Siste publikasjoner

• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2020). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society.  ISSN 0300-7766.  43(5)
• Bishop, Laura; Cancino-Chacón, Carlos & Goebl, Werner (2019). Moving to communicate, moving to interact: Patterns of body motion in musical duo performance. Music Perception.  ISSN 0730-7829.  37(1), s 1- 25 . doi: 10.1525/mp.2019.37.1.1
• Bishop, Laura; Cancino-Chacón, Carlos & Goebl, Werner (2019). Eye gaze as a means of giving and seeking information during musical interaction. Consciousness and Cognition.  ISSN 1053-8100.  68, s 73- 96 . doi: 10.1016/j.concog.2019.01.002
• Høffding, Simon; Roald, Tone & Mette, Houlberg (2019). Participation and Receptivity in the Art Museum –a Phenomenological Exposition. Curator: The Museum Journal.  ISSN 0011-3069. . doi: 10.1111/cura.12344
• Mangaoang, Áine (2019). Music and Tourism, In John Buckley & John O'Flynn (ed.),  Ceol Phádraig: Music at St Patrick's College Drumcondra, 1875-2016.  Peter Lang Publishing Group.  ISBN 978-1-78997-622-9.  Chapter 9.
• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P.3.  s 20 - 25
• Weisethaunet, Hans (2019). Escaping Nordic musical exoticism? Chapter 2. The Nature of Nordic Music, In Tim Howell (ed.),  The Nature of Nordic Music.  Routledge.  ISBN 978-1-138-20718-9.  Chapter 2.  s 20 - 47
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). SoundCloud and Bandcamp as Alternative Music Platforms. Social Media + Society.  ISSN 2056-3051.
• Jones, Ellis Nathaniel (2019). DIY and popular music: mapping an ambivalent relationship across three historical case studies. Popular music and society.  ISSN 0300-7766. . doi: https://doi.org/10.1080/03007766.2019.1671112
• Jones, Ellis Nathaniel (2019). What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation. Media Culture and Society.  ISSN 0163-4437. . doi: https://doi.org/10.1177/0163443719853498
• Brøvig-Hanssen, Ragnhild (2019). Mixing with Quotations: Mashups and Contextual Transformation, In Simon Zagorski-Thomas; Katia Isakoff; Sophie Stévance & Serge Lacasse (ed.),  The Art of Record Production, Volume 2: Creative Practice in the Studio.  Routledge.  ISBN 978-1138205109.  Chapter 3.  s 50 - 65
• Brøvig-Hanssen, Ragnhild (2019). Humor's Role in Mashups and Remixes, In Nick Brae & Kai Arne Hansen (ed.),  On Popular Music and Its Unruly Entanglements.  Palgrave Macmillan.  ISBN 978-3-030-18099-7.  Kapittel.
• Mangaoang, Áine & O'Flynn, John (2019). Sounding Dublin: Mapping Popular Music Experience in the City. Journal of World Popular Music.  ISSN 2052-4900.  6(1) Vis sammendrag

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

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

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

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

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

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

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

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

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

• Bradley, Catherine (2019). Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle. Journal of the American Musicological Society.  ISSN 0003-0139.  72(2), s 431- 492 . doi: 10.1525/jams.2019.72.2.431
• Høffding, Simon & Satne, Glenda (2019). Interactive expertise in solo and joint musical performance. Synthese.  ISSN 0039-7857.  s 1- 19 . doi: 10.1007/s11229-019-02339-x
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to feel place, breathing to feel presence. Proceedings of the International Conference on New Interfaces for Musical Expression.  ISSN 2220-4792. Fulltekst i vitenarkiv. Vis sammendrag

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

• Nielsen, Nanette (2019). 'Carl Nielsen, the Modern Musical Philosopher: Life as an Aesthetic Experience', In Perrakis Manos (ed.),  Life as an Aesthetic Idea of Music.  Universal Edition.  ISBN 978-3-7024-7621-2.  Chapter 5.  s 79 - 103
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Federico Visi (ed.),  Music Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Nime.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul.  Nime. Fulltekst i vitenarkiv.
• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  Paper.  s 97 - 104 Fulltekst i vitenarkiv. Vis sammendrag

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

• Lartillot, Olivier (2019). Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  D3.1.  s 489 - 489
• Lartillot, Olivier & Grandjean, Didier (2019). Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  S2.6.  s 174 - 181
• Lan, Qichao; Tørresen, Jim & Jensenius, Alexander Refsum (2019). RaveForce: A Deep Reinforcement Learning Environment for Music Generation, In Isabel Barbancho; Lorenzo J. Tardón; Alberto Peinado & Ana M. Barbancho (ed.),  SMC 2019 Proceedings of the 16th Sound & Music Computing Conference.  Society for Sound and Music Computing.  ISBN 978-84-09-08518-7.  P2.1.  s 217 - 222
• Holbrook, Ulf A. S. (2019). Sound Objects and Spatial Morphologies. Organised Sound.  ISSN 1355-7718.  24(1), s 20- 29 . doi: 10.1017/S1355771819000037 Vis sammendrag

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

• Danielsen, Anne (2019). Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation, In Mark Grimshaw; Mads Walther-Hansen & Martin Knakkergaard (ed.),  The Oxford Handbook of Sound and Imagination, Volume 2.  Oxford University Press.  ISBN 9780190460242.  Chapter 29.
• London, Justin; Nymoen, Kristian; Langerød, Martin Torvik; Thompson, Marc Richard; Code, David Løberg & Danielsen, Anne (2019). A comparison of methods for investigating the perceptual center of musical sounds. Attention, Perception & Psychophysics.  ISSN 1943-3921. . doi: 10.3758/s13414-019-01747-y Vis sammendrag

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

• Montero, Barbara & Høffding, Simon (2019). Not Being There: An Analysis of Expertise Induced Amnesia. Mind & Language.  ISSN 0268-1064. . doi: 10.1111/mila.12260
• Høffding, Simon & Schiavio, Andrea (2019). Exploratory Expertise and the Dual Intentionality of Music-Making. Phenomenology and the Cognitive Sciences.  ISSN 1568-7759.
• Høffding, Simon & Roald, Tone (2019). Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives. Journal of Aesthetics and Phenomenology.  ISSN 2053-9320.  6(1), s 1- 20 . doi: 10.1080/20539320.2019.1589042
• Vuoskoski, Jonna Katariina & Reynolds, Dee (2019). Music, rowing, and the aesthetics of rhythm. The Senses & Society.  ISSN 1745-8927.  14(1), s 1- 14 . doi: 10.1080/17458927.2018.1525201
• Alarcón Diaz, Ximena (2019). Conceptual design for INTIMAL: a physical/virtual embodied system for Relational Listening. The Journal of Somaesthetics (JS).  ISSN 2445-6837.  4(2), s 6- 24 . doi: https://doi.org/10.5278/ojs.jos.v4i2.2393 Fulltekst i vitenarkiv. Vis sammendrag

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

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

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

• Gonzalez Sanchez, Victor Evaristo; Dahl, Sofia; Hatfield, Johannes Lunde & Godøy, Rolf Inge (2019). Characterizing movement fluency in musical performance: Toward a generic measure for technology enhanced learning. Frontiers in Psychology.  ISSN 1664-1078.  10 . doi: 10.3389/fpsyg.2019.00084 Vis sammendrag

  Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyogrphy (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyze the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest movements from expert performers' are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as function of movement smoothness and coarticulation patterns was shown to be limited by the sample size but serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.

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

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

• Bishop, Laura & Goebl, Werner (2018). Performers and an active audience: Movement in music production and perception. Jahrbuch Musikpsychologie.  ISSN 2511-8277.  28, s 1- 17 . doi: 10.5964/jbdgm.2018v28.19
• Bishop, Laura (2018). Collaborative musical creativity: How ensembles coordinate spontaneity. Frontiers in Psychology.  ISSN 1664-1078.  9 . doi: 10.3389/fpsyg.2018.01285
• Bishop, Laura & Goebl, Werner (2018). Beating time: How ensemble musicians' cueing gestures communicate beat position and tempo. Psychology of Music.  ISSN 0305-7356.  46(1), s 84- 106 . doi: 10.1177/0305735617702971
• Bishop, Laura & Goebl, Werner (2018). Communication for coordination: Gesture kinematics affect coordination success in piano duos. Psychological Research.  ISSN 0340-0727.  82(6), s 1177- 1194 . doi: 10.1007/s00426-017-0893-3
• Mangaoang, Áine (2018). 'Here Lies Love' and the Politics of Disco-Opera, In Ciro Scotto; Kenneth M. Smith & John Brackett (ed.),  The Routledge Companion to Popular Music Analysis: Expanding Approaches.  Routledge.  ISBN 9781138683112.  Chapter 24.  s 347 - 363
• Lutfi, Aoun & Fasciani, Stefano (2018). Automating the Optimization of Web Interfaces for E-Commerce, In Jihad Mohamad Alja’am; Abdulmotaleb El Saddik & Abdul Hamid Sadka (ed.),  Recent Trends in Computer Applications.  Springer Nature.  ISBN 978-3-319-89914-5.  Chapter.  s 221 - 235 Vis sammendrag

  In this chapter, we discuss a computational method that supports the design, revision, and amendment of web e-commerce GUI by finding the optimal placement of interactive elements. The definition of optimal placement is context-specific and it aims at maximizing measurable aspects of the user experience. We compute a visual model of an interface and we compare it against a set of design rules derived from a reference model. The generation of the GUI layout model is unsupervised and based only on image processing techniques. The model is generated exclusively using the browser’s rendering, which is visually presented to users. The comparison rates the GUI against the rules and provides a set of recommendations on how to modify the interface to increase the similarity with the reference model. When multiple reference models exist, we use a classifier to select the appropriate one. To prove this concept, we present a study on e-commerce websites where placement of the checkout button has a significant impact on the online sale process conversion rate. The system identifies nonoptimal placement, and it recommends an alternative position that is likely to improve the conversion rate. The system is implemented as an open-source software, and it currently supports the repositioning of a single interactive element. In the chapter, we discuss a further generalization of this approach to support a larger number of interactive objects in a wider spectrum of scenarios.

