Universitetet i Oslo og NTNU eit felles masterprogram der studentane skal utvikla musikkteknologi i det felles elektroniske klasserommet Portalen. – Det er utruleg at det er blitt realisert to år etter at eg kom med ideen, seier musikkforskar Alexander Refsum Jensenius.

• Vinje, Petrine & Kelkar, Tejaswinee (2018). DEPOT. DEPOSITORY. RAYS EN UTSTILLING AV PETRINE VINJE.
• Aronsen, Jan Magnus & Jensenius, Alexander Refsum (2018). «Røvertidsskriftene» er bare toppen av isfjellet. Aftenposten. Vis sammendrag

  Staten betaler for ny kunnskap, gir den bort gratis, og kjøper den deretter tilbake av internasjonale forlag.

• Lartillot, Olivier; Thedens, Hans-Hinrich & Jensenius, Alexander Refsum (2018). Computational model of pitch detection, perceptive foundations, and application to Norwegian fiddle music. Vis sammendrag

  Background Automated detection of pitch in polyphonic music remains a difficult challenge (Benetos et al., 2013). Robust solutions can be found for simple cases such as monodies. Implementation of perceptive/cognitive models have been so far less successful than engineering methods, and in particular machine learning models. One reference model (Klapuri, 2006) preselects pitch candidates based on harmonic summation and searches for multiple pitches through cancellation. Aims The aim was to conceive a model for pitch detection in polyphonic music able to transcribe in details traditional Norwegian music played on Hardanger fiddle, where more than two strings are played at the same time. The new model should be applicable to other types of music as well. Perceptive and cognitive models should guide the improvement of the state of the art. Main Contribution The model is neither based on a machine-learning training on a given set of samples, nor explicitly relying on stylistic rules. Instead, the methodology consists in conceiving a set of rules as simple and general as possible while offering satisfying results for the chosen corpus of music. We follow some general principles of the model by (Klapuri 2006) while introducing new heuristics. We present a new method for harmonic summation that penalises harmonic series that are sparse, in particular when odd partials are absent, as it would indicate that the actual harmonic series is a multiple of the given pitch candidate. Besides, a multiple of a fundamental can be selected as pitch in addition to the fundamental itself if its attack phase is sufficiently distinctive. For that purpose, we introduce a concept of pitch percept that persists over the whole extent of the note, and that serves as a reference for the detection of higher pitches at harmonic intervals. Results The proposed method enables to obtain transcriptions of relatively good quality, with a low ratio of false positives and false negatives. The construction of the model is under refinement. We are applying this method to the analysis of recordings of Norwegian folk music, containing a large part of Hardinger fiddle pieces and a cappella singing. Implications Automated transcription is of high interest for musicology and music information retrieval. This enables for instance to build large corpora of scores for music analysis and opens news perspectives for computational musicology. By attempting to design computer models based on general rules as simple as possible rather than on machine learning, while resulting in a behaviour in terms of pitch detection that comes closer to human capabilities, we hypothesise that the underlying mechanisms thus modelled might suggest general computational capabilities that could be found in cognitive models as well. In the same time, an improvement of the model based on expertise in music perception and cognition is desired. References Benetos et al. (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, 41, 407-434 Klapuri, Multiple Fundamental Frequency Estimation by Summing Harmonic Amplitudes. ISMIR 2006 Keywords: pitch, computational model, harmonic summation, Norwegian folk music, Hardanger fiddle.

• Brandtsegg, Øyvind; Engum, Trond & Wærstad, Bernt Isak (2018). Working methods and instrument design for cross-adaptive sessions.
• Christophersen, Bjørn Morten (2018). Heimferd i et kompositorisk perspektiv.
• Christophersen, Bjørn Morten (2018). Workshop med live orkster (ung.kom 2018).
• Christophersen, Bjørn Morten (2018). 5 orkestreringer for ung.kom 2018.
• Christophersen, Bjørn Morten (2018). Vil du høre?.
• Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo (2018). Personality, trait empathy, and kinds of musical reward predict healthy and unhealthy music listening strategies.
• Haugen, Mari Romarheim (2018). The Effect of Tempo on Non-Isochronous Subdivisions in Performed Samba Groove. Vis sammendrag

  Several empirical studies have investigated the role of tempo on the characteristic non-isochronous long–short duration pattern on eight note level in jazz. Friberg and Sundström (1997) found an approximately linear decrease of swing ratio with increasing tempo and suggest a lower limit to the duration of the short second eight note around 100 ms. Honing and Haas (2008) found that the swing ratio is adapted to the overall tempo, but did not find that it scaled linearly with tempo. Non-isochronous subdivision patterns have also been found in samba groove (e.g., Gerischer, 2006; Haugen, 2016; Naveda, 2011)–that is, at the level of sixteenth notes. In samba groove the fourth sixteenth note seems to be longer in duration than the others. The aim of this study is to investigate the influence of tempo on the duration pattern on sixteenth note level in a performed samba groove. Two professional samba performers, a percussionist and a dancer, participated in the study. The analysis in present paper is based on the recorded sound. The percussionist played a samba groove at three different tempi: 133, 100, and 69 BPM. Since all the sixteenth notes are played in this recording, their temporal position could be detected using onset detection. Subsequently, the inter-onset-intervals (IOIs) between the sixteenth notes were calculated and converted into percent values according to their percentage of the beat. The analysis showed significant differences between all the sixteenth note durations in all three tempi–that is, a medium/long–short–medium/short–long duration pattern on sixteenth note level were found at all tempi. In addition, a significant interaction between sixteenth note type and tempo were found. The analysis showed that as the tempo increases the short second sixteenth note became shorter and the long fourth sixteenth note became longer. In the fastest tempo, the short second sixteenth note’s mean duration is only 68 ms, something that is much shorter than 100 ms that has previous been suggested to be the shortest interval that we can hear and perform. The results suggest that the non-isochronous duration pattern on sixteenth note level in samba becomes even more non-isochronous with increasing tempo. In addition, the results indicate that the lower limit for IOIs in samba groove is below 100 ms. REFERENCES: Friberg & Sundström. (1997). Preferred swing ratio in jazz as a function of tempo. Speech, Music, and Hearing: Quarterly Status and Progress Report (TMH-QSPR), 4, 19–27. Gerischer (2006). O suingue baiano: Rhythmic feeling and microrhythmic phenomena in Brazilian percussion. Ethnomusicology, 50(1), 99–119. Haugen (2016). Music–Dance. Investigating Rhythm Structures in Brazilian Samba and Norwegian Telespringar Performance. (Ph.D. Thesis), University of Oslo, Oslo. Honing & Haas (2008). Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming. Music Perception: An Interdisciplinary Journal, 25(5), 471–476. doi:10.1525/mp.2008.25.5.471 Naveda (2011). Gesture in Samba: A cross-modal analysis of dance and music from the Afro-Brazilian culture. (Ph.D. thesis), Faculty of Arts and Philosophy, Ghent University, Belgium, Ghent, Belgium.

• Vuoskoski, Jonna Katariina; Clarke, Eric F. & Elvers, Paul (2018). Comparing the effects of music and images on implicit cultural attitudes.
• Vuoskoski, Jonna Katariina (2018). Moved by music: The role of empathy and social cognition in music-induced emotions (keynote lecture).
• Wallace, Benedikte & Jensenius, Alexander Refsum (ed.) (2018). SoundTracer: A brief project summary.
• Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2018). Analysing the synchronisation of COM motion with music in human standing. Vis sammendrag

  Introduction Postural stability have been the focus of a number of studies on fall prevention and sports, with an emphasis on walking dynamics1 . Fewer studies have aimed at understanding the influence of sound stimuli in standing posture sway 2. Although the vestibular system plays a fundamental role in the control of postural stability, it has also been shown to be key in embodied cognition processes 3. It is in part through the vestibular system that music activates motor areas in the brain to induce movement, while body movement enhances the cognitive processing of sound and music 3. This study explored the influence of music on postural control by measuring synchronization between body center of mass (COM) sway with music. Methods 7 women (32 ± 4.39 years, 1.73 ± 0.04 m, mean ± SD), and 5 men (29.67 ± 4.63 years, 1.81 ± 0.04 m) participated in the study. Participants were asked to stand still for 6 minutes as they were presented with alternating segments of silence and music. COM movements were measured from the position of a passive marker placed in the midline of the sacrum, recorded using an infrared motion capture system. Radial and vertical COM movements were cross-correlated with the pulse clarity, RMS, and spectral centroid of the stimuli. Results Paired samples t-test revealed differences in COM radial and vertical sway between silent and music conditions to be significant at the 0.05 level. A repeated measures ANOVA showed a significant effect of the stimuli on COM sway (p < 0.05). The effect of the stimuli on the lag of maximum cross-correlation (delay) between COM radial sway and RMS was shown to be significant (p < 0.05). Differences in delay between pulse clarity and COM vertical sway were significant between stimuli (p < 0.05 ). Discussion Results suggest that the effect of RMS in music-induced postural sway might be predominant in the radial plane, with anticipatory behavior observed for stimuli with low RMS. Vertical sway correspondence patterns suggest anticipatory vertical motion to music spectral centroid. A more robust understanding of a range of music features and their links with induced movement could lead to insight into the role of the vestibular and sensory systems in balance control. References 1 Cimolin, V., Galli, M. (2014). Summary measures for clinical gait analysis: A literature review. Gait & Posture 39, 1005-1010. 2 Ross, J. M., Warlaumont, A. S., Abney, D. H., Rigoli, L. M., and Balasubramaniam, R. (2016). Influence of musical groove on postural sway. Journal of Experimental Psychology: Human Perception and Performance Advance online publication. 3 Todd, N. P. (1999). Motion in music: A neurobiological perspective. Music Perception: An Interdisciplinary Journal 17, 115–126.

• MacCallum:, John; Naccarato, Teoma; Caramiaux, Baptiste; Gonzalez Sanchez, Victor Evaristo; Fdili Alaoui, Sarah; LaViers, Amy; Matos, Jean-Marc; Rajko, Jessica; Russell, Adam & Xin Wei, Sha (2018). Panel: What Escapes Computation in Interactive Performance?. Vis sammendrag

  Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music? Exploring the frequency-domain and time-domain links between sound and motion signals in a systematic manner might encourage international and interdisciplinary collaboration, boosting developments in the field and knowledge transferability.

• Serafin, Stefania; Dahl, Sofia; Bresin, Roberto; Jensenius, Alexander Refsum; Unnthorsson, Runar & Välimäki, Vesa (2018). NordicSMC: A Nordic University Hub on Sound and Music Computing. Vis sammendrag

  Sound and music computing (SMC) is still an emerging field in many institutions, and the challenge is often to gain critical mass for developing study programs and undertake more ambitious research projects. We report on how a long-term collaboration between small and medium-sized SMC groups have led to an ambitious undertaking in the form of the Nordic Sound and Music Computing Network (NordicSMC), funded by the Nordic Research Council and institutions from all of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The constellation is unique in that it covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, the social and natural sciences, and engineering. This paper describes the goals, activities, and expected results of the network, with the aim of inspiring the creation of other joint efforts within the SMC community.

