Arnt Maasø

• Maasø, Arnt & Simonsen, Hanne Gram (2023). Problem-Based Peer Group Mentoring and Organisational Learning. In de Lange, Thomas & Wittek, Anne Line (Ed.), Faculty Peer Group Mentoring in Higher Education: Developing Collegiality through Organised Supportive Collaboration. Springer. ISSN 978-3-031-37457-9. doi: 10.1007/978-3-031-37458-6_7.
• Maasø, Arnt & Hendrik Storstein Spilker (2022). The Streaming Paradox: Untangling the Hybrid Gatekeeping Mechanisms of Music Streaming, Popular Music & Society; DOI: 10.1080/03007766.2022.2026923
• Maasø, Arnt & Simonsen, Hanne Gram (2021). Kollegaveiledning i en lærende organisasjon, i Anne Line Wittek & Thomas de Lange (red.),  Kollegaveiledning i høyere utdanning.  Universitetsforlaget.  ISBN 9788215048420.  s 143 - 159
• Arnt Maasø & Anja Nylund Hagen (2019). Metrics and decision-making in music streaming, Popular Communication, DOI: 10.1080/15405702.2019.1701675
• Maasø, Arnt (2016). Music Streaming, Festivals, and the Eventization of Music . Popular music and society.  doi: 10.1080/03007766.2016.1231001
• Maasø, A., & Toldnes, R. (2014). "Mitt lille land". i J. S. Knudsen, M. S. Skånland, & G. Trondalen, Musikk etter 22. juli (Vol. 7, pp. 25–47). Oslo: Skriftserie fra Senter for musikk og helse.
• 安特·马斯 （2013）“间接语声的空间关系”，放低话筒杆：电影声音批评，杰依·贝克，托尼·格莱亚达 著，黄英侠译，中国电影出版社，35-49 (Maasø, Arnt (2013) "The Proxemics of the Mediated Voice", in Lowering the Boom: Critical Studies in Film Sound, edited by Jay Beck and Anthony Grajeda, translated by Yingxia Huang, China Film Press, pp 35-49.)

• Danielsen, Anne og Arnt Maasø (2011) "Mediating Music: materiality and silence in Madonna’s ‘Don’tTell Me’" in Popular Music and Easy Listening (edited by Stan Hawkins). Farnham, Surrey: Ashgate.

• Fagerjord, Anders, Arnt Maasø, Tanja Storsul and Trine Syvertsen (2010): "High Risk, Strong Belief: Images of the Future in the Media Industry", in Nordicom Review 31(2), pp. 3-16. 

• Asbjørnsen, Dag og Arnt Maasø (2009) Bachelorboka: Universitetsforlaget. (Følg Bachelorboka med oppdateringer og nyheter på Facebook og Twitter )

• Danielsen, Anne og Arnt Maasø (2009) "Mediating Music: materiality and silence in Madonna’s ‘Don’tTell Me’" i PopularMusic. Volume28/2, s. 127–142. Last ned pdf

• Maasø, Arnt (2008) "Om Babel og dens babelske stillhet.", i Filmanalytiske Tradisjoner, edited by Eva Bakøy and Jo Sondre Moseng. Oslo: Universitetsforlaget. Last ned pdf

• Maasø, Arnt (2008) "The Proxemics of the Mediated Voice: An Analytical Framework for Understanding Sound Space in Mediated Talk.", in Lowering the Boom: Critical Studies in Film Sound, edited by Jay Beck and Anthony Grajeda, pp 36-50. Urbana and Chicago: University of Illinois press. (Les anmeldelse i Jump Cut)

• Beyer, Yngvil , Gunn Sara Enli, Arnt Maasø, & Espen Ytreberg (2007) "Small talk makes a big difference: recent developments in interactive, SMS-based television", in Television & New Media vol. 8 no. 3, pp. 213-234. Last ned pdf

• Maasø, Arnt; Sundet, Vilde Schanke; Syvertsen, Trine (2007) "Fordi de fortjener det". Publikumsdeltakelse som strategisk utviklingsområde i mediebransjen", i Norsk Medietidsskrift årg. 14 nr. 2, s. 125-153 Last ned pdf