• Fasciani, Stefano & Rahman, Habibur (2018). Tangible Virtual Patch Cords, In Tae Hong Park & Doo-Jin Ahn (ed.),  Proceedings of the 2018 International Computer Music Conference.  The International Computer Music Association.  ISBN 0-9845274-7-8.  Paper.  s 316 - 321 Vis sammendrag

  This paper presents a system to tangibly manipulate the virtual patching cords in graphical programming environments, such as Max and Pure Data. The system includes a physical interface, a communication protocol, and a software library, providing physical extension of the graphical programming paradigm. The interface includes a patch bay with connectors representing signal inlet and outlets from the programming environment. When inlets and outlets are connected with patching cords, equivalent virtual connections are created at runtime. The system supports one-to-many and many-to-one connections with different signal combination schemes. The design of the hardware and software components of the current prototype is detailed in the paper, as well as possible use of the system for programming and live performances.

• Fasciani, Stefano (2018). Spectral Granular Synthesis, In Tae Hong Park & Doo-Jin Ahn (ed.),  Proceedings of the 2018 International Computer Music Conference.  The International Computer Music Association.  ISBN 0-9845274-7-8.  Paper.  s 99 - 103 Vis sammendrag

  This article introduces a granular synthesis algorithm in which grains of sound are processed in the frequency domain and combined at spectral level. In particular, each grain contributes to the sound synthesis with its magnitude spectrum only. Phase is reconstructed using spectrogram inversion techniques which support real- time computation. With this method, windowing and overlapping grains of regular size is no longer required. The algorithm presents a large number of parameters available for the dynamic manipulation of the synthetic timbre. Algorithm implementations are detailed in the paper, including comparison with traditional time-domain against the proposed frequency-domain granulation strategies.

• Fasciani, Stefano & Wyse, Lonce (2018). Vocal control of sound synthesis personalized by unsupervised machine listening and learning. Computer Music Journal.  ISSN 0148-9267.  42(1), s 37- 59 . doi: 10.1162/comj_a_00450 Vis sammendrag

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

• Hawkins, Stan & Ålvik, Jon Mikkel Broch (2018). A-ha's "Take on Me": Melody, Vocal Compulsion, and Retroscoping, In Ciro Scotto; Kenneth M. Smith & John Brackett (ed.),  The Routledge Companion to Popular Music Analysis: Expanding Approaches.  Routledge.  ISBN 9781138683112.  Chapter 6.  s 77 - 94
• Dahl, Sofia & Sioros, George (2018). Rhythmic recurrency in dance to music with ambiguous meter, In Gualtiero Volpe & Antonio Camurri (ed.),  Proceedings of the 5th International Conference on Movement and Computing.  ACM Publications.  ISBN 978-1-4503-6504-8.  Article No. 38. 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.

• Halmrast, Tor (2018). Attack the Attack. Proceedings of the Institute of Acoustics.  ISSN 1478-6095.  40(3), s 335- 346 Vis sammendrag

  When listening to musicians playing the same pieces of music in different acoustic settings in Stavanger concert hall, the perceived differences were astonishing. However, the measured overall changes in spectrum, level etc., were surprisingly small. Long reverberation of course increases the length of a tone, so that it masks the entrance of the next one, but probably most astonishing was the perceived difference in timbre due to changes of the attack, (also for a first note in a phrase). The paper will discuss general theory of how an “ideal, diffuse field reverberation” influences on attack. The early response of a concert hall, is, however, seldom “diffuse”. The paper will show measurements and simulations (Odeon) of attack with/without early reflections. Methods for measuring attack in concert halls is not as trivial as measuring Rise Time, Steepness etc. for ordinary electronic filters, and alternative approaches like Integrated (Cumulative) Squared Step Response and Spectral Flux is discussed. The importance of attack has been little discussed in concert hall design, but should be more and more important, also because listeners nowadays are used to listening to recordings where any wanted amount of direct sound is mixed with a long and (too?) smooth, non-correlated, (digital) reverberation. It is generally assumed that a fast attack is more brilliant, sounds more like if there are more high frequencies present than a “fade in”. First we must remember that a signal of course preserves it attack best if we just hear the direct sound only. This paper will show how reverberation always smoothens/prolongs the attack and discuss how this affects signals of different lengths, different musical instruments which in itself have slow or fast onset of note, and if it is possible to reduce the smoothening of the attack by early reflections.

• Holbrook, Ulf A. S. (2018). An Approach to Stochastic Spatialisation: A Case of Hot Pocket, In Luke Dahl; Doug Bowman & Tom Martin (ed.),  Proceedings of the International Conference On New Interfaces For Musical Expression.  Virginia Tech.  1.  s 31 - 32 Vis sammendrag

  Many common and popular sound spatialisation techniques and methods rely on listeners being positioned in a “sweet-spot” for an optimal listening position in a circle of speakers. This paper discusses a stochastic spatialisation method and its first iteration as implemented for the exhibition HotPocket at The Museum of Contemporary Art in Oslo in2017. This method is implemented in Max and offers a matrix-based amplitude panning methodology which can provide a flexible means for the spatialialisation of sounds.

• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice, In Tom Ziemke; Mattias Arvola; Nils Dahlbäck & Erik Billing (ed.),  PROCEEDINGS OF THE 14TH SWEDISH COGNITIVE SCIENCE SOCIETY CONFERENCE.  The University of Skövde.  ISBN 978-91-983667-3-0.  Paper published at the proceedings.  s 10 - 11
• Godøy, Rolf Inge (2018). Sound-Motion Bonding in Body and Mind, In Youn Kim & Sander L. Gilman (ed.),  The Oxford Handbook of Music and the Body.  Oxford University Press.  ISBN 9780190636234.  Chapter. Vis sammendrag

  This chapter focuses on the links between sound and body motion in music. It can readily be observed that musical sound is produced by body motion and also triggers body motion in many contexts, meaning scholars have an inexhaustible supply of sound-motion bonding available for research. The main challenges here are to get an overview of the different kinds of sound-motion bonding at work in music, and to go deeper into the subjective experiences of sound-motion bonding. To this end, the chapter presents sound-motion bonding in a so-called motor theory perspective on perception, suggesting that whatever humans perceive of sound, motion, and/or visual features is spontaneously re-enacted in our minds, meaning active mental simulation of whatever it is that we are perceiving. This leads to the idea of sound-motion objects, entities that fuse sensations of sound and motion into salient and holistically perceived units in musical experience.

• Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata & Jensenius, Alexander Refsum (2018). Muscle activity response of the audience during an experimental music performance, In Stuart Cunningham (ed.),  Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion.  Association for Computing Machinery (ACM).  ISBN 978-1-4503-5373-1.  Sound and Immersion. Article 11. 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.

• Watne, Åshild & Nymoen, Kristian (2018). Der æ so vent å vestoheio. Intonasjon i et gammelstev fra Setesdal.. Musikk og tradisjon.  ISSN 1892-0772.  32, s 7- 30 Vis sammendrag

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

• Danielsen, Anne (2018). Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves, In Ciro Scotto; Kenneth M. Smith & John Brackett (ed.),  The Routledge Companion to Popular Music Analysis: Expanding Approaches.  Routledge.  ISBN 9781138683112.  Chapter 12.
• Eriksen, Asbjørn Øfsthus (2018). «Fra pessimisme til sosialistisk realisme. Symfonikeren Nikolaj Mjaskovskij (1881–1950)», del 1. Studia Musicologica Norvegica.  ISSN 0332-5024.  44(1), s 79- 101 Fulltekst i vitenarkiv.
• 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 experence. Music Theory Online.  ISSN 1067-3040.  24(3) Fulltekst i vitenarkiv. Vis sammendrag

  In recent decades, we have seen a surge in published work on embodied music cognition, and it is now broadly accepted that musical experience is intimately linked with experiences of body motion. It is also clear that music performance is not something abstract and without restrictions, but something traditionally (i.e., before the advent of electronic music) constrained by our possibilities for body motion. The focus of this paper is on these various constraints of sound-producing body motion that shape the emergent perceptual features of musical sound, as well as on how these constraints may enhance our understanding of agency in music perception.