• Devine, Kyle (2018). Musicology Without Music?.
• Danielsen, Anne; Johansson, Mats Sigvard & Haugen, Mari Romarheim (2018). Presentasjon av TIME-prosjektet.
• Danielsen, Anne (2018, 07. juni). Hva er en sommerhit?. [Radio].  NRK P2, Studio 2.
• Danielsen, Anne (2018). Analysing Popular Music in the Digital Age. Vis sammendrag

  Creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. In this keynote, I will analyse some examples of new sonic expressions within the field of popular music that have been produced through unorthodox application of the digital audio workstation. I will also touch upon new patterns of personalised use and the so-called “prosumption” practices that have arised in the digital era in the form of remix, sample and mashup.

• Jensenius, Alexander Refsum; Martin, Charles Patrick; Bjerkestrand, Kari Anne Vadstensvik & Johnson, Victoria (2018). Stillness under Tension.
• Martin, Charles Patrick; Jensenius, Alexander Refsum & Tørresen, Jim (2018). Composing an ensemble standstill work for Myo and Bela. Vis sammendrag

  This paper describes the process of developing a standstill performance work using the Myo gesture control armband and the Bela embedded computing platform. The combination of Myo and Bela allows a portable and extensible version of the standstill performance concept while introducing muscle tension as an additional control parameter. We describe the technical details of our setup and introduce Myo-to-Bela and Myo-to-OSC software bridges that assist with prototyping compositions using the Myo controller.

• Martin, Charles Patrick; Xambó, Anna; Visi, Federico; Morreale, Fabio & Jensenius, Alexander Refsum (2018). Stillness under Tension. Vis sammendrag

  Stillness Under Tension​ is an ensemble standstill work for Myo gesture control armband and Bela embedded music platform. Humans are incapable of standing completely still due to breathing and other involuntary micromotions. This work explores the expressive space of standing still through an inverse action-sound mapping: less movement leads to more sound. Four performers stand as still as possible on stage, each wearing a Myo armband connected to a Bela embedded sound processing platform. The Myo is used to measure the performers movement, and the muscle activity in their forearm which they can use--both voluntarily and involuntarily--to control a synthesised sound world. Each performer uses one Myo and Bela in a musical space defined by their physical position and posture while standing still.

• Gonzalez Sanchez, Victor Evaristo; Martin, Charles Patrick; Zelechowska, Agata; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria & Jensenius, Alexander Refsum (2018). Bela-based augmented acoustic guitars for sonic microinteraction. Vis sammendrag

  This article describes the design and construction of a collection of digitally-controlled augmented acoustic guitars, and the use of these guitars in the installation \textit\{Sverm-Resonans\}. The installation was built around the idea of exploring `inverse’ sonic microinteraction, that is, controlling sounds by the micromotion observed when attempting to stand still. It consisted of six acoustic guitars, each equipped with a Bela embedded computer for sound processing (in Pure Data), an infrared distance sensor to detect the presence of users, and an actuator attached to the guitar body to produce sound. With an attached battery pack, the result was a set of completely autonomous instruments that were easy to hang in a gallery space. The installation encouraged explorations on the boundary between the tactile and the kinesthetic, the body and the mind, and between motion and sound. The use of guitars, albeit with an untraditional `performance’ technique, made the experience both familiar and unfamiliar at the same time. Many users reported heightened sensations of stillness, sound, and vibration, and that the `inverse’ control of the instrument was both challenging and pleasant.

• Danielsen, Anne & Jensenius, Alexander Refsum (2018, 21. juni). UiOs innovasjonspris til RITMO ved Anne Danielsen og Alexander Refsum Jensenius. [Fagblad].  Ballade. Vis sammendrag

  Får prisen for tverrfaglig, banebrytende og innovativt arbeid.

• Kraugerud, Emil (2018). Constructions of Intimacy in St. Vincent's "Hang On Me".
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo & Jensenius, Alexander Refsum (2018). How music moves us? Studying human body micromotion in music perception. Vis sammendrag

  Music has the power to influence not only our thoughts and emotions, but also various physiological processes in our bodies. Furthermore, it often encourages physical movement of the listener. While there are numerous studies describing spontaneous psychophysiological responses to music that are linked with emotions, spontaneous body movement to music has became a topic of exploration relatively recently. Mostly, it has been studied in the context of free dance (Burger et al., 2013) or synchronization to musical rhythm while performing repetitive movements such as walking (Styns et al., 2007). But what can we observe if the participants are just standing still? In our project “MICRO - Human Bodily Micromotion in Music Perception and Interaction” we focus on movements so small that they can be unnoticed both by observer and performer, and that can happen involuntarily. This is what we call “micromotion” of the human body. To see how these small movements are affected by music, we develop different experiments using mainly motion capture technology, but also physiological measures such as electromyography (EMG). In this presentation I would like to describe some of our research methods, findings and plans. In one of the experiment paradigms, disguised as the “Norwegian Championship of Standitill”, we invite groups of participants to the laboratory and ask them to stand as still as possible while we present them with segments of selected music or silence. The head motion of each participant is captured using an infrared optical system. In 2012, 91 subjects stood on the floor for 3 minutes in silence and 3 minutes listening to music of increasing level of rhythmicality and energy (Jensenius et al., 2017). In 2017, 71 participants listened to 6 minutes consisting of segments of silence alternating with electronic dance music (EDM), classical Indian music or Norwegian fiddle music. In both studies we observed higher mean quantity of motion of the participants (QoM) in music condition compared to silence condition, and the effect was driven mostly by EDM. We also observed correlations between QoM and participant’s age, height and standing strategy (locked knees), although these results are mixed between the two studies. The future goal is to look more closely into specific features in music that correspond with observed movement, to search for signs of rhythmic entrainment, and to see what demographic and psychological factors might contribute to interpersonal differences in music induced body micromotion. References: Burger, B., Thompson, M. R., Luck, G., Saarikallio, S., & Toiviainen, P. (2013). Influences of rhythm-and timbre-related musical features on characteristics of music-induced movement. Frontiers in psychology, 4, 183. Jensenius, A. R., Zelechowska, A., & Gonzalez Sanchez, V. E. (2017). The Musical Influence on People's Micromotion when Standing Still in Groups. In Proceedings of the SMC Conferences (pp. 195-200). Aalto University. Styns, F., van Noorden, L., Moelants, D., & Leman, M. (2007). Walking on music. Human movement science, 26(5), 769-785.

• Hawkins, Stan (2018). Institutionalizing Cosmopolitanism and White Masculinity: Dandyism in Popular Music.
• Kelkar, Tejaswinee; Roy, Udit & Jensenius, Alexander Refsum (2018). Evaluating a collection of Sound-Tracing Data of Melodic Phrases.
• Lartillot, Olivier & Belyaev, Dmitry (2018, 28. mai). Busca música dibujándo en el aire.  Publimetro, Latin America. Vis sammendrag

  SoundTracer es una app para iOS que te permite sentir que diriges una pieza de música mientras la buscas

• Bergsland, Andreas; Saue, Sigurd & Østern, Tone Pernille (2018). VIBRA - video interaksjon bevegelse rom audio - visning. Vis sammendrag

  VIBRA er et nettverk med kunstnere og teknologer som utforsker kunstneriske uttrykksmuligheter knyttet til video, interaksjon, bevegelse, rom og audio - i kortform, det man ofte betegner som interaktiv dans. I etterkant av vår andre workshop har vi visning i Verkstedhallen. Vi sikter mot et åpent, lekent uttrykk, der teknologi, lys, video, flerkanals lyd, dansende kropper og rom spiller opp mot hverandre. Det blir muligheter for publikumsdeltakelse. Deltakere: Elen Øyen, Andreas Bergsland, Pekka Stokke, Luis Della Mea, Sigurd Saue, Gina Sandberg, Tone Pernille Østern og Arnhild Staal Pettersen. Arrangementet er støttet av Kulturrådet, NTNU, Trondheim kommune, Fond for utøvende kunstnere, Trøndelag Fylke. Gratis inngang!

• Danielsen, Anne (2018). Veien til RITMO: Fra musikkestetikk til tverrfaglig rytmeforskning.
• Danielsen, Anne (2018). RITMO - a center for interdisciplinary research into rhythm, time and motion.
• Lartillot, Olivier; Jensenius, Alexander Refsum & Haugen, Toril (2018, 24. mai). Mobilen finner musikk når du beveger hånden. [Internett].  Forskning.no.
• Jensenius, Alexander Refsum; Adde, Lars & Flydal, Lars O. (2018, 23. mai). Forskningsmøte mellom musikk og medisin.  Vårt Land. Vis sammendrag

  Tverrfaglig nytte: Forskning på kroppens rytmer og bevegelser har skapt nye diagnoseverktøy som gjør at ­cerebral parese kan påpekes tidligere.

• Lartillot, Olivier (2018). Sound analysis for gestural interactions with large music datasets.
• Jensenius, Alexander Refsum & Seres, Silvija (2018, 26. april). #89: Alexander Jensenius: Slik danser du din egen musikk. [Internett].  Oslo Business Forum. Vis sammendrag

  Hvordan kan teknologi og musikk bli til noe veldig spennende? Og hva er unikt med måten vi beveger oss på? Dagens podkastgjest er førsteamanuensis i musikkteknologi, Alexander Jensenius. I episode #89 av podkastserien ‘De som bygger det nye Norge med Silvija Seres’ snakker Jensenius om hvordan tverrfaglighet mellom uvanlige fag og disipliner åpne nye måter å tenke på. Han snakker også om hvordan han bruker «motion capture» til å studere mennesker i bevegelse, hva rytme betyr for mennesker og hans beste råd til unge forskere.

• Lartillot, Olivier; Jensenius, Alexander Refsum; Haugen, Toril & Baarøy, Fillip-André (2018, 03. mai). Finner musikk ved å bevege hånden. [Internett].  HF aktuelt.
• Jensenius, Alexander Refsum (2018). Introduction to the SoundTracer Project.
• Bergsland, Andreas; Østern, Tone Pernille & Saue, Sigurd (2018). VIBRA - Video Lyd Bevegelse Rom Audio. Vis sammendrag

  VIBRA (Video-Interaksjon-Bevegelse-Rom-Audio) er en tverrfaglig gruppe kunstnere som utforsker interaktiv dans ved hjelp av ny sensorteknologi, flerkanals lyd og visuals. Vi inviterer publikum til åpen visning som en del av vår workshop fredag 16.mars kl.14-15. Det blir også anledning for publikum å prøve! Det er gratis inngang. VIBRA er: Elen Øyen, Andreas Bergsland, Luis della Mea, Sigurd Saue, Tone Pernille Østern, Pekka Stokke, Gina Sandberg og Arnhild Staal Pettersen Workshopen er arrangert med støtte fra Kulturrådet, NTNU ved Institutt for musikk, Trondheim Kommune, DansIT og Fond for utøvende kunstnere. https://www.facebook.com/events/545972182451596/

• Vuoskoski, Jonna Katariina (2018). Moved by music: The role of empathy in music-induced emotions.
• Jensenius, Alexander Refsum; Duch, Michael Francis; Langdalen, Jørgen; Åse, Tone; Larsen, Edvine & Østern, Tone Pernille (2018). Kunsten å forske. Vis sammendrag

  Hva er kunstnerisk forskning? Hvorfor heter det kunstnerisk utviklingsarbeid og ikke kunstnerisk forskning når det heter det i andre land? Er det sånn at kunstnerisk forskning skiller seg fra all annen type forskning, og i så fall hvorfor?

• Jensenius, Alexander Refsum (2018). Studying "nothing": complexities of human music-related micromotion. Vis sammendrag

  How much do people move when they try to stand still? Does listening to music influence your micromotion? Can we use micromotion in human-computer interaction? In this presentation, music technologist Alexander Refsum Jensenius (RITMO, UiO) will share some results from his research on human cognition on the boundaries between the conscious and the unconscious, the voluntary and the involuntary.