• Maasø, Arnt (2006) "Designing sound and silence", i Nordicom Information 2/2006 s. 21-34. (Levert som plenumsforedrag ved den 17. Nordiske medieforskerkonferansen i Aalborg 13.8.05. Last ned pdf )

• Fagerjord, Anders, Faltin Karlsen, Arnt Maasø, Tanja Storsul og Trine Syvertsen (2005) "Vennlige visjoner for digital-tv: NTVs framtidsbeskrivelse som retorikk", i Norsk medietidsskrift nr. 2. årg. 12, s. 94-115. Last ned pdf

• Lindstad, Anders og Arnt Maasø (2003) Allmennkringkasting i TV 2: Programlegging i perioden 2000-2003. Oslo: Institutt for medier og kommunikasjon, Universitetet i Oslo.

• Maasø, Arnt (2002) "Se-hva-som-skjer: TV 2s bruk av lyd som oppmerksomhetsstrategi", i G. Enli, T. Syvertsen og S. Østby Sæther (red.): TV2 1992-2002: Et hjem for oss - Et hjem for deg? Kristiansand: Høgskoleforlaget.

• Maasø, Arnt (2002) "Rollen til radio og TV i formidling av populærmusikk", i J. Gripsrud (red.): Populærmusikken i kulturpolitikken. Oslo: Norsk kulturråd.

• Maasø, Arnt (2002) "Le son des télés" i Dossiers de L'Audiovisuel, no. 101, Paris.

• Maasø, Arnt (2002) "Se-hva-som-skjer! En studie av lyd som kommunikativt virkemiddel i TV". [PDF 2 MB] Doktoravhandling ved Institutt for medier og kommunikasjon, Universitetet i Oslo.

• Maasø, Arnt (2002) "This Goes to Eleven': 'High' and 'Low' Sound in Television", i S. Ericson og E. Ytreberg (red.) Fjernsyn mellom høy og lav kultur. Kristiansand: Høgskoleforlaget.

• Maasø, Arnt (2000) "'Synchronisieren ist unnorwegisch': (Un)synchrone Lippen vor dem Horizont der norwegischen Sprachbearbeitungspraxis", i Montage/AV. Zeitschrift für Theorie und Geschichte Audiovisueller Kommunikation, Vol. 9, nr. 1, Mai 2000, Berlin.

• Maasø, Arnt (1998) "I synk med skjermen?", i Norsk medietidsskrift 1/98.

• Maasø, Arnt (1998) "Fra stumfilm til lydfilm. Hvordan påvirket lyden filmens fortellermåter?", i Hertzberg Johnsen, Birgit og Andreas Sveen (red.): Kommunikasjon. Humanistiske perspektiver. Oslo: Sypress Forlag.

• Maasø, Arnt (1995) "Lydkonvensjoner i lydfilmen", i Norsk medietidsskrift, årg. 2 nr. 2, s. 101-118.

• Maasø, Arnt (1995) Lyden av levende bilder. IMK-rapport nr. 14, Institutt for medier og kommunikasjon, Universitetet i Oslo.

• Magnotti, John F.; Lado, Anastasia; Zhang, Jue; Maasø, Arnt; Nath, Audrey & Beauchamp, Michael S. (2024). Repeatedly experiencing the McGurk effect induces long-lasting changes in auditory speech perception. Communications Psychology. 2(1). doi: 10.1038/s44271-024-00073-w. Fulltekst i vitenarkiv Vis sammendrag

  In the McGurk effect, presentation of incongruent auditory and visual speech evokes a fusion percept different than either component modality. We show that repeatedly experiencing the McGurk effect for 14 days induces a change in auditory-only speech perception: the auditory component of the McGurk stimulus begins to evoke the fusion percept, even when presented on its own without accompanying visual speech. This perceptual change, termed fusion-induced recalibration (FIR), was talker-specific and syllable-specific and persisted for a year or more in some participants without any additional McGurk exposure. Participants who did not experience the McGurk effect did not experience FIR, showing that recalibration was driven by multisensory prediction error. A causal inference model of speech perception incorporating multisensory cue conflict accurately predicted individual differences in FIR. Just as the McGurk effect demonstrates that visual speech can alter the perception of auditory speech, FIR shows that these alterations can persist for months or years. The ability to induce seemingly permanent changes in auditory speech perception will be useful for studying plasticity in brain networks for language and may provide new strategies for improving language learning. In the McGurk effect, seeing the talker’s face changes perception of auditory speech. Repeatedly experiencing the effect produces long-lasting changes in auditory perception, so that the McGurk fusion percept is evoked even without seeing the face.