• 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. Fulltekst i vitenarkiv. 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) . doi: 10.30535/mto.24.3.7 Fulltekst i vitenarkiv. 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: 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 Ros: 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 Fulltekst i vitenarkiv. 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.

• Rowson, Jen; Yoxall, Alaster & Gonzalez Sanchez, Victor Evaristo (2018). Differences in EMG burst patterns during grasping dexterity tests and activities of daily living. Frontiers in Bioengineering and Biotechnology.  ISSN 2296-4185.  6:00068(MAY), s 1- 11 . doi: 10.3389/fbioe.2018.00068
• 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 Fulltekst i vitenarkiv.
• 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.
• 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 Kristine Å & 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.

Se alle arbeider i Cristin

• Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (ed.) (2020). Made in Ireland: Studies in Popular Music. Routledge.  ISBN 978-1-138-93652-2.  0 s.
• Mangaoang, Áine (2019). Dangerous Mediations: Pop Music in a Philippine Prison Video. Bloomsbury Academic.  ISBN 9781501331541.  256 s.
• Herrebrøden, Henrik (2019). Ti idrettsutøvere som søkte hjelp – og fikk det. Cappelen Damm Akademisk.  ISBN 9788202621407.  176 s.
• Hawkins, Stan & Burns, Lori A. (ed.) (2019). The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Academic.  ISBN 978-1-5013-4233-2.  445 s.
• Bradley, Catherine (2019). 'Motet. Thirteenth-Century Origins'. In Grove Music Online. Oxford University Press.  ISBN 1561592390.
• Devine, Kyle (2019). Decomposed: The Political Ecology of Music. MIT Press.  ISBN 9780262537780.  328 s.
• Høffding, Simon (2019). A Phenomenology of Musical Absorption. Palgrave Macmillan.  ISBN 978-3-030-00659-4.  300 s.
• 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.

Se alle arbeider i Cristin

• Jones, Ellis Nathaniel (2020). Book review: Popular Music in the Post-Digital Age. Popular Music.  ISSN 0261-1430.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7a.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7b.
• Cederkvist, Vibeke & Brøvig-Hanssen, Ragnhild (2020, 18. februar). Musikkverdenen voksne ikke forstår. [Internett].  NRK.no. Vis sammendrag

  Bedroom pop: En undergrunnskultur.

• Weisethaunet, Hans (2019). Sarangi seminar lecture, and public interviews with Ustad Kamal Sabri, India, and Shyam Nepali, Nepal. Melahuset, Oslo.
• Weisethaunet, Hans (2019). ‘Roots’ and ‘Routes’ of Scandinavian Music—Dialogue/lecture with Hallvard T. Bjørgum.
• Weisethaunet, Hans (2019). The Art Ensemble of Chicago, ECM. Jazznytt.  ISSN 0332-7248.  250, s 58- 59
• Weisethaunet, Hans (2019). Music Studies and Fieldwork, "World Music Workshop", Agder University.
• Høffding, Simon (2019). What do expert musicians perceive when they perform? Phenomenological Explorations.
• Høffding, Simon; Wallot, Sebastian & Roepstorff, Andreas (2019). The Danish String Quartet: Absorption and Interaction.
• Høffding, Simon (2019). Phenomenological interviews.
• Høffding, Simon (2019). Informing phenomenology through interviews: Dreyfus’ experts and musical virtuosos.
• Høffding, Simon (2019). Musical Empathy and expert automaticity: Applying phenomenology to Music performance.
• Westner, Britta; Andersen, Lau Møller; Blenkmann, Alejandro Omar & Leske, Sabine Liliana (2019). RITMO International EEG FieldTrip workshop, Lectures and Hands-on sessions.
• Leske, Sabine Liliana (2019). Oscillations and their functional relevance and Experimental design issues in EEG studies investigating oscillations.
• Hawkins, Stan (2019). Introduction: Nordic Study Day.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• Kjus, Yngvar (2019). Keynote foredrag: Hvordan oppleves levende musikk i den digitale tiden?.
• Hagen, Anja Nylund (2019). Napster. Store Norske Leksikon (Nettutgaven).
• Holbrook, Ulf A. S. & Kraugerud, Emil (2019). Distances and proximities in acousmatic spatiality. Vis sammendrag

  In any given listening situation space is, in some form, always present. Our understanding of this space is given by our listening position and our ability to relate sounds to our knowledge of context, representation and cause. Th is paper seeks to discuss the spatiality of sounds, through our listening to the space in sound and not just to the space the sounds occupy. In both stereo and multichannel reproduction contexts we perceive sounds as existing in space but seldom consider the spaces which are occupied in the sound.The proximal differences between sounds and the perceived distances in the listening perspectives, not just angular differences in panning, are important criteria for understanding the contexted spatiality a sound contains. A sound is an energy and a soundfield is a collection of energies, a release of energy changes a space or creates a new space (Lefebvre 1991). Perception of the closeness of a sound is greatly dependent on the space contained by that sound, as it is perceived by a listener. Th is perception is affected by apparent width and timbre. For example, a wide sound may be perceived as being close, and through particular techniques applied in music production, the distance relations between sounds can be manipulated beyond what would be possible in direct interaction with sound sources. In musical contexts, this can in turn affect the ways in which the music is interpreted. Rather than just seeing a microphone as a static point which samples a signal at specific intervals, the microphone, like the speaker, is a window into space which gives us access to the spaces in the sounds. A hard left /right pan in a stereo soundfield provides us with a clear spatial boundary in which sounds exist, but this space is extended by the spatiality of the sounds themselves.

• Vuoskoski, Jonna Katariina & Heid, Markham (2019, 05. september). Why Listening to Sad Music Makes You Feel Better. [Internett].  https://elemental.medium.com/why-listening-to-sad-music-make.
• Vuoskoski, Jonna Katariina (2019). Parallels between the cognition of rhythm in sports and music. Vis sammendrag

  Although rhythm is often discussed in purely auditory terms, mounting evidence from the fields of cognitive psychology and neuroscience suggests that rhythm is fundamentally a domain-general phenomenon grounded in motor action. By drawing parallels between music and rowing – a sport characterized by repetitive rhythmic patterns and synchronized joint action – I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how interpersonal synchronization relies on shared timing models, multisensory cues, and predictive processes. Furthermore, I will demonstrate how conceptual and theoretical tools developed in the context of musical rhythm – such as non-isochronous meter (i.e., a cyclic pattern of beats with unequal durations) – can contribute to conceptualizing and understanding rhythm cognition in the context of rowing as well. Finally, I will discuss how accurate sensorimotor synchronization can facilitate experiences of ‘flow’ in both disciplines – especially in the face of increasing rhythmic complexity.

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

  The emotional meanings conveyed by music do not exist in a vacuum, but emerge from the interaction between the music, the listener, and the context/situation. In addition to cross-cultural variability in musical forms and the emotional connotations associated with them, there is also significant inter-individual variability within cultures with regard to emotional responding. In this talk, I will present empirical evidence from two studies that demonstrate the extent of inter-individual variability – in terms of both perceived and felt emotion – in Finnish listeners. Study 1 explored the contribution of Big Five personality traits and current mood to individual differences in emotions perceived in music. Sixty-seven participants listened to 50 short film music excerpts, and rated their perceived emotions using five discrete emotion scales (happiness, sadness, fear, anger, and tenderness). Both personality traits and mood states were significantly correlated with biases in emotion perception, but partial correlations and moderated multiple regression analyses revealed that current mood accounted for most of the inter-individual variance in ratings of perceived emotion. Study 2 investigated individual differences in emotional reactivity to music at the level of both self-reports and physiological responses. Furthermore, the role of trait empathy in these individual differences was explored. Fifty-four participants heard 10 1-minute music excerpts representing five different emotions (sad, happy, scary, tender, and neutral). Participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales. In addition, participants’ electrodermal activity and heart rate variability were measured. Correlation analyses revealed that trait empathy was associated with the intensity of emotional responses both at the level of self-report and physiological responses. Furthermore, the patterns of correlations were consistent across both levels. The implications of the findings will be discussed in terms of the benefits of investigating individual differences and measuring multiple components of emotion.