• Jensenius, Alexander Refsum (2018). The importance of "nothing": studying human music-related micromotion. Vis sammendrag

  How much do people move when they try to stand still? Does listening to music influence your micromotion? Can we use micromotion in human-computer interaction? In this presentation, music technologist Alexander Refsum Jensenius (RITMO, UiO) will share some results from his research on human cognition on the boundaries between the conscious and the unconscious, the voluntary and the involuntary.

• Guldbrandsen, Erling E. (2018). Nok en blodig brud. Lucia di Lammermoor på Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  s 30- 31
• Guldbrandsen, Erling E. (2018). Foreningens ansikt i ti år. Portrettintervju med Britt Berntsen. Maurtua.  (1), s 4- 12
• Guldbrandsen, Erling E. (2018). Om arbeidet i EARLS, European Alliance for Restless Legs Syndrome.
• Guldbrandsen, Erling E. (2018). Myten om det rene og norske. Sylvi Listhaug er en karismatiker som vi ikke har sett maken til i politikken på en stund. Dette er opplysningens tilbakeslag i myte.. Vårt Land.  s 18- 19
• Guldbrandsen, Erling E. (2018). Revisiting the Idea of 'Norway'. Alfred Janson's 'Forspill' for Violin and Orchestra (1973–75).
• Jensenius, Alexander Refsum; Sparbo, Njål; Sen, Sagar & Edvardsen, Elisabeth (2018). Breath, breathing and the sensing of breathing.
• Jensenius, Alexander Refsum; Sørbø, Solveig Isis & Arvola, Jakob (2018, 06. april). MusicLab - et nytt konsept for forskning og forskningsformidling. [Radio].  NRK Klassisk.
• Hawkins, Stan (2018). Countless Ways to Study and Research Into Pop Music, In Thomas Kitts (ed.),  Celebrity for the Curious: Why Study Celebrity, Music, and Film Studies?.  Curious Academic Publishing.  ISBN 978-1-925128-59-8.  13.
• Vuoskoski, Jonna Katariina (2018). The role of empathy in music-induced emotion.
• Jensenius, Alexander Refsum & Tønnesen, Eva (2018, 22. mars). Står mot hverandre om hva som er best for å sikre topp forskning. [Internett].  Khrono. Vis sammendrag

  Forskningsmiljøer står mot hverandre i en debatt om hvordan best satse langsiktig på å utvikle forskningsmljøer i verdenstoppen. Nå tar Arbeiderpartiets Nina Sandberg debatten inn i Stortinget.

• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Francesca R. (2018). Sverm-Pluck.
• Jack, Robert; Jensenius, Alexander Refsum; Gonzalez Sanchez, Victor Evaristo; Bjerkestrand, Kari Anne Vadstensvik; Zelechowska, Agata; Martin, Charles Patrick & Johnson, Victoria (2018, 02. mars). Sverm-Resonans: interactive installation with resonating guitars and Bela. [Internett].  Bela blog. Vis sammendrag

  Sverm-Resonans is an interactive installation developed for the Ultima Contemporary Music Festival in Oslo which features 6 suspended guitars, each fitted with an actuator, distance sensor and a Bela.

• Danielsen, Anne & Jensenius, Alexander Refsum (2018). The Norwegian Centre of Excellence RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
• Jensenius, Alexander Refsum & Vogt, Yngve (2018, 25. januar). Musikkprogram kan avsløre cerebral parese. [Internett].  Apollon. Vis sammendrag

  Musikkforsker har laget et dataprogram for å måle bevegelsene til dansere. Nå bruker medisinere verktøyet hans til å avsløre om små babyer har cerebral parese.

• Jensenius, Alexander Refsum (2018). RITMO - et nytt senter for fremragende forskning.
• Jensenius, Alexander Refsum (2018). Kan musikk påvirke stillstanden din?. Forskning.no.  ISSN 1891-635X. Vis sammendrag

  Det er umulig å stå stille. Kroppen lever og beveger seg hele tiden. Selv om man forsøker å stå i ro, klarer man det ikke helt. Så hvor stille står vi egentlig? Og hvordan påvirker musikk oss når vi står stille?

• Guldbrandsen, Erling E. (2018). Dyktige solister i tafatt regi. Bellinis Norma på Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  s 34- 35
• Guldbrandsen, Erling E. (2018, 07. januar). Universitetspolitikk. Debattprogram. [Radio].  NRK Ytring.
• Jensenius, Alexander Refsum (2018). Dans i musikkfaget i skolen.
• Nielsen, Nanette; Devine, Kyle; Hagen, Per Ole & Gadir, Tami (2017). How We Got into Academia, and How to Get (More) Out of It: Ideas Entrepreneurship in Action.
• Gadir, Tami (2017). Introduction: Dance Music, Diverse Perspectives.
• Sioros, George (2017). What we do when we move to music.
• Christophersen, Bjørn Morten (2017). Orkestreringsforedrag med live orkester.
• Christophersen, Bjørn Morten (2017). Bak notene 4. mai 2017.
• Christophersen, Bjørn Morten (2017). Bak notene 12. januar 2017:.
• Christophersen, Bjørn Morten (2017). 5 arrangementer for ung.kom 2017.
• Christophersen, Bjørn Morten (2017). Så seile vi på Mjøsa.
• Christophersen, Bjørn Morten (2017). Five Very Short Pieces for Brass Quintet.
• Christophersen, Bjørn Morten (2017). Fanfarefull kantilene.
• Christophersen, Bjørn Morten (2017). Chaconne.
• Christophersen, Bjørn Morten (2017). Helliget vorde dit navn.
• Christophersen, Bjørn Morten (2017). Woven Brass Quintet.
• Christophersen, Bjørn Morten (2017). Woven Brass.
• Christophersen, Bjørn Morten (2017). Dagvise.
• Lartillot, Olivier (2017). Sound analysis for gestural interactions with large music datasets.
• Jensenius, Alexander Refsum (2017). Introduction to the SoundTracer Project.
• Ruud, Even (2017). Prologue. InFormation - Nordic Journal of Art and Research.  ISSN 1893-2479.  6(2), s 2- 2 . doi: 10.7577/information.v6i2.2273
• Jo, Skaansar; Laeng, Bruno & Anne, Danielsen (2017). Pupil response reflects processing of microtiming in musical grooves: a study of musicians and non-musicians.
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikklære på Nasjonalbiblioteket, tema "Låten".
• Danielsen, Anne (2017). Methodologies in Record Production Research (Panel).
• Danielsen, Anne (2017). P-centres and beat bins - an introduction to the TIME project.
• Danielsen, Anne (2017). The perception, aesthetics, and cultural values of 'glitched' grooves.
• Jensenius, Alexander Refsum (2017). Quantitative Video analysis for Qualitative Research.
• Riisnæs, Anne Eline (2017). Mesterklasse for Musikkpedagogene Norge i Oslo.
• Riisnæs, Anne Eline (2017). Semesteråpningskonsert IMV, UiO.
• Brøvig-Hanssen, Ragnhild (2017). Mashups, Politics, and Humor Theories.
• Guldbrandsen, Erling E. (2017). Kulturkritikernes høydepunkter 2017. Morgenbladet.  ISSN 0805-3847.  s 39
• Guldbrandsen, Erling E. (2017). Det synkende skipet. Om universitetets stilling i samfunnet. Klassekampen.  ISSN 0805-3839.  s 16- 17
• Guldbrandsen, Erling E. (2017). Dybde, vidd og undergang. Alban Bergs Wozzeck på Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  (47), s 42- 43
• Kvalbein, Astrid; Christophersen, Bjørn Morten & Kverndokk, Kristin (2017, 19. november). Norsk komponistforening 100 år - vi oppsummerer historien, og ser på tendensene i vår egen tid. Det siste av ti programmer.. [Radio].  NRK P2 Spillerom søndag.
• Bergsland, Andreas & Saue, Sigurd (2017). Noen erfaringer fra prosjektet Lyd-rom-bevegelse.
• Duch, Michael Francis; Welsh, Jeremy; Saue, Sigurd; Åse, Tone & Vange, Arild (2017). Det Umulige Rom.
• Duch, Michael Francis; Welsh, Jeremy & Saue, Sigurd (2017). RYOANJI.
• Jensenius, Alexander Refsum & Sundquist, Jonas Hartford (2017, 26. desember). Forsker på musikk - ved å stå stille. [Internett].  Khrono. Vis sammendrag

  Hvor stille kan du egentlig å stå når du hører på musikk? Det forsøker Alexander Refsum Jensenius å finne svar på.

• Vuoskoski, Jonna Katariina (2017). The role of empathy in music-induced emotions. Vis sammendrag

  Music is imbued with connotations of human emotional expression on multiple levels. Although it is likely that music utilises multiple different psychological mechanisms in the induction of emotional responses, one compelling account suggests that we might sometimes respond to music as we would to the observed experiences of another person — with empathy. In this talk, I will introduce the basic premise and outline the evidence for this account, and present recent findings from my own empirical work.

• Weisethaunet, Hans (2017). Opponent. Artistic Research Forum: “Music Without Borders”, Fredrikstad.
• Weisethaunet, Hans (2017). “Resounding Jazz in the North: Between ‘Strategic Essentialism’ and the Freedom Principle.” Fifth Rhythm Changes Conference "Re/Sounding Jazz," Conservatorium van Amsterdam.
• Weisethaunet, Hans (2017). «Musikk og sted. Medier, teknologi og globalisering.» Høgskolen i Innlandet.
• Weisethaunet, Hans (2017). «Musikkritikk som felt. Musikk og kanon, marked - makt.» Høgskolen i Innlandet.
• Weisethaunet, Hans (2017). “Norsk folkemusikk i globalt perspektiv.» Institutt for folkekultur. Rauland.
• Weisethaunet, Hans (2017). «Perspektiver på norsk nasjonalkultur». Institutt for folkemusikk og tradisjonskunst, Rauland.
• Weisethaunet, Hans (2017). Fieldwork methodology. Ph. D. Seminar. Norwegian Academy of Music.
• Weisethaunet, Hans (2017). Opponent, Ph.D. avhandling: Stian Vestby: «Folkelige og distingverte fellesskap. Gentrifisering av countrykultur i Norge – en festivalstudie.» Høgskolen i Innlandet.
• Halmrast, Tor (2017). Sound Theory for Master.
• Halmrast, Tor (2017). Kjellerband Blues for Storband.
• Halmrast, Tor (2017). Sam Phillips´ Slap BAck Echo; Happily in Mono.
• Halmrast, Tor (2017). Slap Back Echo.
• Mangaoang, Áine (2017, 13. februar). The Brief. [Internett].  Silent Frame: the art of discovery.
• Mangaoang, Áine (2017, 04. juli). Fanger måtte danse som Michael Jackson. [Internett].  Det humnistiske fakultet forskning, Universitetet i Oslo.
• Mangaoang, Áine (2017). Prisons of Note: Nordic perspectives.
• Mangaoang, Áine & O'Flynn, John (2017). Mapping the city margins? Popular Music experience, representation and memory.
• Mangaoang, Áine (2017). Critical Approaches to Music in Detention.
• Mangaoang, Áine (2017). Dangerous Mediations: Pop Music in a Philippine Prison.
• Mangaoang, Áine (2017). Prisons of Note.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Compression’s Influence on Perceived Timing.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Processing’s Influence on Perceived Timing.
• Jensenius, Alexander Refsum (2017). Status musikkteknologi ved UiO: forskning og undervisning.
• Jensenius, Alexander Refsum (2017). Humanities and technology - with a musicological twist.
• Jensenius, Alexander Refsum (2017). Musikk og bevegelses-laben ved Institutt for musikkvitenskap.
• Danielsen, Anne (2017). Paneldeltakelse i serien Musikklære på Nasjonalbiblioteket, tema "Rytme".
• Vuoskoski, Jonna Katariina (2017). Music, rowing, and the aesthetics of rhythm.
• Vuoskoski, Jonna Katariina (2017). How does music move us? The psychology of music and emotion.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Bjerkestrand, Kari Anne Vadstensvik & Johnson, Victoria (2017). Sverm-Muscle.
• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Donnarumma, Marco; Brean, Are & Bruusgaard, Jo C. (2017). Panel: Biophysical Music. Vis sammendrag

  "Biophysical Music" is volume 1 of the new concept "MusicLab", a series of events exploring the science of music from different perspectives. The idea is to mix research and edutainment through hands-on workshops, intellectual warm-ups, performances and data jockeying.

• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Dynamic Range Compression’s Influence on Perceived Timing in EDM Music.
• Brøvig-Hanssen, Ragnhild (2017). Digitale signaturer: Digitaliseringens påvirkning på populærmusikk-estetikken.
• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar (2017). Does Compression Influence Timing? A Case Study in EDM Music.
• Jensenius, Alexander Refsum; Kvifte, Tellef; Innervik, Kjell Tore; Martin, Charles Patrick; Brøvig-Hanssen, Ragnhild; Lossius, Trond & Diaz, Ximena Alarcón (2017). Panel: New Interfaces for Musical Expression.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Johnson, Victoria (2017). Sverm-Resonans.
• Jensenius, Alexander Refsum & Fotland, Margaret Louise (2017, 15. november). European Open Data Champions. [Internett].  SPARC Europe. Vis sammendrag

  A research paper without accompanying data is incomplete.

• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Martin, Charles Patrick (2017). Sverm-resonans. Vis sammendrag

  An installation that gives you access to heightened sensations of stillness, sound and vibration. Unlike traditional instruments these guitars are “played” by (you) trying to stand still. The living body interacts with an electronic sound system played through the acoustic instrument. In this way, Sverm-Resonans explores the meeting points between the tactile and the kinesthetic, the body and the mind, and between motion and sound.

• Jensenius, Alexander Refsum (2017). Touching the digital: acoustic resonances in an electronic world. Vis sammendrag

  The presentation will reflect on the installation piece "Sverm-resonans". As opposed to a traditional instrument, these guitars are “played” by trying to stand still. The living body interacts with an electronic sound system played through the acoustic instrument. In this way, Sverm-Resonans explores the meeting points between the tactile and the kinesthetic, the body and the mind, and between motion and sound.

• Guldbrandsen, Erling E. (2017). Om orkesterets stemme og kongens døvhet i Wagners Tristan und Isolde.
• Guldbrandsen, Erling E. (2017). Symfonien som sjanger og format. Hva er en symfoni?.
• Guldbrandsen, Erling E. (2017). Musikkdrama, opera og kritikkens språk.
• Guldbrandsen, Erling E. (2017). Opera, musikkdrama og operatisk fortellertid (Wagner, Mozart, Rossini).
• Guldbrandsen, Erling E. (2017). Opera, musikkdrama og operatisk fortellerstemme (Wagner, Monteverdi, Ligeti, Mozart).
• Guldbrandsen, Erling E. (2017). J.S. Bachs musikalske uttrykk – fra matematisk strenghet til spilleglede og lek (kontrapunktiske skrivemåter).
• Guldbrandsen, Erling E. (2017). Reformasjonen og J.S. Bachs musikalske uttrykk (kantateverkene).
• Guldbrandsen, Erling E. (2017). Om musikk og språk - opposisjon ved Vibeke Tellmanns doktordisputas i filosofi..
• Danielsen, Anne (2017). Timing and Sound in Musical Microrhythm: Theoretical, Aesthetic and Empirical Aspects.
• Danielsen, Anne; London, Justin & Nymoen, Kristian (2017). Mapping the Beat Bin: The Effects of Rise Time, Duration, and Frequency Range on the Perceived Timing of Musical Sounds.
• Jensenius, Alexander Refsum & Duch, Michael Francis (2017). Norsk kunstforskning snubler inn i fremtiden. Khrono.no.  ISSN 1894-8995. Vis sammendrag

  Kan kunst og vitenskap gå hånd i hånd i fremtidens forsknings-Norge? Ja, mener vi, men ikke hvis departementet får det som de ønsker.

• Devine, Kyle (2017). Making Infrastructures Audible: An Introduction.
• Eriksen, Asbjørn Øfsthus (2017). Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950).
• Jensenius, Alexander Refsum & Larsen, Hege (2017, 03. november). Krass kritikk av den nye doktorgraden i kunst. [Internett].  Khrono. Vis sammendrag

  Ny doktorgrad. Akademiet for yngre forskere er svært kritisk til regjeringens forslag om en egen kunst-doktorgrad. I stedet bør kunst og vitenskap integreres i en og samme grad, mener de.

• Watne, Åshild & Engelsvold, Sven Ole (2017, 31. oktober). Intervju i NRK P2 Spillerom på 500-årsdagen for reformasjonen.. [Radio].  NRK.
• Watne, Åshild & Engelsvold, Sven Ole (2017, 31. oktober). Intervju i NRK P2 Spillerom på 500-årsdagen for reformasjonen. [Radio].  NRK.
• Watne, Åshild (2017). Korleder, pianist og og arrangør til Releasekonsert med Elin Furubotn..
• Watne, Åshild (2017). «Der æ so vent» Gro Heddi Brokke som inspirasjonskilde for gehørundervisning og forskning på intonasjon..
• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2017). The influence of music in people's standstill.
• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Martin, Charles Patrick (2017). Sverm-Resonans.
• Jensenius, Alexander Refsum (2017). From resonating strings to autonomous electronic instruments - towards a new organology. Vis sammendrag

  Vi lever i en spennende tid, med stadig nye varianter av både akustiske og elektroniske instrumenter. Disse passer sjelden inn i de tradisjonelle organologiske fremstillingene, noe som gjør at det er behov for en mer systematisk diskusjon av hvordan man kan klassifisere både instrumenter (i utvidet forstand) og dere spilleteknikk. I denne presentasjonen vil jeg forklare hovedelementene i en ny organologi som jeg holder på å utvikle, med utgangspunkt i det jeg kaller "handling-lyd-koblinger".

• Dybsand, Øyvin (2017). Konsertforedrag om norske komponisters tonesettinger av tekster av Henrik Wergeland, Aasmund Olavsson Vinje, Bjørnstjerne Bjørnson og Henrik Ibsen.
• Kvalbein, Astrid (2017, 21. oktober). Norsk Komponistforening 100 år - det politiske 1970-tallet. [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017, 15. oktober). Norsk Komponistforening 100 år - kirkemusikk. [Radio].  NRK P2 Spillerom søndag.
• Martin, Charles Patrick; Gonzalez Sanchez, Victor Evaristo; Kelkar, Tejaswinee; Zelechowska, Agata; Berggren, Stig Johan; Hopgood, Christina; Wallace, Benedikte; Brustad, Henrik; Utne-Reitan, Bjørnar; Ellefsen, Kai Olav; Nygaard, Tønnes Frostad; Søyseth, Vegard Dønnem; Câmara, Guilherme Schmidt & Diaz, Ximena Alarcón (2017). Ensemble Metatone - Improvised Touchscreen Performance.
• Bergsland, Andreas & Østern, Tone Pernille (2017). Dansekonsert på Musikkteknologidagene, knyttet til prosjektet LYD-ROM-BEVEGELSE.
• Kvalbein, Astrid (2017, 08. oktober). Norsk Komponistforening 100 år - norsk modernisme (Fartein Valen - Klaus Egge - Finn Mortensen - Arne Nordheim). [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017, 24. september). Norsk Komponistforening 100 år - musikk til film og fjernsynsteater fra 1950-tallet. [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017, 17. september). Norsk Komponistforening 100 år - om det nasjonale i musikken på 1930- og 1940-tallet (David Monrad Johansen, Geirr Tveitt, Harald Sæverud). [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017, 10. september). Norsk Komponistforening 100 år - det eksotiske og eksperimentelle på 1920-tallet (Alf Hurum og Arvid Kleven). [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017, 03. september). Norsk Komponistforening 100 år - fra stiftelsen i 1917. [Radio].  NRK P2 Spillerom søndag.
• Kvalbein, Astrid (2017). Peripheral Nordic Modernism? Fartein Valen in post-war Britain and the ISCM. Vis sammendrag

  The prevalent narrative of Norwegian music of the early twentieth century is one of opposition between the “national(ist)” composers – the dominant majority – and the “international(ists)”. Fartein Valen (1887-1952) is considered the foremost proponent of the latter, an artist who developed an atonal style much in line with that of Schoenberg – a language that was received with ambivalence, ignorance and scorn in his home country in the 1920s and 1930s. Valen was only recognized abroad following the performance of his Sonetto di Michelangelo at the festival of International Society for Contemporary Music (ISCM) in 1947. Yet this alleged international breakthrough seems to have been more modest than Valen’s most ardent protagonists have claimed. There are also striking differences between the scant interest in Valen in Germany and the reception in Britain, where his music had a certain vogue in the late 1940s and early 1950s. Here, a diverse network of personal contacts and agents, partly in central organizations, worked to promote Valen’s music. Among these were composer Humphrey Searle, who held positions in the BBC, The Times and the ISCM, and renowned pianist Alexander Helmann, the cultural attaché at the Norwegian Embassy, as well as other Norwegian advocates, including the chairman of the national section of the ISCM, his publisher and others. Personal encounters with works by Valen sparked much of this engagement. Yet equally decisive was the role of Valen’s music in the history of the post war-politics of cultural exchange between Britain and Norway, as the Scandinavian influence on contemporary music was on the rise and the ISCM worked to curb the dominance of modernism as defined from Vienna, Donaueschingen and (eventually) Darmstadt. To what extent did Valen’s music, upon liberation from its role as “the other” in the context of the national Norwegian milieu, represent a welcome, Nordic brew of modernism in Britain, a country that also was preoccupied with “the national tone” (and subsequently produced its own “narrative of belatedness” in the context of modernism)? How was the aesthetic universalism that Valen himself advocated conveyed, if at all? This paper proposes to discuss how the study of the reception of Valen’s music in Britain – however marginal in the grander narratives of European music – incites broader questions of cross-national inquiry, political contextualization and individual agency in the writing of music history, and issues of aesthetic sensibility with regard to music from the periphery.

• Kvalbein, Astrid (2017). "...vår forkjetrede atonalist fikk laurbærkransen." Om Fartein Valens (såkalte) internasjonale gjennombrudd. Vis sammendrag

  ”En kjent norsk komponist”, stod det i Dagbladet da Fartein Valen-statuen ble vandalisert i Sveio i vår. Men hvem var denne kunstneren som tross sitt stillfarne vesen provoserte og rørte så mange i sin samtid, både i Norge og ute i verden? Astrid Kvalbein, Arnulf Mattes og Ivar Roger Hansen vil snakke om Valen i hans samtid, om nasjonalismen og modernismen som skapte bølger av konflikter mellom norske komponister like før og etter andre verdenskrig. Vi skal dessuten se filmen som ble brukt for å markedsføre Valen og fiolinkonserten hans internasjonalt, og høre hvordan det hadde seg at prinsesse Margaret fikk overrakt partituret til verket på et stor arrangement i London i 1952.