• Maasø, Arnt & Simonsen, Hanne Gram (2023). Problem-Based Peer Group Mentoring and Organisational Learning. I de Lange, Thomas & Wittek, Anne Line (Red.), Faculty Peer Group Mentoring in Higher Education: Developing Collegiality through Organised Supportive Collaboration. Springer. ISSN 978-3-031-37457-9. doi: 10.1007/978-3-031-37458-6_7. Fulltekst i vitenarkiv Vis sammendrag

  This chapter demonstrates how problem-based peer group mentoring in groups can facilitate change and learning in an organisation. This is exemplified by a 5-year project at a humanities faculty at a large, research-based university, where the supervisors of master’s students discussed their supervision-related problems in groups following a strictly structured method, termed as problem-based peer group mentoring (PPGM). Throughout the course, it became evident that the problems were related to the role of supervision not only at an individual (micro) level but, to a large extent, at an organisational (macro) level. The goal of the project was to encourage a culture of collaboration among the teachers. This goal seemed to be fulfilled during the semester of the PPGM course, though few long-term changes in supervision practices were evident. However, we found that interesting changes took place at an organisational level, although this was not the initial goal of the project. We argue that in addition to the peer group mentoring model, bringing participants together from different departments encouraged knowledge-sharing across the institution and contributed to organisational learning. To know if lasting organisational learning takes place, we suggest that structural components must be taken into consideration in the design of PPGM initiatives and that measures are taken to document and evaluate change—for example, in routines and practices. Previous research on organisational learning supports this conclusion (Argote, Organizational learning: creating, retaining and transferring knowledge. Springer, New York, 2012).

• Maasø, Arnt & Spilker, Hendrik Storstein (2022). The Streaming Paradox: Untangling the Hybrid Gatekeeping Mechanisms of Music Streaming. Popular music and society. ISSN 0300-7766. 45(3), s. 300–316. doi: 10.1080/03007766.2022.2026923. Fulltekst i vitenarkiv Vis sammendrag

  Why does music listening in streaming services seem tied to a superstar economy despite the plenitude of digital music? This article explores what we label the streaming paradox: the way in which plenitude at the outset produces narrowness as the outcome. Based on dissection of the interfaces of streaming services, interviews with stakeholders, and analyses of user data, the article introduces six key gatekeeping mechanisms (and concepts) at work in the platforms. These mechanisms are combined effects of algorithmic coding, interface design, and human curation and choices and serve as explanations for the streaming paradox.

• Maasø, Arnt & Simonsen, Hanne Gram (2021). Kollegaveiledning i en lærende organisasjon. I Wittek, Anne Line & de Lange, Thomas (Red.), Kollegaveiledning i høyere utdanning. Universitetsforlaget. ISSN 9788215048420. s. 143–159. Fulltekst i vitenarkiv Vis sammendrag

  Dette kapittelet viser hvordan kollegaveiledning i gruppe har potensial til å bidra til endring og læring i en organisasjon. Vi eksemplifiserer dette med et prosjekt ved Det humanistiske fakultet (HF, UiO) i perioden 2017–2019. I gjennomføringen av kollegaveiledningskurset viste det seg at problemene som ble avdekket, ikke bare gjaldt selve veilederrollen på individnivå (mikronivå), men i like stor grad problemer på organisasjonsnivå (makronivå). Fakultetets mål med kollegaveiledningen var å bidra til en økt delingskultur blant de ansatte. Målsettingen så ut til å bli oppfylt godt det semesteret kollegaveiledningen foregikk, men ser ikke ut til å ha ført til varige endringer. For å oppnå slike endringer bør makro-nivået tenkes inn fra starten, og selve organisasjonen bør forplikte seg ved at kunnskapen som oppnås på individnivå, blir dokumentert og innbakt i rutiner eller praksis på et overordnet nivå. Denne konklusjonen stemmer også godt overens med tidligere forskning på læring i organisasjoner (Argote, 2012).