• Vuoskoski, Jonna Katariina & Layton, Christine (2019, 21. september). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio].  ABC Radio Perth, Australia.
• Sioros, George & Danielsen, Anne (2019). How do Rhythmic Features Affect our Movement?.
• Jensenius, Alexander Refsum (2019). Hvordan fremme tverrfaglighet?.
• Weisethaunet, Hans (2019). Musikk som praksisfelt, musikk som vitenskap og som kulturelt felt..
• Weisethaunet, Hans (2019). Platepoetikk. ECM 50 år. Bobo Stenson interview. Nasjonalbiblioteket Seminar..
• Weisethaunet, Hans (2019). Musikk som kunnskap og dannelse – endringer i det nordiske feltet? Fra blokkfløyte til Chick Corea. Nord-Ed Seminar, UiO.
• Jensenius, Alexander Refsum (2019). Hva kan kroppslig stillstand si om opplevelsen av musikk?.
• Jones, Ellis Nathaniel & Hyland, Patrick (2019). Negotiating conceptions of “lo-fi” authenticity in collaborative work.
• Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas (2019). Bandcamp and SoundCloud as alternative music platforms.
• Jones, Ellis Nathaniel (2019). Book Review: Spotify Teardown: Inside the Black Box of Streaming Music. Convergence. The International Journal of Research into New Media Technologies.  ISSN 1354-8565.  25(4), s 782- 785 . doi: https://doi.org/10.1177/1354856519854204
• Brøvig-Hanssen, Ragnhild (2019). Presentation of MASHED; TIME; and MusFrag.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Dual-Planed Temporality.
• Brøvig-Hanssen, Ragnhild (2019). Mashup and Parody.
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal chops and Rhythm.
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Pleasure.
• Sioros, George; Câmara, Guilherme Schmidt; Danielsen, Anne & Nymoen, Kristian (2019). Timing and drummers’ movement: A novel methodology for performance analysis. Vis sammendrag

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

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

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

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

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

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

  Tidal er en strømmetjeneste for musikk som ble lansert av det norske selskapet Aspiro i 2010 under navnet WiMP. Selskapet ble solgt til S. Carter Enterprises, blant annet eid av hiphop-artisten Jay Z i 2015, og fikk navnet Tidal, men har fortsatt kontor i Oslo. Tidal skiller seg fra andre on-demand strømmetjenester ved å være reklamefri. Tjenesten tilbyr heller et dyrere abonnementsalternativ med bedre lydkvalitet, i tillegg til standardabonnementet. Tidal markerte seg ved å være tidlig ute med å bruke redaksjonelt innhold og spillelister. Det er mange artister blant Tidals medeiere, og selskapet har forsøkt å gjøre det til en merkevare å tilby eksklusivt innhold fra disse artistene.

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

  Spotify er verdens mest brukte strømmetjeneste for musikk. Siden lanseringen i 2008 har Spotify opplevd stor vekst i antall brukere og popularitet. Våren 2019 registrerte Spotify over 100 millioner betalende abonnenter. Selskapet anslår at den totale lytterbasen overstiger 209 millioner aktive brukere når gratisversjonen inkluderes. Tjenesten tilbyr over 40 millioner lydspor i sin katalog, og utvikler fortløpende både tjeneste- og innholdstilbudet.

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

  Strømmetjenester er tjenester som overfører medieinnhold over internett. «Å strømme» for eksempel film, bøker, video eller musikk, beskriver digitale overføringsprosesser av data i sanntid eller uten at brukeren trenger å laste ned innholdet. Gjennom internettapplikasjoner som kan brukes på både stasjonære og mobile medieenheter, for eksempel TV, nettbrett, smarttelefon, datamaskin og airplay-spillere, gjøres innhold tilgjengelig fleksibelt og fritt etter brukernes preferanser, såkalt on-demand.

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

  Studier, nettverk, praksis – hva betyr mest for bygge en karriere i musikklivet?Hvordan oppleves kjønnsbalansen fra ulike ståsted i musikklivet og musikkbransjen, og hvorfor er det viktig å etterstrebe likestilling? Hvilken kjernekompetanse må man ha for å jobbe i musikklivet, og hvilke egenskaper fra en musikkbransjekarriere er overførbare til andre karrierefelt? Debattleder: Anja Nylund Hagen (postdoktor ved IMV) Med Alma Nedrelid (assisterende operasjef – Den Norske Opera &Ballett, ex-IMV) Eystein Sandvik (musikkritiker, NRK, ex-IMV) Julia Witek (bassist og vokalist i No. 4, ex-IMV) Torkjell Hovland (musikkritiker for bl.a. Jazznytt og Ballade og kommunikasjonsansvarlig i Oslo musikkråd, ex-IMV)

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

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

• Danielsen, Anne (2019). Hvor er egentlig beatet? Rytme og timing i rytmisk musikk.
• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara (2019). Musikkprodusentens rolle. Vis sammendrag

  Musikkprodusentens rolle - Hva skal til for å lykkes som studioprodusent? - Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål? - Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres? Debattleder: Yngvar Kjus (førsteamanuensis ved IMV) Med Sara Karoliussen (artist, produsent, ex-IMV) Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV) Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO) Michael Scott Hartung (produsent) Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)

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

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

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

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

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

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

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

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

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

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

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019, 06. september). Med opphavsrett på studieplanen. [Fagblad].  Ballade.no.
• Eriksen, Asbjørn Øfsthus (2019). Foredrag om Rachmaninov.
• Hagen, Anja Nylund (2019). Music streaming and data literacy. Vis sammendrag

  The chain of production, distribution and consumption in the music industries has always been shaped by the technologies available to the markets. Developments in the contemporary music industry must therefore be understood in relation to streaming technology. Just a decade after Spotify launched in Sweden, the Norwegian music industry heavily relies on music streaming services as the mainstream distribution format to reach global markets and new audiences. At the same time, the streaming industry is entailed with new competition, where new types of skills and competences are demanded to interact and negotiate with a greater range of parties under new conditions. This paper stems from a large survey targeting musicians, composers and intermediaries across different genres and functions in the Norwegian music industry, supplemented by in-depth interviews with music industry key persons. The goal is to reveal aspects of how Norwegian music industry partners experience to work with music in the realm of streaming. By using the concept of digital literacy, this paper studies how the ability to take use and make sense of the digital potential of the streaming technology is experienced. The digital literacy of streaming will specifically be explored in relation to datafication, as the concept of how online content and traffic can be tracked and analysed to predict and control activities and royalties in the current digital market flows. The survey shows how datafication has become key in the digital music industry, but also big variations in whom that are taking this currency of data in use. The paper further discusses digital literacy as a concept to address how datafication in the era of streaming seems to create a new dimension of the digital divide, of those who can make sense of and engage with data, and those who can’t.

• Hagen, Maren Kvamme & Danielsen, Anne (2019, 01. september). Ein hest og ei landeplage. [Internett].  nrk.no.
• Bradley, Catherine (2019). Invited Seminar at Conservatoire national supérieur de musique et de danse de Lyon.
• Weisethaunet, Hans (2019). ‘Criticism and canonisation’, presentation for “Musicking in Twentieth-Century Europe”, De Gruyter’s Verlagshaus, Berlin.
• Weisethaunet, Hans (2019). “Musical Sound, Place, and Listening,” Invited lecture, “Anthropology of Sound, Acoustemology, and Sensory Transformations Conference”, University of Eastern Finland.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Hole, Erik & Sørli, Anders Ruud (2019, 23. august). Rapkjefta - episode 2. [Radio].  Ordentlig Radio.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Samfunnet Bislet 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Byfest Kongsvinger 2019.
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Sinsenfist på Verksøya 2019.
• Holbrook, Ulf A. S. (2019). City Dwellers II. Vis sammendrag

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

• Eriksen, Asbjørn Øfsthus (2019). Skazki. Nikolaj Medtner. Gunnar Sama, piano. (Liner notes til CD med klavermusikk av Nikolaj Medtner. 2L-156-SACD. Lindberg Lyd AS).
• Devine, Kyle (2019, 19. august). The World Remade. [Internett].  Reasonably Sound (podcast).
• Hagen, Anja Nylund (2019, 11. august). Slik kan Emir (26) leve av musikken: – Men jeg tenkte aldri «oi shit, her kan vi tjene mer penger».  Dagens Næringsliv.
• Hagen, Anja Nylund (2019, 15. august). Thomas Hayes har signert med Sony, skal gi ut musikk.  Aftenposten. Vis sammendrag

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

• Vuoskoski, Jonna Katariina & Bjurström, Eelis (2019, 23. juli). Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi. [Internett].  https://yle.fi/uutiset/3-10875178.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2019). Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology. Vis sammendrag