• Kvalbein, Astrid (2017). Verdensborgeren Valen og hans Opus 6.
• Halmrast, Tor (2017). TØMMERMENN musikal. Vis sammendrag

  Urframført 20170908, Glenghuset, Sarpsborg. Forestillinger også 20170909 og 21071016 etc.

• Danielsen, Anne (2017). Kvalitet i rytmisk musikk.
• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Martin, Charles Patrick (2017). Sverm-Resonans.
• Jensenius, Alexander Refsum (2017). How Build An Eco-System? Panel discussion on how to best support a Norwegian music/tech eco-system.
• Jensenius, Alexander Refsum & Klausen, Aslaug Olette (2017, 26. september). Tar roboter over musikken?. [Fagblad].  Ballade. Vis sammendrag

  Ja, mener musikkforsker, som samtidig mener dette gir mer plass til mennesker.

• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Martin, Charles Patrick (2017). Sverm-Puls. Vis sammendrag

  An installation that gives you access to heightened sensations of stillness, sound and vibration. Approach one of the guitars. Place yourself in front of it and stand still. Feel free to put your hands on the body of the instrument. Listen to the sounds appearing from the instrument. As opposed to a traditional instrument, these guitars are “played” by (you) trying to stand still. The living body interacts with an electronic sound system played through the acoustic instrument. In this way, Sverm-Puls explores the meeting points between the tactile and the kinesthetic, the body and the mind, and between motion and sound.

• Jensenius, Alexander Refsum; Bjerkestrand, Kari Anne Vadstensvik; Johnson, Victoria; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Martin, Charles Patrick (2017). Sverm-Resonans. Vis sammendrag

  En installasjon som gir deg tilgang til stillstand, lyd og vibrasjon. Stå stille. Lytt. Finn lyden. Beveg deg. Stå stille. Lytt. Hør spenningen. Kjenn på bevegelsene dine. Slapp av. Stå enda stillere. Lytt dypere. Føl på grensen mellom det kjente og det ukjente, det kontrollerbare og det ukontrollerbare. Hvordan møter kroppen lyden? Hvordan møter lyden kroppen? Hva hører du? Gå bort til en av gitarene. Plasser deg fordan den og kjenn på stillstanden din. Hvis du vil kan du plassere hendene på instrumentet. Forsøk å lukke øynene. Åpne sansene for lydvibrasjonene du føler og hører. Stå så lenge du vil og kjenn på utviklingen av lyden, og dine indre opplevelser, bilder og assosiasjoner. I motsetning til et tradisjonelt instrument "spilles" disse gitarene ved at du står stille. Den levende kroppen interagerer med et elektronisk lydsystem spilt gjennom et akustisk instrument. Sverm-resonans utforsker møtepunktet mellom det taktile og det kinesiske, kroppen og sinnet, og mellom bevegelse og lyd.

• Jensenius, Alexander Refsum (2017). Fremtidens musikk.
• Hawkins, Stan (2017). The Routledge Companion to Popular Music and Gender.
• Hawkins, Stan (2017). Nordic Popular Music Today.
• Hawkins, Stan (2017). Dance Music Research Today.
• Baarøy, Fillip-André & Mattes, Arnulf Christian (2017, 18. september). Forskere vil gjøre Fartein Valens musikk mer tilgjengelig. [Internett].  Humanistisk fakultet, Universitetet i Oslo.
• Mattes, Arnulf Christian (2017). Inderlighet bak maktens beskyttende murer? Om Fartein Valens atonale gjennombrudd..
• Christophersen, Bjørn Morten (2017, 03. september). Norsk komponistforening gjennom 100 år: NRK P2, Spillerom søndag. 10 Programmer. [Radio].  https://radio.nrk.no/serie/spillerom-soendag/MKRM03003517/03.
• Christophersen, Bjørn Morten (2017). Concerto for Violin and Strings.
• Jensenius, Alexander Refsum & Kelkar, Tejaswinee (2017). Improvisation for Linnstrument, voice and Mogees.
• Jensenius, Alexander Refsum (2017). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Jensenius, Alexander Refsum (2017). Musikk og bevegelse.
• Jensenius, Alexander Refsum (2017). Kognisjon, musikk og teknologi.
• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2017). Representation Strategies in Two-handed Melodic Sound-Tracing. Vis sammendrag

  This paper describes an experiment in which the subjects performed a sound-tracing task to vocal melodies. They could move freely in the air with two hands, and their motion was captured using an infrared, marker-based system. We present a typology of distinct strategies used by the recruited participants to represent their perception of the melodies. These strategies appear as ways to represent time and space through the finite motion possibilities of two hands moving freely in space. We observe these strategies and present their typology through qualitative analysis. Then we numerically verify the consistency of these strategies by conducting tests of significance between labeled and random samples.

• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2017). Exploring melody and motion features in “sound-tracings”. Vis sammendrag

  Pitch and spatial height are often associated when describing music. In this paper we present results from a sound tracing study in which we investigate such sound–motion relationships. The subjects were asked to move as if they were creating the melodies they heard, and their motion was captured with an infra-red, marker-based camera system. The analysis is focused on calculating feature vectors typically used for melodic contour analysis. We use these features to compare melodic contour typologies with motion contour typologies. This is based on using proposed feature sets that were made for melodic contour similarity measurement. We apply these features to both the melodies and the motion contours to establish whether there is a correspondence between the two, and find the features that match the most. We find a relationship between vertical motion and pitch contour when evaluated through features rather than simply comparing contours.

• Jensenius, Alexander Refsum (2017). Fremtidens musikk.
• Godøy, Rolf Inge & Song, Min-Ho (2017). Impulse-driven sound-motion objects. Vis sammendrag

  Our own and other research seems to suggest that perception and cognition of musical sound is closely linked with images of sound-producing body motion, and that chunks of sound are perceived as linked with chunks of sound-producing body motion, leading us to the concept of sound-motion objects in music (Godøy et al. 2016). One challenge in our research is trying to understand how such sound-motion objects actually emerge in music. Taking into account findings in motor control research as well as in our own research, we hypothesize that there is a so-called intermittent motor control scheme (Sakaguchi et al. 2015) at work in sound-producing body motion, meaning a discontinuous, point-by-point control scheme, resulting in a series of holistically conceived chunks of sound-producing motion, in turn resulting in the perception of music as concatenations of coherent sound-motion objects. References Godøy, R. I., Song, M-H., Nymoen, K., Romarheim, M. H., & Jensenius, A. R. (2016). Exploring Sound-Motion Similarity in Musical Experience . Journal of New Music Research, 45(3), 210-222. doi:10.1080/09298215.2016.1184689 Sakaguchi, Y., Tanaka, M., and Inoue, Y. (2015). Adaptive intermittent control: A computational model explaining motor intermittency observed in human behavior, Neural Networks, Volume 67, July 2015, Pages 92-109, ISSN 0893-6080, http://dx.doi.org/10.1016/j.neunet.2015.03.012.

• London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne (2017). Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
• London, Justin; Nymoen, Kristian; Thompson, Marc; Code, David Loberg & Danielsen, Anne (2017). Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds.
• Kvalbein, Astrid (2017). A melancholic modernist of the North? Fartein Valen in Norway, Britain and the ISCM..
• Kvalbein, Astrid (2017). Pauline Hall og musikken mellom krigene.
• Kvalbein, Astrid (2017). Musiker og komponist - fra Clara Schumann til Olli Mustonen.
• Kvalbein, Astrid (2017). "…vår forkjetrede atonalist fikk laurbærkransen" – om Fartein Valen-respesjonen i utlandet..
• Danielsen, Anne; London, Justin & Nymoen, Kristian (2017). Mapping the beat bin: Effects of rise time, duration and frequency range on the perceived timing (P-center) of musical sounds.
• Haugen, Mari Romarheim (2017). Investigating Musical Meter as Shape: Two Case Studies of Brazilian Samba and Norwegian Telespringar. Vis sammendrag

  The perception of musical meter is fundamental for rhythm production and perception in much music. Underlying structures such as pulse, meter, and metrical subdivisions are often described as successive mental beats. This paper investigates whether experienced musical meter may not only include such mental points in time, but also trajectories between the points–that is, metrical shapes. Previous studies have pointed out that there seems to be a relationship between musical meter and periodic body motions like foot tapping, head nodding and dancing. This paper investigates whether metrical shapes might also be present in performers’ periodic body motions. Two motion capture studies form the empirical basis of this paper; first, a percussionist and a dancer performing Brazilian samba; second, a fiddler and two dancers performing Norwegian telespringar. Motion analysis of the samba performers’ periodic body motion revealed similar periodic shapes in both percussionist and dancer foot motion on sixteenth note level. In telespringar there seemed to be a relationship between the beat durations indicated by the fiddler’s periodic foot stamping and the shape of the dancers’ vertical body motion. The results support the view that there is a close relationship between musical meter and performers’ periodic body motion. The analysis of the performers’ periodic body motions revealed periodic motion shapes on beat level in telespringar and on sixteenth note level in samba. This suggest that the underlying meter may not only include metrical points in time, but that each metrical beat/subdivision duration has a corresponding metrical trajectory with a certain shape. If this is the case, then perceivers’ and performers’ implicit knowledge of the underlying reference structure in samba and telespringar might incorporate knowledge about the underlying metrical shape.

• Solberg, Ragnhild Torvanger & Jensenius, Alexander Refsum (2017). Arm and Head Movements to Musical Passages of Electronic Dance Music.
• Kelkar, Tejaswinee & Jensenius, Alexander Refsum (2017). Tracing melodies: An observation study of hand movements to vocal phrases from different musical cultures.
• Jensenius, Alexander Refsum; Zelechowska, Agata & Gonzalez Sanchez, Victor Evaristo (2017). The musical influence on people’s micromotion when standing still in groups.
• Watne, Åshild (2017). Lutherrosen - Essays om Musik og poesi.
• Watne, Åshild & Pharo, Ingvild (2017). Omvisningskonsert i reformasjonsutstillingen Sola Gratia.
• Watne, Åshild (2017). Kirkesangbogen.
• Watne, Åshild (2017). We hymn you - Lieder für Europa.
• Watne, Åshild (2017). Lutherrosen.
• Devine, Kyle (2017). Recorded Music and the Capitalist World System.
• Devine, Kyle (2017). Plastic Makes Perfect: Popular Music Before Production and After Consumption.
• Nymoen, Kristian; Danielsen, Anne & London, Justin (2017). Validating Attack Phase Descriptors Obtained by the Timbre Toolbox and MIRtoolbox. Vis sammendrag

  The attack phase of sound events plays an important role in how sounds and music are perceived. Several approaches have been suggested for locating salient time points and critical time spans within the attack portion of a sound, and some have been made widely accessible to the research community in toolboxes for Matlab. While some work exists where proposed audio descriptors are grounded in listening tests, the approaches used in two of the most popular toolboxes for musical analysis have not been thoroughly compared against perceptual results. This article evaluates the calculation of attack phase descriptors in the Timbre toolbox and the MIRtoolbox by comparing their predictions to empirical results from a listening test. The results show that the default parameters in both toolboxes give inaccurate predictions for the sound stimuli in our experiment. We apply a grid search algorithm to obtain alternative parameter settings for these toolboxes that align their estimations with our empirical results.