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

  Music streaming enables the tracking of listening behavior in more detail than any previous music-distribution format. While it is well known that streaming services collect troves of data, little is known about how stakeholders, including managers or label executives, make metric-based decisions and how they understand the impact of algorithms. The article uses anonymized interviews with music industry professionals, exploring how they use metrics in streaming services and examining their decision-making processes. The analysis concludes that they rely on a growing volume of data when making decisions about what to promote, and how. Nevertheless, most of the stakeholders focused on fairly simple metrics, such as salient spikes that were noticeable “at a glance.” When discussing these !ndings, we draw attention to the reinforcing feedback loops between metrics, data-based decisions and algorithms, questioning whether data!cation acts to intensify trending events and di"usion of new music.

• Maasø, Arnt (2016). Music Streaming, Festivals, and the Eventization of Music. Popular music and society. ISSN 0300-7766. 41(2), s. 154–175. doi: 10.1080/03007766.2016.1231001. Fulltekst i vitenarkiv Vis sammendrag

  A key aspect of music-streaming services is the user’s access to their vast libraries and abundant choices anytime and anywhere. This article explores how artists performing at a large music festival in Norway were streamed before, during, and after the festival over the course of four different years. The data shows that festival streams grew over 40 percent compared to control weeks and were particularly pronounced among users who lived near the venue. The article then argues that changes in listening patterns may reflect a more general shift towards the “eventization” of streaming media.

Se alle arbeider i Cristin

• Maasø, Arnt (2023). What direction should Teachers’ Academies develop toward to remain relevant and vibrant in the future as leaders in pedagogical change? [Keynote].
• Beauchamp, Michael; Lado, Anastasia; Zhang, Yue; Nath, Audrey; Maasø, Arnt & Magnotti, John F (2022). A long-lasting aftereffect of the McGurk Effect. Vis sammendrag

  Auditory information from the voice of the talker and visual information from the face of the talker provide independent cues about the contents of speech. Cue conflict resulting from audiovisual incongruency can produce unexpected percepts. In the McGurk effect, integration of auditory "ba" and visual "ga" can produce a "da" percept. We report the surprising finding that repeatedly experiencing the McGurk effect results in a long-lasting aftereffect influencing auditory-only speech perception. Thirty online participants completed a 16-day experimental protocol. On day 1 ("pre-test") participants reported their perception of 27 auditory-only recordings of "ba", "da" and "ga" syllables from eighteen different talkers, including talkers AM and AN. On days 2 to 15 ("training") participants viewed one minute of McGurk syllables (auditory "ba"+visual "ga") spoken by talkers AM and AN. On day 16 ("post-test") participants reported their perception of the same 27 auditory-only recordings presented during the pre-test. In the pre-test, accuracy was uniformly high, indicating that participants were attentive to the stimuli; "ba" recordings from talkers AM and AN were always perceived as "ba". During training, McGurk stimuli were perceived as "da" on 35% of presentations, with considerable variability across participants (range 0% to 100%). In the post-test, participants accurately reported the identity of the auditory-only syllables with two exceptions. Surprisingly, many participants (12/30; 40%) reported at least one "da" percept in response to the auditory-only "ba" recordings from talkers AM and AN, even though no visual information was presented. For these 12 participants, the rate of McGurk effect during training was four-fold higher than for other participants (66% vs. 14%, p=0.0000042). Participants who did not experience the McGurk effect showed no training effect, suggesting that repeatedly experiencing the McGurk effect remapped participants' representation of the auditory component of the McGurk stimulus, so that what was initially perceived as a "ba" became mapped to the "da" region of perceptual space, minimizing incongruity between the encoded auditory and visual cues. The phenomenon was specific to individual talkers; the "ba" recordings of talkers AM and AN were perceived as "da", while "ba" recordings from other talkers were unaffected. The remapping was unsupervised, since no experimenter feedback was given at any time. Importantly, the perceptual change was long-lasting and endured in additional testing sessions conducted weeks after training.