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

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

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

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

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

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

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

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

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

• Rygg Haanaes, Øystein & Bradley, Catherine (2019, 29. juli). Notre-Dame var eit kraftsenter for komposisjon av fleirstemt song i mellomalderen. [Internett].  https://forskning.no/middelalderen-musikk-partner/notre-dame.
• Bradley, Catherine (2019). Tenor Quotations for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpected Connections with Pedes and Polyphonic Rondeaux.
• Bradley, Catherine (2019). Voice in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Adam de la Halle: Motets and Rondeaux.
• Bradley, Catherine (2019). Adam de la Halle’s Intergeneric Self Citations.
• Bradley, Catherine (2019). Polyphony in Medieval Paris: Book Launch.
• Bradley, Catherine (2019). 'First take your Tenor’: Quoting upon Quotations in Thirteenth-Century Motets.
• Bradley, Catherine (2019). Analysing Quotational Foundations for Thirteenth-Century Motets.
• Bradley, Catherine (2019). Choosing a Tenor Quotation for Thirteenth-Century Motets: Unexpedted Connections with Pedes and Polyphonic Rondeau.
• Bradley, Catherine (2019). Stirps Iesse florigeram in Context: Benedicamus Domino Polyphony in Aquitaine and The Origins of the Motet.
• Bradley, Catherine (2019). 'First take your tenor’: quoting upon quotations in thirteenth-century motets.
• Hagen, Anja Nylund (2019). Bokomtale: Engasjement og arrangement - ei utgreiing om konsertarrangørar. Musikkmagasinet Ballade.  ISSN 0805-5041.
• Bromham, Gary; Moffat, David; Danielsen, Anne & Fazekas, György (2019). Digital Warmth: The Retro in Digital.
• Danielsen, Anne; Nymoen, Kristian & London, Justin (2019). Noise in the click or click in the noise: Investigating probe-stimulus order in P-center estimation tasks.
• Høffding, Simon (2019). Hvad er musikalsk fordybelse?.
• Høffding, Simon (2019). Grounding Enactivism - Review of Dan Hutto and Erik Myin, Evolving Enactivism (2017, MIT press); Shaun Gallagher, Enactivist Interventions (2017, Oxford University Press); Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. Barandiaran, Sensorimotor Life (2017, Oxford University Press). Philosophy.  ISSN 0031-8191. . doi: 10.1017/S0031819119000044
• Devine, Kyle; Brennan, Matt & Collinson Scott, Jo (2019). The Cost of Music.
• Devine, Kyle (2019, 13. juli). E-mails, applications mobiles, centres de données : le numérique, un véritable glouton énergétique. [Internett].  L'Orient-Le Jour.
• Devine, Kyle (2019, 15. juli). The Internet’s Carbon Footprint. [Internett].  IRL: Online Life is Real Podcast.
• Devine, Kyle (2019, 28. juli). Vinyle ou streaming : quel support musical pollue le plus la planète ?. [Internett].  Télérama.
• Jensenius, Alexander Refsum (2019). Music Technology Developments at University of Oslo.
• Gonzalez Sanchez, Victor Evaristo; Herrebrøden, Henrik; Olimstad, Jostein & Jensenius, Alexander Refsum (2019). Effects of acoustic pacing on the smoothness of rowing movements. Vis sammendrag

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

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

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

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

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

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

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

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

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

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

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

• Kontogeorgakopoulos, Alexandros; Sioros, George & Klissouras, Odysseas (2019). Mechanical Entanglement: A Collaborative Haptic-Music Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Fasciani, Stefano & Vohra, Manohar (2019). Towards a High-Performance Platform for Sonic Interaction Interfaces. Vis sammendrag

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

• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & Sørli, Anders Ruud (2019). Parkour.
• Oddekalv, Kjell Andreas (2019). Surrender to the flow – rhyme as the defining structural element in rap.
• Oddekalv, Kjell Andreas (2019). The urge to «clean up» the rap: rhythm and plasticity in rap music.
• Devine, Kyle (2019). The Slow Violence of Music: An Infrastructural History of Sound Reproduction.
• Brennan, Matt & Devine, Kyle (2019). Music streaming has a far worse carbon footprint than the heyday of records and CDs—new findings. The Conversation.  ISSN 2201-5639. . doi: https://theconversation.com/music-streaming-has-a-far-worse-carbon-footprint-than-the-heyday-of-records-and-cds-new-findings-114944
• Devine, Kyle (2019, 09. april). Real Cost of Streaming. [Radio].  Cape Talk (South Africa).
• Devine, Kyle (2019, 21. april). Noise pollution: What you need to know about the carbon footprint of streaming music. [Internett].  Canadian Broadcasting Corporation.
• Devine, Kyle (2019, 09. april). Streaming Music Shamed for its Inadvertent Carbon Output. [Internett].  Gizmodo.
• Devine, Kyle (2019, 08. april). Digital Music Consumption Has Led to Increase in Greenhouse Gas Emissions, New Study Finds. [Internett].  Billboard.
• Alarcón Diaz, Ximena; Ospina, Violeta; Villalba, Silvia; Rodriguez, Liliana; Ramirez, Anita; Lema, Calu; Ojeda, Myriam; Scott, Bruna; A, Juliana & A, LaChiki (2019). INTIMAL Multimedia Fanzine Vol. 1/2019. Vis sammendrag

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Danielsen, Anne (2019). Roundtable: Translating, transferring (and maybe transcending) musical knowledge. Chair and respondent, session 3: Practices..
• Lan, Qichao; Tørresen, Jim & Jensenius, Alexander Refsum (2019). RaveForce: A Deep Reinforcement Learning Environment for Music.
• Hagen, Anja Nylund (2019). Musikkbransjen er ikke så digital som vi tror. Dagens næringsliv.  ISSN 0803-9372.  109(109), s 31- 31 Vis sammendrag

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

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

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

• Hagen, Anja Nylund (2019, 26. april). Taylor Swift og musikklansering på Instagram. [Radio].  NRK, P2. Vis sammendrag

  Taylor Swift har sluppet ny musikk og den har hun presentert ved hjelp av mystiske og hemmelighetsfulle bilder på instagram. Er det slik man markedsfører plater nå til dags?

• Høffding, Simon (2019). Performative passivity. Lessons on phenomenology and the extended musical mind with the Danish String Quartet, In  Music and Consciousness 2 Worlds, Practices, Modalities.  Oxford University Press.  ISBN 9780198804352.  7.
• Jensenius, Alexander Refsum & Seres, Silvija (2019, 01. mai). Ekspørt: Alexander Refsum Jensenius. [Radio].  LØRN Podcast. Vis sammendrag

  Hva kan vi finne når vi analyserer folks dansebevegelser? Og hva er selvspillende gitarer? I denne episoden av #LØRN snakker Silvija med førsteamanuensis ved Institutt for musikkvitenskap ved Universitetet i Oslo, Alexander Refsum Jensenius, om NM i stillstand og kunst og teknologi. — Vi tror at det er noen dypt forankrede systemer som gjør at bevegelse og musikk er koblet sammen i hjernen vår. Så lyd og bevegelse har ikke skiller, forteller han.

• Høffding, Simon (2019). The Phenomenological Interview and the Skeptic Philosopher.
• Høffding, Simon (2019). In the phenomenological workshop with “The Danish String Quartet":coping, mind-wandering and Amnesia.
• Guldbrandsen, Erling E. (2019). Å leve med Restless Legs Syndrome (RLS).
• Guldbrandsen, Erling E. (2019). Beethovens niende symfoni: Hvor går Oslo-Filharmonien. ballade.no.
• Guldbrandsen, Erling E. (2019). Et dykk i det undertrykte. Billy Budd av Benjamin Britten på Den Norske Opera & Ballett. Morgenbladet.  ISSN 0805-3847.  (4), s 34- 35
• Oddekalv, Kjell Andreas; Bjørkheim, Terje; Walderhaug, Bendik; Hole, Erik; Sørli, Anders Ruud; Ugstad, Magnus & Marcussen, Karsten (2019). Vet du aller helst.
• Oddekalv, Kjell Andreas (2019). Sinsenfist på x2.
• Høffding, Simon (2019). Moved in Museums: Activity and Passivity in Aesthetic Absorption.
• Jensenius, Alexander Refsum (2019). Dagens system tar ikke høyde for at folk skal kunne ta kurs på 0,2 studiepoeng. Men hvorfor ikke?. Khrono.no.  ISSN 1894-8995. Vis sammendrag

  Vi må legge til rette for mye raskere, enklere, og smidigere prosesser for å registrere, insentivere og belønne ulike former for mikroutdanning, skriver førsteamenuensis ved Universitetet i Oslo, Alexander Refsum Jensenius.

• Jensenius, Alexander Refsum (2019). Towards Convergence in Research Assessment. EARMA Link Magazine.  s 14- 14 Vis sammendrag

  Open Science is on everyone’s lips these days. There are many reasons why this shift is necessary and wanted, and also several hurdles. One big challenge is the lack of incentives and rewards. Underlying this is the question of what we want to incentivize and reward, which ultimately boils down to the way we assess research and researchers. This is not a small thing. After all, we are talking about the cornerstone of people’s careers, whether an inspiring academic gets a job, promotion, and project funding.

• Hagen, Anja Nylund & Kjus, Yngvar (2019). Musikkbransjen i strømmingens tidsalder..
• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Vis sammendrag

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

• Oddekalv, Kjell Andreas (2019). Konsert med Sinsenfist - Rockeklubben i Porsgrunn.
• Clauder, Ingvo; Tveit, Anders; Evensen, Terje & Lossius, Trond (2019). In a Now.
• Kjus, Yngvar & Hagen, Anja Nylund (2019). Musikkbransjen i strømmetiden.
• Nymoen, Kristian (2019). Musikalske maskiner.
• Høffding, Simon & Wallot, Sebastian (2019). Physiological correlates of musical absorption – a mixed methods approach.
• Edwards, Peter (2019, 18. februar). Frahmtiden er ny-klassisk.  Vårt Land.
• Brøvig-Hanssen, Ragnhild (2019). Presentation of the MASHED-project.
• Brøvig-Hanssen, Ragnhild; Jones, Ellis Nathaniel & Perrett, Josh (2019). Invitation video for survey participation related to the research project MASHED: Mashup Music, Copyright, and Platform Regulation. [Video ].
• Brøvig-Hanssen, Ragnhild; Jones, Ellis Nathaniel; Hui, Alan; Perrett, Josh & Manning, Maddie (2019). Promo video of the research project MASHED: Mashup Music, Copyright, and Platform Regulation. [Video ].
• Lartillot, Olivier (2019). The MIRAGE project.
• Weisethaunet, Hans (2019). «Tomasz Stańko: Det siste intervjuet». Jazznytt.  ISSN 0332-7248.  249, s 40- 45
• Weisethaunet, Hans (2019). Interview lecture: A dialogue with John Surman.
• Alarcón Diaz, Ximena (2019). Seminario Transdisciplinar: voz, memoria, violencia, comunidad, prácticas artísticas. Vis sammendrag

  This is a network project.