• Jensenius, Alexander Refsum (2017). Online tools that will kickstart creativity. Vis sammendrag

  Music making has moved into the cloud. In this lecture-demonstration, Alexander Refsum Jensenius will show various tools for online music making, ranging from simple sound makers to advanced music programming. He will talk about the possibilities and limitations of various technologies, and propose a framework for understanding how online music making will shape the future of music.

• Jensenius, Alexander Refsum (2017). What steps can government and university leaders take to promote Open Science?.
• Jensenius, Alexander Refsum & Flydal, Lars O. (2017, 07. juni). Leter etter magien i musikken.  Vårt Land. Vis sammendrag

  Alexander Refsum Jensenius leter etter det magiske i musikken. Hans drøm er å hente ut kroppens egen musikk.

• Aronsen, Jan Magnus; Jensenius, Alexander Refsum; Emblem, Kyrre Eeg; Storeng, Katerini Tagmatarchi; Enberg, Katja; Knutsen, Carl Henrik & Lind, Guro Elisabeth (2017). Kvalitetsparadokset i den norske forskningspolitikken. Khrono.no.  ISSN 1894-8995. Vis sammendrag

  De fleste insentivene norske forskere opplever i sin hverdag, er preget av kortsiktige resultater og målstyring mot kvantitet heller enn kvalitet. Dette er et kvalitetsparadoks i norsk forskningspolitikk. skriver flere medlemmer i Akademiet for yngre forskere.

• Danielsen, Anne & Jensenius, Alexander Refsum (2017, 15. mars). Centre for Interdisciplinary Studies in Rhythm, Time and Motion får status som Senter for fremragende forskning. [Internett].  Ballade. Vis sammendrag

  Sentret ved institutt for musikkvitenskap på Univeristetet i Oslo skal sammen med ni andre senter dele på til sammen 1,5 milliarder kroner over ti år for å drive forskning på internasjonalt toppnivå.

• Haugen, Toril; Ruud, Even; Aksnes, Hallgjerd & Stensæth, Karette (2017, 12. juni). Musikkens positive kraft. [Tidsskrift].  Apollon, utg. 2, 2017.
• Jensenius, Alexander Refsum (2017). Micro, Meso, Macro: Music-related body motion at different spatiotemporal levels. Vis sammendrag

  Performance of acoustic instruments is often happening at a spatiotemporal micro-level. Violin performance, for example, is based on an extreme control of the spatial placement of the left-hand fingering and the right-hand bow strokes. Even though there are exceptions, many digital musical instruments (DMIs) are based on meso- or macro-level control, that is, fairly large and slow control actions compared to acoustic instruments. In this talk I will present a theoretical framework for sound-producing actions and a related organological model. This will be exemplified with some of my empirical results of music-induced dancing, "air instrument" performance and sonic microinteraction.

• Jensenius, Alexander Refsum (2017). The importance of "nothing": studying human music-related micromotion. Vis sammendrag

  This presentation will focus on my research on human micromotion in musical contexts. My scientific research has focused on understanding more about the phenomenon of human standstill and how music influences our micromotion when standing still. My artistic research has focused on the exploration of micromotion in music and dance performance, and particularly how it is possible to set up systems for sonic microinteraction. My two separate "tracks" of research, the scientific and artistic, have positively reinforced each other, shedding light on a level of musical expressivity on the boundary between the conscious and the unconscious, the voluntary and the involuntary.

• Jensenius, Alexander Refsum (2017). RITMO - Centre for Interdisciplinary Studies in Rhythm, Time and Motion.
• Danielsen, Anne (2017). Populærmusikk og mediering i den digitale tidsalder.
• Jensenius, Alexander Refsum; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Bjerkestrand, Kari Anne Vadstensvik (2017). Exploring the Myo controller for sonic microinteraction. Vis sammendrag

  This paper explores sonic microinteraction using muscle sensing through the Myo armband. The first part presents results from a small series of experiments aimed at finding the baseline micromotion and muscle activation data of people being at rest or performing short/small actions. The second part presents the prototype instrument MicroMyo, built around the concept of making sound with little motion. The instrument plays with the convention that inputting more energy into an instrument results in more sound. MicroMyo, on the other hand, is built so that the less you move, the more it sounds. Our user study shows that while such an "inverse instrument" may seem puzzling at first, it also opens a space for interesting musical interactions.

• Nymoen, Kristian (2017). Xsens Motion Capture as Musical Instrument.
• Haugen, Mari Romarheim; Naterstad, Tora Berge; Stølen, Sjur & Nielsen, Adrian (2017, 25. april). Når nerdene blir voksne.  Universitas. Vis sammendrag

  Den akademiske friheten er grenseløs. Spiller du kortene dine rett kan du få bruke tre år til å til å søke svaret på gåtene fra ungdommen.

• Emblem, Kyrre Eeg; Enberg, Katja; Helland, Ingeborg Palm; Jensenius, Alexander Refsum; Rognes, Marie; Storeng, Katerini Tagmatarchi & Østby, Gudrun (2017). Tenk nytt om tellekanter, Haugstad!. Morgenbladet.  ISSN 0805-3847. Vis sammendrag

  En siteringsindikator kan være positivt for å måle forskningskvalitet fremfor -kvantitet, men vi trenger fornyelse av tellekantsystemet.

• Jensenius, Alexander Refsum (2017). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Edwards, Peter (2017). Expressive States in Theory and Practice: Spatially-Conceived Forms from East to West. Toru Takemitsu's November Steps.
• Watne, Åshild & Bergby, Anne Katrine (2017). Intonasjon og gehørundervisning.
• Eriksen, Asbjørn Øfsthus (2017). Foredrag om Rachmaninovs klavermusikk.
• Watne, Åshild & Nymoen, Kristian (2017). Entrepreneurship in Higher Music Education in Norway.
• Danielsen, Anne (2017). Digital Signatures. The Impact of Digitization on Popular Music Sound.
• Danielsen, Anne (2017). Music production research in Norway.
• Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & Câmara, Guilherme Schmidt (2017). Project presentation: Timing and Sound in Musical Microrhythm (TIME).
• Danielsen, Anne (2017). Rhythm and Groove in African-American Popular Music.
• Danielsen, Anne (2017). Experimental hip-hop and the meanings of glitched grooves. Vis sammendrag

  Digital music technology has brought about unforeseen possibilities for manipulating sound, and, as a consequence, entirely new forms of musical expression have emerged. Among them are new rhythmic feels produced by either inserting glitches into the post-production of a played groove or by warping samples. Such rhythmic feels have been a striking aspect of African-American popular music styles such as, hip-hip, neo-soul, and contemporary R&B from the turn of the millennium onward. In this paper I present an analysis of the song ‘1000 Deaths’ from the album Black Messiah (2014) by D’Angelo. The analysis draws on previous work on D’Angelo’s microrhythms by Danielsen (2010). I will, first, map the micro-rhythmic relationship of the groove, and, secondly, relate its microrhythmic design to examples of similar past and present practices. The aim is to explore the wide array of musical and cultural meanings that such microrhythmic practices have taken on, from an experimental attitude (D’Errico) or political activism to black badness (West) or overtly sexual activities. The paper aims at bridging the gap between analysis of ‘the music itself’ and interpretations of its cultural and contextual meanings, demonstrating the ways in which they can be brought in touch with each other and mutually enhancing.

• Devine, Kyle (2017). Recorded Music: Theory and Plastic.
• Mattes, Arnulf Christian (2017). Endring, ekspresjon og eksperiment – hva driver utviklingen videre hos Valen fra 1920-tallet til op. 28 og 29 seint 1930-tall?.
• Jensenius, Alexander Refsum (2017). From Interactive music-dance to clinical tool for cerebral palsy. Vis sammendrag

  Jensenius will talk about the unlikely story of how his basic music research has led to medical innovation. In 2005 he developed a method for visualizing the movements of dancers – motiongrams – with a set of accompanying software tools. Now this method is at the core of CIMA – Computer-based Infant Movement Assessment – a clinical system currently being tested in hospitals around the world, with the aim of detecting early-born infants' risk of developing cerebral palsy.

• Kvalbein, Astrid (2017). Komponist - og kvinne: innledning til panelsamtale med Rune Rebne, Cecilie Ore, Rebecka Ahvenniemi, ledet av Susanne Lohne Iversen.
• Kvalbein, Astrid (2017, 08. mars). Inn i Musikken: portrettprogram om Pauline Hall. [Radio].  NRK Klassisk.
• Jensenius, Alexander Refsum & Klausen, Aslaug Olette (2017, 08. februar). Vil finne magien i musikken.  Morgenbladet. Vis sammendrag

  Nytt forskningsprosjekt skal studere mikrobevegelser, og skaper ekte eksperimentell musikk.

• Jensenius, Alexander Refsum & Svarstad, Jørgen (2017, 02. februar). Han brukte fire år på å få forskningsstøtte. [Internett].  Forskerforum. Vis sammendrag

  Alexander Refsum Jensenius synes ikke det er bortkastet tid å skrive søknader til Forskningsrådet som blir avvist.

• Guldbrandsen, Erling E. & Kirby Torbo, Torun (2017, 24. januar). Alternativ musikalsk kanon. 1 times temaprogram. Inn i Musikken.. [Radio].  NRK Klassisk.
• Guldbrandsen, Erling E. (2017). Askepott som nåtid, lek og drøm. Rossinis La Cenerentola, regi Stefan Herheim. Premiere, Den Norske Opera & Ballett.. Morgenbladet.  ISSN 0805-3847.  s 28- 29
• Hawkins, Stan (2017, 25. januar). Ny bølge med protest musikk under Trump ((interview by Matunda Bigirimana) https://www.nrk.no/kultur/ekspert-tror-pa-ny-bolge-med-protestmusikk-under-trump-1.13339643. [Internett].  NRK Kultur og Underholdning.
• Tolstad, Ingrid M. (2017). Snowflake Music: A Music Production Company in the Making. Vis sammendrag

  Through an ethnographic case study of a Swedish music production company, this dissertation explores what it implies to be making music together. Music is here understood as a matter of doing, i.e. ‘musicking’, encompassing anything from singing, programming drums and writing lyrics, to booking studio time and and administering payments. Music making is approached as processes of assembling, in which a range of human and non-human participants come together as songs, artists and studios. The study provides an up-close and in-depth analysis of ways in which such musicking participants come into being, and the role they play in the making of Snowflake Music. One of the main findings is that as a continuous outcome of the music making processes they are involved in, Snowflake can itself be considered a form of assemblage or actor-network, whose formation fluctuates between flow and crystallization, in resonance with the possibilities that present themselves, and materialize into actual work and projects. Based on fieldwork in Stockholm and Russia, this study follows Snowflake Music’s efforts towards musical mediation in the intersection of Swedish and Russian music making environments. These two musicking environments are here conceptualized as musical spheres, whose structural conditions, practices, and aesthetic preferences are diverging, yet intertwined. As music makers from these two musical spheres come together a range of challenges make themselves audible, causing friction. Their interactions thus unfold as a form of negotiations over power, in which the participants must relate to structural conditions as well as the intentions, desires, goals and aims of others. Through practice theory the study investigates how the music making process gives priority to some agencies over others, demonstrating how opportunities and constraints are unequally distributed among the participants involved.

