CreaTeME at InMusic24 Conference in Oslo

The Innovation in Music Conference 2024 at Kristiania University College, held from June 14th to 16th, showcased a fascinating array of presentations exploring the intersection of technology and creativity in music. Here are some of the highlights from the InMusic24 and CreaTeMEs presentations:



Love your Latency and the Glitching Spatiotemporal Condition
Presenters: Ivar Grydeland and Ragnhild Brøvig

Telematic performance, the art of playing music together over the internet, became a pivotal activity for musicians during the COVID-19 lockdowns. The “Love Your Latency” project, rather than striving to minimize latency, embraces the artistic potential of higher latency and technical glitches. Inspired by the imperfect experiences during the pandemic, this project explores the creative possibilities within a more inclusive, consumer-friendly technological framework.


Grydeland and Brøvig’s research delves into the concept of elastic time in telematic performances, connecting musicians across continents in a virtual studio. The project examines how performers can navigate and conceptualize time and timing, using these challenging conditions to enhance traditional performance settings. The collaboration involves institutions such as CreaTeME, the Norwegian Academy of Music, NTNU, and international partners, with contributions from renowned musicians like Jan Bang and Eivind Aarset.



Don’t Do This at Home: Re-amping the National Broadcasting Orchestra (KORK) for Nils Petter Molvær’s Certainty of Tides (2023)
Presenter: Eirik Askerøi

Eirik Askerøi’s presentation revolved around the innovative process of re-amplifying the National Broadcasting Orchestra (KORK) for Nils Petter Molvær’s live recording. Initially recorded with close miking, the orchestra’s sound was later enhanced by re-amplifying the ProTools project in Kilden Concert House using 60 speakers and various microphone techniques.


This creative approach aimed to integrate the orchestra’s sound into a more ambient texture, providing a distinct spatial quality to the recording. Askerøi discussed the technical challenges and artistic motivations behind this process, offering insights from interviews with Molvær, producer Jan Bang, and other technicians involved.




From Discovery to Trend: Wrong or Non-Intended Use of Technology as a Basis for Musical Development

Presenter: Eirik Askerøi

Askerøi also presented a paper on the accidental innovations in recording history, highlighting how unintended uses of technology have led to significant musical developments.

He discussed three key examples:

Slapback Echo: Invented by Lester Polfuss (Les Paul) in the early 1950s.

Gated Reverb: Discovered by Hugh Padgham, Phil Collins, and Peter Gabriel in 1980.

Autotune: Created by Antares Audio Technologies in 1996.

These innovations, although initially unintended, have become integral to recording techniques, shaping the sonic landscape of their respective eras and continuing to influence modern music production.


Exploring the Unsayable Aspects of Musical Ideas in Record Production
Presenter: Ingvild Koksvik

Ingvild Koksvik examined the elusive nature of musical ideas and intentions in record production. Referencing audio engineer Joel Hamilton’s description of production as a transition from idea to shareable material, Koksvik explored how producers capture the essence of a musical idea. She highlighted the importance of understanding the “idea” or “intention” behind a recording and discussed how different production techniques, including the use of Dolby Atmos as a creative tool, can bring these ideas to life. Koksvik’s research emphasized the critical role of the producer in realizing an artist’s vision.


Hey Siri, What Are the Royalty Splits of the Song You Wrote for Me?
Presenters: Ragnhild Brøvig and Jon Marius Aareskjold-Drecker

Brøvig and Aareskjold-Drecker tackled the complex legal and ethical issues surrounding AI-generated music. As AI tools become more prevalent in music composition and production, questions about ownership and royalty allocation become increasingly pertinent. Their presentation provided a hands-on analysis of current AI-based tools and their application in music creation. They discussed cases where AI has been used to produce new compositions, highlighting the resulting legal disputes over ownership and copyright. The paper called for a critical examination of agency distribution in AI-generated music and the potential parallels with traditional music production challenges.

The Innovation in Music Conference 2024 successfully showcased groundbreaking research and creative explorations, offering attendees a glimpse into the future of music technology and its transformative potential.

Photo by the CreaTeME-team