• Vuoskoski, Jonna Katariina (2019, 14. februar). Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad?. [Internett].  https://www.youtube.com/watch?v=SHipCeYasYY.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter; Gonzalez Sanchez, Victor Evaristo; Zelechowska, Agata; Glette, Kyrre & Nymoen, Kristian (2019). Self-playing Guitars. Vis sammendrag

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

• Vuoskoski, Jonna Katariina (2019). Being moved by music: A prosocial emotional response?. Vis sammendrag

  Musical engagement (music-making, listening and dancing) involves and fosters a number of processes that are associated with empathy, such as emotional contagion, embodied resonance, entrainment, and social bonding. One example of such a process is the feeling of ‘being moved’ – a powerful, rewarding experience often accompanied by chills, tears, and a sense of connection. In the past few years, ‘being moved’ has attracted increasing research interest as a distinct emotional response with prosocial functions and motivations – also in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). ‘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 are closely related to empathic personality traits, and have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). Building on empirical evidence from my recent work, I will argue that the experiences of ‘being moved’ in the context of music listening are inherently social responses with prosocial motivations and functions.

• Oddekalv, Kjell Andreas (2019). Konsert med Sinsenfist.
• Oddekalv, Kjell Andreas (2019). Rap Flows PhD Thesis.
• Weisethaunet, Hans (2019). “The Ethnography of Recording—Sound, Agency, and Objects”, Invited lecture: Music (and Musicologies) of the 21st Century. Ethnography of recording studios Conference, Fondazione Giorgio Cini, Venezia, Italy,.
• Watne, Åshild (2019). IMV Vokalensemble, dir. Åshild Watne, med konsert i Vardåsen kirke.
• Hagen, Anja Nylund (2019, 22. januar). Hva betyr digitaliseringen for norsk musikkeksport?. [Internett].  Ballade.no. Vis sammendrag

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

• Hagen, Anja Nylund (2019, 27. januar). Anja Nylund Hagen om musikkeksport. [Radio].  Søndagsåpent, NRK P1. Vis sammendrag

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

• Danielsen, Anne (2019). Classic Album Sundays: Aretha Franklin (paneldeltakelse).
• Nielsen, Nanette (2018). ‘Carl Nielsen, the modern musical philosopher: life as an aesthetic experience’.
• Nielsen, Nanette (2018). ‘On attentive listening and moral understanding: music's challenge to philosophy’.
• Weisethaunet, Hans (2018). Dialogue with Skyllstad on his career spanning six decades, on the event of his 90th birthday.
• Guldbrandsen, Erling E. (2018). Dødsboet er fullt av spørsmål. Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.
• Alarcón Diaz, Ximena (2018, 01. september). Case Study - in The Digital Musician Third Edition, by Andrew Hugill. [Internett].  http://andrewhugill.com/thedigitalmusician/alarcon.html.
• Lartillot, Olivier (2018). The MiningSuite 0.10 (first beta version). Vis sammendrag

  The MiningSuite is a free open-source and comprehensive Matlab framework for the analysis of signals, audio recordings, music recordings and music scores (and soon video, and more to come later) under a common modular framework. The MiningSuite adds a syntactic layer on top of Matlab, so that advanced operations can be specified using a simple and adaptive syntax. This makes the Matlab environment very easy to use for beginners, and in the same time allows power users to design complex workflows in a modular and concise way through a simple assemblage of operators featuring a large set of options. The MiningSuite is an extension of MIRtoolbox, a Matlab toolbox that has become a reference tool in the Music Information Retrieval (MIR) research and academic community.

• Lartillot, Olivier (2018). MIRtoolbox 1.7.1. Vis sammendrag

  MIRtoolbox offers an integrated set of functions written in Matlab, dedicated to the extraction from audio files of musical features such as tonality, rhythm, structures, etc. The objective is to offer an overview of computational approaches in the area of Music Information Retrieval. The design is based on a modular framework: the different algorithms are decomposed into stages, formalized using a minimal set of elementary mechanisms. These building blocks form the basic vocabulary of the toolbox, which can then be freely articulated in new original ways. These elementary mechanisms integrates all the different variants proposed by alternative approaches - including new strategies we have developed -, that users can select and parametrize. This synthetic digest of feature extraction tools enables a capitalization of the originality offered by all the alternative strategies. Additionally to the basic computational processes, the toolbox also includes higher-level musical feature extraction tools, whose alternative strategies, and their multiple combinations, can be selected by the user. The choice of an object-oriented design allows a large flexibility with respect to the syntax: the tools are combined in order to form a sets of methods that correspond to basic processes (spectrum, autocorrelation, frame decomposition, etc.) and musical features. These methods can adapt to a large area of objects as input. For instance, the autocorrelation method will behave differently with audio signal or envelope, and can adapt to frame decompositions.

• Lartillot, Olivier & Jensenius, Alexander Refsum (2018). SoundTracer. Vis sammendrag

  Discover traditional Norwegian music by drawing gestures with your iPhone or iPad. First draw a gesture by moving your iPhone or iPad up and down, to indicate ascending and descending melody. A simple sound is played while you move your device, its pitch gets higher when you move up, and gets lower when you move down. You can also indicate the beginning of a new note by moving abruptly the phone up or down (a blue vertical line indicates the note position). It is also possible to indicate a particular note without indication of pitch by performing a quick movement down and up (a red vertical line indicates the note position). Once you have terminated your gesture (by tapping once), the piece of music that contains the melodic gesture closest to your gesture is presented. The title and genre of that piece of music is indicated, as well as the performer and the district in Norway where it comes from. A melodic curve of the specific melodic gesture from the song is displayed below your own gesture. The matching between your gesture and the melody is based on a temporal alignment of their contours: the ascending parts of your gesture is aligned with the ascending parts of the melody, and same for the descending parts. The temporal note locations you have specified (bleu and red vertical lines) are also tentatively aligned with corresponding note changes in the melody. Some parts may be skipped, and are shown in red in the curves. When the music is played, a cursor moves throughout both curves so that you can follow the music while looking at the gestures. SoundTracer uses Apple's ARKit technology, solely in order to precisely track the location of your iPhone or iPad. For that reason, there is no actual Augmented Reality, and the camera is solely used to improve the precision of the tracking, without displaying the actual frames of the camera. For the moment, the catalogue of music is composed of around 50 pieces, and only the initial part of the melody is considered. The catalogue includes a few tunes played on the traditional Norwegian Hardanger fiddle, and songs sung a cappella. SoundTracer will be progressively improved with more music. SoundTracer is an innovation project led by Alexander Refsum Jensenius, supported by the University of Oslo and developed in collaboration with the National Library of Norway. More information here: https://www.hf.uio.no/ritmo/english/projects/all/soundtracer/

• Alarcón Diaz, Ximena (2018, 23. januar). Nine Colombian women to process memories through intense listening. [Internett].  https://www.hf.uio.no/imv/english/research/news-and-events/n.
• Lartillot, Olivier; Nymoen, Kristian & Danielsen, Anne (2018). Prediction of P-centers from audio recordings.
• Lartillot, Olivier (2018). MoCap Toolbox in the MiningSuite.
• Lartillot, Olivier (2018). Overview of signal-based rhythm analysis.
• Lartillot, Olivier (2018). Computational sound/music/gesture analysis and application to gesture-based query in music catalogue. Vis sammendrag

  In the first part of this talk, I will give a short and broad overview of the MiningSuite, a Matlab toolbox that combines sound, music and gesture analysis. I will give a quick tour of the various types of sound and music analyses that can be carried out using the toolbox, covering a large range of musical dimensions such as timbre, rhythm, harmony or structure. The MiningSuite, integrating previous toolboxes such as MIRtoolbox and MIDI toolbox, can be used both for the analysis of audio recordings and of “symbolic” representations such as MIDI files. I will also present the current integration of motion capture and gesture analysis (from the MoCap Toolbox), as well as other sensor data such as breathing. The benefit of articulating these different types of analyses into a single framework will be demonstrated. In the second part, I will present a project aimed at automatically extracting melodic gestures from a catalogue of folk music recordings from the National Library of Norway. While melodic lines can be easily extracted from a cappella songs, the task is more challenging for other types of music such as Hardanger fiddle music. In such cases, we need to automatically transcribe the recordings and track melodic voices throughout the counterpoint of each composition. I will also present an iPhone app that enables to draw a gesture in the air with the phone and to find pieces of music from the catalogue that is characterised by a similar musical gesture.