• Gadir, Tami (2016). What is a 21st Century Musical Instrument?.
• Christophersen, Bjørn Morten (2016). Ohrwrumer Fantasie.
• Riisnæs, Anne Eline (2016). Semesteråpningskonsert, musikalsk innslag.
• Weisethaunet, Hans (2016). “Interview presentation: Jon Christensen”.
• Weisethaunet, Hans (2016). Interview Wadada Leo Smith. Festivalakademiet, Molde International Jazz Festival, m/Bjørn Stendahl.
• Weisethaunet, Hans (2016). Seminar, music production and management.
• Weisethaunet, Hans (2016). “Cultural Theory: Historical Perspectives ” lecture, Norwegian Academy of Music.
• Weisethaunet, Hans (2016). “Musicology and Ethnomusicology: Theory and Method”. Nord University.
• Weisethaunet, Hans (2016). «Dylan, The Band og konstruksjonen av Amerika.» Bob Dylan: Tradisjonstolk og kulturspeil, lecture series, IFIKK.
• Kraugerud, Emil; Danielsen, Anne & Askerøi, Eirik (2016). Spaces of Sound: Meanings of Spatiality in Recorded Sound.
• Watne, Åshild (2016). Absolutt gehør, I: Hilde Synnøve Blix & Anne Katrine Bergby (red.),  Øre for musikk. Om å undervise i hørelære.  Norges musikkhøgskole.  ISBN 978-82-7853-218-8.  Perspektiver på hørelærefaget.  s 235 - 244
• Watne, Åshild (2016). Når du vil - Urfremføring Glogerfestspillene.
• Kjensmo, Anna Camilla; Watne, Åshild & Aksnes, Hallgjerd (2016, 20. november). Hva er en ren tone?. [Internett].  forskning.no.
• Grindem, Karianne; Aksnes, Hallgjerd & Nielsen, Nanette (2016, 06. desember). Direkte knyttet til minner: Musikk.  Dagbladet.
• Danielsen, Anne (2016). Investigating the perception of sound-timing relationships in recorded (real) music.
• Kvalbein, Astrid (2016, 12. desember). Gute- og jenteinstrument?. [Radio].  NRK. Vis sammendrag

  Kommentar til sak om kvifor gutar og jenter ser ut til å velje så kjønnsstereotype instrument i norske kulturskolar. Historisk og politisk perspektiv.

• Kvalbein, Astrid (2016). Radikal operaregi?. Vis sammendrag

  Opera er blitt en høyaktuell kunstform i Norge, særlig takket være en rekke store og vellykkede produksjoner ved Nasjonaloperaen i Oslo. Samtidig er det lett å kalle operasjangeren konservativ: Ikke bare preges repertoaret av kjente klassikere, muligheten for radikal fortolkning synes også begrenset, i alle fall hvis vi sammenligner med tilsvarende tendenser innenfor teateret. Salongen diskuterer ulike problemstillinger knyttet til dette: Hva innebærer risiko i dagens operaregi, og hvordan kan vi tenke oss radikale og fornyende grep? Hvordan kan vi forstå forholdet mellom opera- og teaterdramaturgi, og har operasjangeren noe å lære? Til å snakke om dette har vi invitert operasjef og -regissør Per Boye Hansen; komponist og festivaldirektør Lars Petter Hagen; dramaturg med erfaring fra tekstarbeid i teater Matilde Holdhus; og musikkviter og filosof Nanette Nielsen. Samtalen vil bli ledet av post-doc ved Universitetet i Oslo og musikkritiker Astrid Kvalbein.

• Kvalbein, Astrid (2016). Ny norsk opera - sett og hørt fra kritikerplass.. Vis sammendrag

  Hvilke muligheter og utfordringer står komponister overfor i møte med operainstitusjonene? Vi ser på historikk og fremtidsutsikter for utvikling av ny norsk musikkdramatikk, og får innblikk i arbeidet med Synne Skouens nye opera med premiere på Scene 2 i 2017. Medvirkende er operasjef Per Boye Hansen, styreleder for Norsk Komponistforening Jørgen Karlstrøm, komponistene Kristin Norderval, Synne Skouen og Jonas Forssell, kritiker og sanger Astrid Kvalbein, dramaturgene Njål Helge Mjøs og Oda Radoor og regissør Hilde Andersen.

• Kvalbein, Astrid (2016). NAYA - CD/-lansering. Vis sammendrag

  NAYA (CD) - songar: - Med ögon känsliga för grönt (Barbro Hörberg/Nisse Hansèn) - Vårdag (A. Garborg/folketonearr.) - Snø (O. H. Hauge/ G. Tveitt) - Blåe svale (eng. mel.)

• Kvalbein, Astrid (2016). Asceticism Orchestrated? Fartein Valen's Symphonic Poetry in Performance. Vis sammendrag

  Studying the international reception of the music of Norwegian composer Fartein Valen (1887-1952), it is striking how his orchestral music – most notably the one movement symphonic works – captivates audiences and critics across many countries. The immediate fascination does however not seem to have produced lasting interest in Valen’s music outside of Norway. In my presentation, I will discuss Valen’s qualities as a symphonic composer, in light of written sources and recent statements from conductors with substantial experience in interpreting his music. Pivoting around the often-performed (and recorded) Le Cimetiére Marin (“The Churchyard by the Sea,” opus 20) I will ask whether Valen’s somewhat ascetic orchestration comes across as a convincing, personal expression, or rather a kind of deficiency in his writing. In a broader perspective, I want to address how we might deal with similar questions in the framework of a Norwegian Musical Heritage Project. Does the geographically and historically conditioned restricted access to richer orchestral cultures somehow resound in the music, and how do we, in case, deal with it?

• Kvalbein, Astrid (2016). Musikk i kamp. Vis sammendrag

  1930- og 40-årene var ideologiske brytningstider også i musikklivet. Musikkhistoriker og sanger Astrid Kvalbein, Sigurd Sandmo og historiker Erling Sandmo tar for seg komponistene Pauline Hall og Signe Lund, som sto for ulike sider og holdninger før og under krigen. Hva forteller deres historier om forholdet mellom politikk og musikk, om kunst og ideologi - og om kjønn og krig?

• Edwards, Peter (2016). Dash against the quiet.
• Jensenius, Alexander Refsum (2016). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2016). Listening to Recordings: Ecological Constraints and the Tuning of the Ear.
• Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2016). Book presentation: Digital Signatures.
• Brøvig-Hanssen, Ragnhild (2016). Music and Virtuality.
• Brøvig-Hanssen, Ragnhild (2016). Musical Recycling: Mashup Aesthetics and Authorship.
• Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2016). Book launch: Digital Signatures.
• Johansen Riopelle, Frode & Guldbrandsen, Erling E. (2016). Postkort fra fortiden. Morgenbladet.  ISSN 0805-3847.  s 56- 56
• Brøvig-Hanssen, Ragnhild & Øgrim, Tellef (2016, 01. desember). Ikke helt topp for laptop ennå. [Fagblad].  Ballade.
• klausen, aslaug olette & Brøvig-Hanssen, Ragnhild (2016, 05. oktober). Hva vil dø med Soundcloud?. [Fagblad].  Ballade.
• Rognerød, Embret & Brøvig-Hanssen, Ragnhild (2016, 12. september). Avslører digitale øyeblikk. [Fagblad].  Ballade.
• Lie, Marit Christina & Dybsand, Øyvin (2016, 20. juni). Fiolinkonserten som forsvant. [TV].  NRK.
• Dybsand, Øyvin; Homzy, Andrew; Sawa, Suzanne Meyers; Behzadi, Houman; Mason, James; Engeset, Bjarte; Fossheim, Jørn & Kraggerud, Henning (2016). Johan Halvorsen’s Violin Concerto rediscovered after being “lost” for more than 100 years (International Panel).
• Dybsand, Øyvin (2016). Halvorsen & Nielsen violin concertos. Naxos CD Booklet.
• Dybsand, Øyvin (2016). Innledning om Johan Halvorsen og hans Konsert caprice over norske melodier for to fioliner.
• Korneliussen, Rannveig & Guldbrandsen, Erling E. (2016). Erling E. Gulbrandsen (56) har tatt utgangspunkt i egen familiehistorie i romanen «Brødre».. Dagbladet.no.
• Sivertsen, Steinar & Guldbrandsen, Erling E. (2016). Vitale familieforviklinger. Ambisiøs alt-i-ett-historie om destruktive familieforhold. Stavanger Aftenblad.  ISSN 0804-8991.  s 47- 47
• Edwards, Peter (2016). Musical Sketches in the late Twentieth Century: György Ligeti and the Creative Process.
• Bræin, Ingvild & Guldbrandsen, Erling E. (2016). Det er ein trygg debutant som kan sin balansekunst.. Dag og Tid.  ISSN 0803-334X.  s 30- 31
• Ekle, Leif & Guldbrandsen, Erling E. (2016). Familieliv som tragedie. Erling E. Guldbrandsen er professor i musikkvitenskap. Hans skjønnlitterære debut, romanen Brødre, er svært vellykket.. NRKBOK NRK Kultur og underholdning.
• Wandrup, Fredrik & Guldbrandsen, Erling E. (2016). Symfonisk debut. Musikkprofessor slår til med roman om frodig familie. Dagbladet.no.  s 49- 49
• Guldbrandsen, Erling E. (2016). Nøster i barndommens mysterier – NTB-melding. Oppland arbeiderblad.  ISSN 0805-5076.  s 18- 18
• Riesto, Matti & Guldbrandsen, Erling E. (2016). Romanfortelling fra hotell i Brønnøysund – portrettintervju. BRØNNØYSUNDS AVIS.
• Guldbrandsen, Erling E. (2016). På randen av en avgrunn. Premiere på Mozarts Così fan tutte, Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  (46), s 36- 37
• Guldbrandsen, Erling E. (2016). Hva betyr såkalt virkelighetslitteratur?. Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.  Aftenpostens Morgennummer, s 16- 17
• Guldbrandsen, Erling E. (2016). Eros i musikken: Om Claude Debussy og Faunens ettermiddag.
• Guldbrandsen, Erling E. (2016). Eros i musikken: Om Richard Wagner og Tristan und Isolde.
• Guldbrandsen, Erling E. (2016). Introduction: Orchestral Performance Since 1900.
• Guldbrandsen, Erling E. (2016). ‘Witty, Clumsy, Ironic, Or Sad: Eighty Years of Performing the Ländler in Mahler’s Ninth Symphony".
• Guldbrandsen, Erling E. (2016). "Hans von Bülow’s instructive editions: Old scores – novel interpretation". Hovedinnlegg som opponent ved prøvedisputas for PhD-kandidat Jan Gunnar Sørbø.
• Guldbrandsen, Erling E. (2016, 26. juni). Modernisme for dummies 5 – Iannis Xenakis. [Radio].  NRK P2.
• Guldbrandsen, Erling E. (2016, 19. juni). Modernisme for dummies 4 – Luciano Berio. [Radio].  NRK P2.
• Guldbrandsen, Erling E. (2016, 12. juni). Modernisme for dummies 3 – Karlheinz Stockhausen. [Radio].  NRK P2.
• Guldbrandsen, Erling E. (2016, 05. juni). Modernisme for dummies 2 – Olivier Messiaen. [Radio].  NRK P2.
• Guldbrandsen, Erling E. (2016, 29. mai). Modernisme for dummies: Den andre Wienerskolen. [Radio].  NRK P2.
• Gadir, Tami (2016). “Women in Electronic Music”.
• Godøy, Rolf Inge (2016). Understanding the musical instant. Vis sammendrag

  Granted that we in musical experiences may have a range of feature durations from the short (in the area of a few hundred milliseconds) to the very long (that of several hours), the focus of this chapter is on the short range, on what we may subjectively perceive as the musical instant. This is based on the conviction that very many salient features, both in the perception and in the production of musical sound may be found at this timescale. We have had theories suggesting the importance of short fragments in musical experience, from Husserl's idea of perception by a series of 'now-points' to Schaeffer's theories of sonic objects, as well as systematic psychoacoustic studies of duration thresholds in sound perception and recent studies of duration thresholds for salient musical features by Gjerdingen and Perrot, by Krumhansl, and by Plazak and Huron. In parallel, research on human motor control has suggested that human motion is goal-directed and proceeds by what may be called key-postures at intermittent points of orientation such as at downbeats and other accents, surrounded by continuous motion, e.g. of the mallet/hand accelerating from the starting position to the impact with the drum membrane and bouncing back again to equilibrium. We believe there is a close relationship between sound-producing motion and perception, and that experiences of the musical instant are linked with biomechanical and motor control constraints involved in music. In particular, we think that motion acceleration peaks and ensuing impacts in performance are typical of salient moments in music. Understanding the musical instant as linked with various constraints of sound-producing motion could be useful for several domains of music-related research, e.g. in understanding chunking, beat extraction, and entrainment in musical experience.

