Music from Norway can have moods and textures that aren’t found elsewhere. Templates are thrown away and boundaries between genres are non-existent, bringing a thrilling unpredictability. Huntsville, a three-piece with roots in improv music, jazz and folk, take a repetition rooted in Krautrock and imbue it with the organic feel of Americana – they’ve previously collaborated with members of Wilco. The opening cut of third album For Flowers, Cars and Merry Wars, the almost-19-minute title track, journeys into inner space and compresses time.

Fred Sandback is one of the great overlooked of the Minimalist movement that developed in the 1960s. Both those words are important – “great” and “overlooked”: his work is genuinely great, and part of its greatness is the way it has overlooking built into it.

Current affairs can be an on-trend choreographer's nemesis. In the new triple bill at the Royal Ballet last night, you could watch a new video-game war-ballet by Wayne McGregor, while blotting out thoughts of the Taliban suicide massacre in yesterday’s headlines, and Christopher Wheeldon’s DGV, with its modish wrecked train set, while trying to forget that yesterday expensive retribution was demanded of Network Rail for the Potter's Bar train crash.

Sometimes you can leave a concert feeling slightly shortchanged: a perceived weakness in the programming; an unprepared, lacklustre conductor; a phoned-in performance. No danger of any of the above at the marathon session three of Reverberations, a weekend of concerts at LSO St Luke's and the Barbican devoted to the music and influence of the contemporary US composer Steve Reich. Actually, by the end of the evening, some people may have been ruing just how many artists have fallen under Reich's influence. We filed into the Barbican at 6pm on Saturday.

Sometimes, watching contemporary dance, you feel that no choreographer has ever known a happy moment – such angst, such grief, such terrible agony rolls over the footlights out to the audience that arriving at the theatre feeling mildly content can seem like an act of subversion. On their last night of this too-short season, however, Anne Teresa de Keersmaeker’s Rosas company produced one of her most joyous and enjoyable pieces. For as the choreographer reminds us here, joy, cheerfulness and even sheer good temper are also emotions, and also worth exploring.

How do simple things get complicated? How do they stay simple once they are complicated? These might, perhaps, be the questions from which choreographer Anne Teresa de Keersmaeker, starts. But in fact, she starts, as all great choreographers do, with the music. “Music is always my first partner,” she once said. And in Fase: Four Movements to the Music of Steve Reich, three linked duets and one solo, there are indeed three people on stage: de Keersmaeker herself, the wonderful Tale Dolven, and Steve Reich, absent but ever present.

Matt Cardle, the X Factor winner, is Number One for Christmas, while John Cage's 4'33" managed to get in the charts at 21, outselling Usher, Tinie Tempah and others for the Christmas charts. Captain SKA didn't get anywhere, however. So will the BBC be playing the Cage? Not if they can help it.

Terry Riley is one of the great unsung heroes of contemporary music, the ur-minimalist who shaped the creative paths of John Adams, Peter Townshend, Mike Oldfield and Philip Glass, to name just a sample of the wide range of musicians who have been inspired by his raga-tinged loops and all-enveloping electronic soundscapes. This week Bristol has hosted a series of exciting concerts celebrating the 75-year-old Californian composer, whose groundbreaking genius feels as fresh today as it first sounded in the 1960s.