• Lartillot, Olivier (2018). Cookbook 1: Sound analysis in Matlab.
• Brøvig-Hanssen, Ragnhild (2018). Panel ved boklansering av Yngvar Kjus bok "Live and Recorded: Music Experience in the Digital Millennuim".
• Weisethaunet, Hans (2018). “Ethnomusicology: tradition and perspectives”, World Music seminar series, Universitetet i Agder.
• Weisethaunet, Hans (2018). «Jazzimprovisasjon som kommunikasjon», med gjest Arild Andersen.
• Weisethaunet, Hans (2018). Interview presentation: “In the recording studio” with Georg “Jojje” Wadenius.
• Weisethaunet, Hans (2018). Opponent, ph.d. sluttseminar: «En fiolin er ikke en fiolin er ikke en fiolin...», Benjamin Rygh, Universitetet i Sørøst-Norge.
• Alarcón Diaz, Ximena (2018). Telematic Sonic Performance: On Dis-location. Vis sammendrag

  In this talk I will share my experience in creating telematic sonic performances using long-distance bi-directional transmission of sound through the Internet: a mediation that strengthens metaphors of migration and dislocation. From this experimental, compositional and collaborative art practice, inspired by Pauline Oliveros’ Deep Listening, my art research has evolved into the creation of INTIMAL: an embodied physical virtual system for relational listening. INTIMAL interrelates body movement, vocal expression, memory and sense of place in a telematic system, expanding the technical possibility of ‘streaming sound’ to the one of ‘sensing vibrations’, in the distance. The system is being informed by a group of Colombian Migrant Women living in three European cities, involved in a fieldwork that uses Deep Listening and Embodied Music Cognition methods. INTIMAL is using technologies that augment and inter-relate feelings, body movements, and vocal expression in migratory contexts, for people to playfully improvise their migratory journeys, finding connections with themselves and others, physically and virtually, opening paths for healing.

• Alarcón Diaz, Ximena (2018). Relational Listening: in-between body, memory, migration and telematics. Vis sammendrag

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

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

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

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

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

• Kelkar, Tejaswinee (2018). Data visualization in Python.
• Kelkar, Tejaswinee (2018). Oslo Jazzfestivalen - ft Jazz in Khartoum ft Agbalagba Dada.
• Kelkar, Tejaswinee (2018). Jazz in Khartoum - ft. Sudeshna Bhattacharya.
• Kelkar, Tejaswinee (2018). Jazz in Khartoum - ft Tejaswinee Kelkar #2.
• Kelkar, Tejaswinee (2018). MAM - Nepal / Avatar.
• Kelkar, Tejaswinee (2018). Disembodied Voice.
• Weisethaunet, Hans (2018). «Musikkvitenskapelig teori og metode», presentasjon, Nord universitet.
• Weisethaunet, Hans (2018). «Kulturanalyse og feltarbeid», Det vitenskapelige ph.d.-programmet, Norges musikkhøgskole.
• Weisethaunet, Hans (2018). «Jazz som konservatoriefag», invitert foredrag, NMH historieprosjektet - institusjonshistorie.
• Weisethaunet, Hans (2018). Opponent ph.d. prøvedisputas: Nina Nielsen: “Spreading Darkness: Norwegian Black Metal and Cosmopolitanism”, Norwegian Academy of Music.
• Weisethaunet, Hans (2018). Opponent, ph.d. avhandling, Camilla Kvaal: «Kryssende musikkopplevelser: En undersøkelse av samspill i en interkulturell musikkpraksis.» Høgskolen i Innlandet, Ph.d. i profesjonsrettede lærerutdanningsfag.
• Câmara, Guilherme Schmidt (2018). Presentation of preliminary findings: Effects of Instructed Timing on Guitar and Bass Sound in Groove Performance.
• Câmara, Guilherme Schmidt (2018). Presentation of Mocap Component of Performance Experiments from the Timing and Sound in Musical Microrhythm (TIME) project.
• Câmara, Guilherme Schmidt (2018). Original concert performance with funk/soul ensemble "Baba Soul & The Professors of Funk", Oslo World Music Festival 2018.
• Godøy, Rolf Inge (2018). Presentation of RITMO. Vis sammendrag

  A presentation of the aims and organisation of the RITMO Centre of Excellence and various ideas for continued cooperation with IPEM in research and PhD training.

• Fuhrer, Julian Peter; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Animation of the RITMO Logo. Vis sammendrag

  In this project the logo of RITMO is installed in an interactive animation. It is able to move in accordance with the frequency band of an audio input stream. That is to say, the RITMO logo interacts with the rhythmical streams of music.

• Fuhrer, Julian; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Animation of RITMO Logo.
• Fuhrer, Julian; Glette, Kyrre & Jensenius, Alexander Refsum (2018). Interactive Opening Animation. Vis sammendrag

  With this project we installed the logo of RITMO in an interactive animation for the opening of the centre. The logo is enabled to receive audio input such that it is able to move in accordance with the frequency band of the input. That is to say, the logo is able to move along with rythmic streams of the music.

• Høffding, Simon (2018). The Phenomenological Interview and the Skepticist Philosopher.
• Høffding, Simon (2018). Physiological Correlates of Musical Absorption.
• Høffding, Simon & Ravn, Susanne (2018). "What is thinking in movement?".
• Høffding, Simon (2018). Moved in Museums: the Intentionality of Aesthetic Absorption.
• Weisethaunet, Hans (2018). “What’s Black Got to do with it? – Soul and Sound in the Southern Studio“, Topographies of Sound International Conference.
• Nielsen, Nanette; Aksnes, Hallgjerd; Edwards, Peter & Kvalbein, Astrid (2018). Launch for Nanette Nielsen’s book _Paul Bekker’s Musical Ethics_. Introduction and moderation by Hallgjerd Aksnes, panel discussion including: Peter Edwards (University of Oslo), Peter Franklin (University of Oxford), Sarah Hibberd (University of Bristol), Astrid Kvalbein (NMH) and Aksel Tollåli (Oslo)..
• Jensenius, Alexander Refsum & Zhou, Bo (2018). Musical Gestures Toolbox for Matlab. Vis sammendrag

  The Musical Gestures Toolbox (MGT) is a Matlab toolbox for analysing music-related body motion, using sets of audio, video and motion capture data as source material.

• Aksnes, Hallgjerd (2018). Geirr Tveitt and the Teutonic Plague: The History of Effect of Baldur’s Dreams.
• Løvås, Vebjørn & Aksnes, Hallgjerd (2018, 16. desember). Tredje søndag i advent: julemusikk. [Internett].  Facebook-side for Universitetet i Oslo.
• Mauno, Hanne; Aksnes, Hallgjerd & Christophersen, Bjørn Morten (2018, 07. desember). O helga natt: Folkets julesang.  Dagsavisen.
• Halmrast, Tor (2018). Div. Komposisjone: "Jeg Ser", "Bytrærne".
• Halmrast, Tor (2018). Akustikk for Pianostemmere.
• Halmrast, Tor (2018). Sound Theory for Master Students, Electroacoustic Music, Norges Musikkhøgskole.
• Halmrast, Tor (2018). Basstanker i små rom.
• Kjus, Yngvar (2018). Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy.
• Hagen, Anja Nylund (2018). The communication of music in the streaming paradigm.
• Hagen, Anja Nylund (2018). Industry in change: cultural labour in a globalised and digitalised music industry. Vis sammendrag

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

• Lartillot, Olivier (2018). Music and Voice Analysis using Matlab: MIRtoolbox and the MiningSuite.
• Lartillot, Olivier (2018). Analyse musicologique par ordinateur d'enregistrements audio et de partitions informatisées. Vis sammendrag

  Cette présentation offrira un panorama des diverses méthodes d’analyse musicale par ordinateur conçues et/ou développées par O. Lartillot, couvrant aussi bien l’analyse d’enregistrements sonores que représentations « symboliques » (c’est-à-dire partitions informatisées ou séquences MIDI). J’expliquerai aussi brièvement les enjeux musicologiques et épistémologiques sous-jacents. La boîte à outils MIRtoolbox produit un éventail assez large de descriptions audio et musicales de fichiers sons. Elle a été par exemple utilisée pour étudier le timbre dans la musique extra-européenne, en collaboration avec Stéphanie Weisser. J’ai également conçu de nouvelles techniques d’analyse mélodique et motivique de représentations symboliques, avec des applications notamment à l’analyse de musiques traditionnelles arabes et turques.

• Lartillot, Olivier (2018). MIRToolbox and MiningSuite.
• Lartillot, Olivier (2018). The MiningSuite - a Matlab toolbox for signal, audio and music analysis. Vis sammendrag

  This course gives an introduction to analysis of signals, audio recordings, music recordings and music scores with MiningSuite - a free open-source Matlab toolbox. The MiningSuite is a free open-source Matlab toolbox for the analysis of signals, audio recordings, music recordings and music scores (and soon video and motion trajectories) under a common modular framework. The MiningSuite adds a syntactic layer on top of Matlab, so that advanced operations can be specified using a simple and adaptive syntax. This makes the Matlab environment very easy to use for beginners, and in the same time allows power users to design complex workflows in a modular and concise way through a simple assemblage of operators featuring a large set of options. The MiningSuite is an extension of MIRtoolbox, a Matlab toolbox that has become a reference tool in the Music Information Retrieval (MIR) research and academic community. In this course, you will first learn the basic principles of the MiningSuite’s syntax, which enables you to quickly design analytic processes, from simple operators to complex pipelines. You will get a broad overview of the analytic tools available, from basic signal processing to auditory modelling to music analysis. All concepts will be explained from the ground up, so that no prior expertise in signal processing or in music analysis is required.