• Gadir, Tami (2016, 10. september). "Contemporary Music Review explores gender equality behind the DJ music scene". [Internett].  The Girl: A Blog for the Modern Day Woman.
• Nielsen, Nanette (2016). Aesthetic Risks, Ethical Gains.
• Nielsen, Nanette (2016). The Death and Future of Postmodernism.
• Nielsen, Nanette (2016). Radikal Operaregi?.
• Devine, Kyle (2016). Sound Media Research Report.
• Mangaoang, Áine (2016, 01. juni). The Popular Music Archive at the Institute of Popular Music, University of Liverpool. [Radio].  Liverpool Jazz Radio Show, Liverpool Community Radio.
• Mangaoang, Áine (2016, 08. juni). "How Music Works: How to make Dublin a music city to be proud of" by Niall Byrne.  The Irish Tmes.
• Mangaoang, Áine (2016, 10. juni). "What is the signature sound of Dublin city?" by Jim Carroll.  The Irish Times.
• Mangaoang, Áine & O'Flynn, John (2016). Dublin Music Map. DOI: 10.13140. Vis sammendrag

  An Applied Research-Informed Music Map of Dublin, based on the Mapping Popular Music in Dublin project at St Patrick's College, Dublin City University. First publication run of 10,000 maps funded by Fáilte Ireland and Dublin City University.

• Mangaoang, Áine & O'Flynn, John (2016). Applying Digital, Ecological, and Experimental Methodologies to Fieldwork.
• Mangaoang, Áine (2016). Towards a Public Musicology?.
• Mangaoang, Aine (2016, 03. mars). Popular Music Archive. [Radio].  BBC Radio Merseyside.
• Mangaoang, Aine (2016, 30. juli). Music, Photographs & Stories from the Archives. [Internett].  Short Film.
• Mangaoang, Aine & O'Flynn, John (2016). ‘Raised on songs and stories’: Creating and mediating Dublin’s musical pasts and present through conversation.
• Christophersen, Bjørn Morten (2016). Johan Svendsen as Autodidact and Conservatory Trained Composer.
• Mangaoang, Aine & Cohen, Sara (2016). Music, Photographs & Stories from the Archives.
• Mangaoang, Aine (2016). Popular music in third level education.
• Mangaoang, Aine (2016). Five Songs.
• Devine, Kyle (2016). Out of Sight, Out of Mind: Music, Materiality, Infrastructure.
• Devine, Kyle (2016). Bugs, Rocks, Oil, and Light: Material Politics and Recordings as Cultural Artifacts.
• Devine, Kyle (2016). Organized Sound: Music, Media, Infrastructure.
• Kvalbein, Astrid & Pedersen, Gjertrud (2016). Wood or Blood: on close collaborations between performers and composers in creating and (re-)interpreting new works for voice and clarinet. Vis sammendrag

  How do musicians’ temperaments, experiences, and ideas of musical quality influence new works? In our presentation, we ask this core question with reference both to the process of the initial creation and later revision of works. To address this, we will discuss recent experiences from close collaborations with living Norwegian composers, exemplified by the following three works: a) Jan Martin Smørdal’s ”The Lesser Nighthawk” (2015): commissioned by the performers, to be part of a specific project: duo Parula’s ”Bird Catalogue”. b) Ragnhild Berstad’s ”Vevtråd” (2010/2015): commissioned by the duo and developed through experimentations with different voice and clarinet techniques and the interpreters’ musical personalities and preferences. c) Lene Grenager’s “Tre eller blod” (2005): adapted for duo Parula, taking into consideration both voice registers/tessitura and aesthetic ideas from the performers. All three works are written out in detailed scores and the notation in each piece is unique, partly developed in collaboration with us. Furthermore, we have done revisions in the process of learning and interpreting the music. This kind of work triggers different questions, for instance of ownership: to what extent do we as performers participate in the creation of the work, on one hand, and primarily interpret the composer’s artistic ideas, on the other? Conceptualising the score as a contract between performers and composers, we discuss how negotiations can occur in the process of making, realising and revising new – and even perhaps older – works.

• Kvalbein, Astrid (2016). Ascetic Nordic Melancholy: Fartein Valen's Le Cimetiére Marin in Performance. Vis sammendrag

  Abstract: Studying the international reception of the music of Norwegian composer Fartein Valen (1887-1952), it is striking how his orchestral music – most notably the one movement symphonic works – captivates audiences and critics across many countries. The immediate fascination does however not seem to have produced lasting interest in Valen’s music outside of Norway. In my presentation, I will discuss Valen’s qualities as a symphonic composer, in light of written sources and recent statements from conductors with substantial experience in interpreting his music. Pivoting around the often-performed (and recorded) Le Cimetiére Marin (“The Churchyard by the Sea,” opus 20) I will ask whether Valen’s somewhat ascetic orchestration comes across as a convincing, personal expression, or rather a kind of deficiency in his writing. In a broader perspective, I want to address how we might deal with similar questions in the framework of a Norwegian Musical Heritage Project. Does the geographically and historically conditioned restricted access to richer orchestral cultures somehow resound in the music, and how do we, in case, deal with it?

• Kvalbein, Astrid (2016). Generalen (om Pauline Hall, utdrag fra Ny Musikks bok Lyd og ulydighet, Press 2016). Klassisk musikkmagasin.  ISSN 1502-0274.  (4), s 58- 60
• Halmrast, Tor (2016). Analyse av musikk framført i forskjellige akustiske innstillinger i Stavanger Konserthus.
• Mangaoang, Aine (2016). Mapping Popular Music.
• Mangaoang, Aine (2016). Popular music research today: from music mapping to prison rehabilitation.
• Mangaoang, Aine (2016). Keynote Lecture. Visualising Beyoncé: Intersectionality and the Art of Signed Song.
• Mangaoang, Aine (2016). Sing Out With Strings End of Year Report 2016: Staff Perspectives.
• Mangaoang, Aine & O'Flynn, John (2016). Mapping Popular Music in Dublin: Executive Report. DOI: 10.13140.
• Jensenius, Alexander Refsum (2016). Crossing the Boundaries between Humanities and Technology: Challenges and Opportunities.
• Jensenius, Alexander Refsum (2016). Embodied Musical Cognition - Challenges and Possibilities.
• Riisnæs, Anne Eline (2016). Solistinnslag Oslo kulturnatt.
• Jensenius, Alexander Refsum & Nymoen, Kristian (2016). Muskel- og bevegelsesmusikk.
• Edwards, Peter (2016). The Performance of Orchestral Overload in the Music of Zimmermann and Nørgård.
• Gadir, Tami (2016, 07. november). Kvinnelige DJar vert diskriminerte. [Radio].  NRK Kulturnytt.
• Aksnes, Hallgjerd (2016). Musikk: Bevegelser som beveger.
• Aksnes, Hallgjerd (2016). Dåmen av norsk folkemusikk: Om Geirr Tveitts folketonebearbeidelser og -inspirasjon.
• Aksnes, Hallgjerd (2016). Musikk og følelsene dine.
• Aksnes, Hallgjerd & Kverndokk, Kristin (2016, 28. august). Dikt og forbannet løgn. Om dikt i musikk - Stein Mehren. [Radio].  NRK P2.
• Jensenius, Alexander Refsum (2016). Åpen forskning – et humanistisk-teknologisk perspektiv.
• Gadir, Tami (2016, 25. oktober). «Feminin sound» = dårlig dansemusikk?. [Internett].  Kilden, kjønnsforskning.no.
• Halmrast, Tor (2016). Aqueduct framført Paris.
• Halmrast, Tor (2016). Aqueduct.
• Halmrast, Tor (2016). Room shape Music. Music shapes Rooms.
• Hawkins, Stan (2016). Introduction at book launch: Peter Edward's book launch: György Ligeti's Le Grand Macabre: Postmodernism, Musico-Dramatic Form and the Grotesque.
• Haugen, Mari Romarheim (2016). Music-Dance. Investigating Rhythm Structures in Brazilian Samba and Norwegian Telespringar Performance. Fulltekst i vitenarkiv. Vis sammendrag

  This thesis investigates the interaction between perceived rhythm and underlying reference structures in the experience of rhythm in music. The point of departure is that both music performers’ and perceivers’ body motions are relevant to the study of rhythm. The studies included in this thesis investigate rhythm patterns in sound and body motion in two music styles, Brazilian samba and Norwegian telespringar, based on motion capture and sound recordings of professional musicians and dancers. Samba is often characterized by so-called systematic microtiming at the sixteenth-note level. This was confirmed in our sound analysis of the samba groove, showing a medium–medium–medium–long duration pattern at the sixteenth-note level. In addition, motion analysis of the percussionist’s heel tapping and the dancer’s steps revealed motion patterns in synchrony with this rhythm pattern. Telespringar, on the other hand, is often described as featuring a so-called asymmetrical triple meter—that is, the three beats in a measure are of uneven duration. According to previous studies, both the fiddler’s foot stamping and the dancers’ vertical body motions are related to this underlying meter. This relation was confirmed in the motion analysis of a fiddler’s foot stamping. The dancers’ vertical motion patterns, however, deviated from theories suggesting that the turning points in the dancers’ vertical motion curves correspond to the meter. The thesis therefore suggests that it is the shape of the dancers’ vertical motion that corresponds to the underlying beat duration, rather than the turning points that correspond to the underlying beat positions. The main conclusion is that the underlying sixteenth-note level in samba and the underlying beat level in telespringar should not be understood as deviations from an isochronous pulse of some sort. Instead, they should be understood as inherently (and necessarily) non-isochronous, in and of themselves.

• Jensenius, Alexander Refsum & Duch, Michael Francis (2016). Edges.
• Jensenius, Alexander Refsum & Nymoen, Kristian (2016). Velkommen til Institutt for musikkvitenskap.
• Barrett, Natasha & Mair, Karen (2016). Listening to 3D topography data with interactive sonification..

Se alle arbeider i Cristin