• Lartillot, Olivier (2018). mirtempo 1.8: Tempo Estimation By Tracking a Complete Metrical Structure. Vis sammendrag

  This paper describes the two variants OL1 and OL2 of the model submitted to the MIREX 2018 tempo estimation tasks, and compare them with respect to my previous submission for MIREX 2013.

• Akca, Merve (2018). Time course of selective attention for instrumental timbres and human voice.
• Akca, Merve (2018). Retrieval-Induced Forgetting Effects in Retrospective and Prospective Memory in Normal Aging.
• Haugen, Mari Romarheim (2018). Investigating Rhythm Structures in Music and Dance Using Motion Capture.
• Bradley, Catherine (2018). Quoting Against the Odds: Connections between Motet Tenors, Pedes, and Polyphonic Rondeaux.
• Bradley, Catherine (2018). Benedicamus Domino and Musical Creativity in the Middle Ages.
• Bradley, Catherine (2018). Crafting and Re-Crafting a Thirteenth-Century Motet.
• Bradley, Catherine (2018). Benedicamus Domino 800-1500.
• Bradley, Catherine (2018). Musical Creativity in Medieval Paris.
• Godøy, Rolf Inge (2018). Impulse-driven sound-motion objects in musical imagery. Vis sammendrag

  Musical imagery can be defined as having experiences of music in our minds in the absence of any physically present sound. Experiences of 'tunes in the head' seem to be quite common among both musically trained and untrained people, but one of the pressing questions here is how such images are triggered, or what is the engine of musical imagery in our minds. One possible answer could be that mental images of sound-producing body motion may trigger images of sound in our minds, e.g. images of hitting motion triggering images of drum sound. In this presentation, the focus will be on motor elements of musical imagery, in particular on how fragments of combined sound and motion, what may be called sound-motion objects, are triggered by motion impulses in our minds.

• Danielsen, Anne (2018). Hvordan legge til rette for nytt tverrfaglig samarbeid mellom institutter og fakulteter? RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse..
• Oddekalv, Kjell Andreas (2018). Masteroppgåva: Kjell Andreas Oddekalv Betre flows enn Akerselva. Mål og makt.  ISSN 0332-7744.  48(1), s 33- 41
• Kraugerud, Emil (2018). Intimacy in popular music sound.
• Holbrook, Ulf A. S. (2018). Ice Feathers.
• Holbrook, Ulf A. S. (2018). Droplets.
• Holbrook, Ulf A. S. (2018). A Question of Background.
• Holbrook, Ulf A. S. (2018). Textures of Performances in Spatial Composition.
• Holbrook, Ulf A. S. (2018). The Map(ping) as a Morphological Experiment. Vis sammendrag

  A map is a representation of a space, which we use to navigate a terrain and to get from where we are to where we're going, or, at least to where we think we're going. This abstract discusses experimentation as mapping and how the process of composition can be understood as a “cascade of mappings.” With references to both Bruno Latour and Martin Heidegger, the aim is to present a sonic ontology of composition with reference to the process of experimentation. A map, or mapping, is well-known to anyone who works with electronic music, electroacoustic music, computer music and pretty much any other genre or form of music, be it the notated score or the assignment of data to one or more parameters. At the heart of any creative expression is a process of experimentation, either as a means to explore a medium, a material, a place, feeling, idea, structure. Yet the process of experimentation might not be manifested until the completion of several iterations of a process and the analysis of the outcome of the experimentations. Musical experimentation is the process of investigating, listening, understanding, reworking and challenging sounds. In the process of investigating a sound object, we take a curiosity and inquisitive nature about the sounds we hear and turn the investigation towards the inner, innate properties of the sound as it manifests itself to us. Then, our focus will naturally turn from the inner workings and properties of this sound object back to an understanding of the sound as it is contextually experienced. Bruno Latour talks of a “cascade of inscriptions” as a descriptor of objective scienti fic knowledge, meaning that there isn’t an isolated mapping between a model and a representation. Instead there are multiple mappings of correspondence between the different maps. A map (a scienti fic visualization) is only meaningful when presented in context to other mappings - theories, instruments, texts, charts, equations and citations etc. Each inscription is one step in a chain of reasoning to reach a conclusion. Remove any one element from this cascade of inscriptions and it looses its meaning because it looses its context. If you remove an inscription, the process becomes meaningless. Each of these inscriptions are one step in a chain of reasoning to reach a conclusion, which creates a cascade of meaningful mappings that as a whole presents, preserves and conveys a meaningful content. New mappings are based on previous mappings, which creates new forks and again creates new mappings. The cascade inscriptions of Bruno Latour forms a good basis for understanding how we work to attain knowledge in (any) field. But further, to gain a deeper understanding of the ontological characteristics of these mappings we cannot ignore Heidegger's important contribution to ontology. Heidegger went contra Husserl, who insisted in his method of bracketing objects to such a degree that we can only focus on the phenomena which appears to us in consciousness. Heidegger realized that, in fact, almost all of our perception happens in the unconscious. A map, with its mapping, is always belonging to other mappings. We can combine any number of mappings to create new mappings, as such, we create sounds consisting of a cascade of sounds, we can combine any number of sounds to create new sounds.

• Dybsand, Øyvin (2018). Johan Halvorsen - «født i 4/4-takt», men uskikket som militærmusiker, I: Niels Kristian Persen (red.),  I storm og stille (Forsvarets musikk 1818-2018).  Forsvarets musikk.  ISBN 9788230339275.  Del 2, kapittel 1.
• Watne, Åshild (2018). Duke Ellington: Sacred Concert i Ullern kirke 25.11.2018.
• Kelkar, Tejaswinee (2018). Python Toolboxes for Mocap Analysis.
• Jones, Ellis Nathaniel (2018). Are platforms 'deskilling' musicians?.
• Jones, Ellis Nathaniel (2018). DIY as the new default. Vis sammendrag

  The event seeks to analyse the following questions: to what extent do the divisions between labels, distributors, and stores still obtain after the internet? Do notions of 'major', 'independent', and 'DIY' still carry the same descriptive and analytical meaning in light of self-publishing platforms like Bandcamp, or do we need new concepts to capture the ways in which popular, unpopular, fringe and underground musicians move between institutions and fields? How should we theorise the complex relations between musical media - CD, vinyl, cassette tape, streaming - in contemporary popular musics, and what roles do institutions play in mediating these relations? Are platform-based musical institutions more labile and transitory than their bricks-and-mortar precursors, or is this view now outdated in the age of the 'normal internet'? With the 'gig economy' ascendent--a concept derived from musical labour that is today used to capture the precarity of 21st century work--analysing musical labour and its supporting institutions seems more important than ever. Does musical work serve as barometer for current labour conditions?

• Jones, Ellis Nathaniel (2018). Imagining an audience in DIY music.
• Jensenius, Alexander Refsum (2018). How I try to do it FAIR.
• Jensenius, Alexander Refsum (2018). Motion Capture in Music Performance, Perception and Interaction.
• Oddekalv, Kjell Andreas (2018). Julekonsert med Sinsenfist (Belleville).
• Jensenius, Alexander Refsum; Sundquist, Jonas Hartford & Eriksen, Siri Øverland (2018, 09. september). De er studenter ved to universiteter samtidig. [Internett].  Khrono. Vis sammendrag

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

• Jensenius, Alexander Refsum (2018). Paneldeltagelse: Veien til åpen tilgang - konsekvenser og implementering av Plan S.
• Kjus, Yngvar (2018). The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
• Jensenius, Alexander Refsum (2018). Åpen forskning - et humanistisk-teknologisk perspektiv.
• Jensenius, Alexander Refsum (2018). The recording and use of videos from music events – how to balance ethical requirements and FAIR principles using data from live concerts, music performances and the like?.
• Eriksen, Asbjørn Øfsthus & Edwards, Peter (2018). Musikk og humor.
• Jensenius, Alexander Refsum (2018). Evaluering, merittering og forskningsvurdering.
• Jensenius, Alexander Refsum (2018). Comments on Open Science - Do we need a national action plan?.
• Jensenius, Alexander Refsum (2018). Omvendt klasserom mellom to universiteter: Master Programme in Music, Communication & Technology.
• Schia, Katja Henriksen; Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2018). Music-Dance Performance: "Rhythm".
• Jensenius, Alexander Refsum; Danielsen, Anne; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018). Intellectual warm-up: "Rhythm".
• Vestre, Eskil Olaf; Danielsen, Anne; Jensenius, Alexander Refsum; London, Justin; Schia, Katja Henriksen & Abramczyk, Filip (2018, 21. november). Rytmen er en danser. [Fagblad].  Ballade.
• 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.

• 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.

• 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. Fulltekst i vitenarkiv.
• 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.  ISSN 0805-5424.  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.

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