• Maasø, Arnt; Brevik, Lisbeth M.; Vasbø, Kristin Beate; Breivik, Jarle; Lerheim, Birgitte & Malthe-Sørenssen, Anders [Vis alle 7 forfattere av denne artikkelen] (2021). Dette må bli læringsmiljøets år. Khrono.no. ISSN 1894-8995.
• Brevik, Lisbeth M.; Breivik, Jarle & Maasø, Arnt (2021). Samtale: Hvordan tilrettelegge for hybrid undervisning.
• Brevik, Lisbeth M.; Breivik, Jarle & Maasø, Arnt (2021). Hvordan skape et godt læringsmiljø med hybridundervisning? [Internett]. HF:Studio.
• Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt (2021). Musikk, opphavsrett og internett. Vis sammendrag

  Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30. På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet. Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter). Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no. Seminarprogrammet: Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30) Velkommen og kort presentasjon av seminaret og prosjektet - Forhandlinger om opphavsrett, Yngvar Kjus - Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen - Opphavsrettslige utfordringer, Olav Torvund Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00) Keynotes: - Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis? - Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo) Panel: - Kathrine Synnes Finnskog (Music Norway) - Ole Henrik Antonsen (NOPA) - Erik Brataas (Arctic Rights, Amplify:Creatives) Vel møtt!

• Brevik, Lisbeth M.; Breivik, Jarle & Maasø, Arnt (2020). Hvordan involvere studenter i forskning? Diskusjon med et utvalg av UiOs meritterte undervisere. .
• Spilker, Hendrik Storstein & Maasø, Arnt (2020). An algorithm and interface perspective on why access to unlimited amounts of music does not seem to foster musical diversity.
• Maasø, Arnt (2019). Streaming platforms and research in the Nordics.
• Maasø, Arnt (2019). The gaming and building of trust in music metrics. Vis sammendrag

  The datafication of music listening Over the last decade music streaming has become the dominant way of listening to music in many parts of the world, and is currently the single largest revenue source in the music business (IFPI, 2018). With the move form physical LPs and CDs to online listening, the possibility for tracking usage has become possible on a completely new scale, and with a multitude of purposes, from calculating revenue and equity, to decisions on what to release, where to tour, how to maintain a relationship between artists and fans. The shift from ownership- to access-based models of music distribution (Wikström, 2013), has hence led to datafication of music usage. Datafication as a term was first coined by Viktor Mayer-Schönberger and Kenneth Cukier in 2013 and describes a broad range of phenomena where our everyday life is quantified, analyzed, and becomes possible to track and used in predictive analysis. Van Dijk (2014) discusses datafication in relation to surveillance and “life mining” or “dataveillance” by social media platforms. Prey (2016) shows how datafication has become an important part of the business of streaming providers such as Spotify and Pandora, and how a multitude of data points are gathered, including adjusting the volume button, or skipping, and analyzed by the services, in order to make decisions and algorithmically based recommendations. This paper asks how different stakeholders in music business use metrics for different strategic purposes, and the role trust in metrics plays in decision making and everyday use. It is well known that access to the different data points from music streaming usage, and the resources to analyze these, varies greatly between different stakeholders. Only the streaming services themselves have access to all the data harvested by the service. Most have also devoted much resources and competence into analyzing and utilizing this data. While the three most powerful labels (with a market share of around 75% of the recorded music industry) also have tremendous resources, they only gain insight into the metrics pertaining the artists they represent and/or own the rights to (apart from the monthly grand total of streams, and various generalized insight). Furthermore, they receive only limited data about the users, not – for instance – personal data of each user, or the comprehensive listening history of each individual user, listening device etc. Smaller labels, managers, intermediaries and artists, have had much more limited access to the different music metrics. However, the last few years Spotify (in particular) has made more data available for artists, brands and other intermediaries, with increased flexibility to harness this. Datafication hence seems to have taken an increasing role, presumably in order to strengthen ties to the music business and capitalize on their

• Maasø, Arnt (2019). How the revenue share model of music streaming services made Spotify’s ‘clickfarms’ scandals, ‘playlist payola’ and Tidal’s streaming scams possible, and how it can be fixed. Vis sammendrag

  PANEL: "How is music streaming shaping popular music culture?" Over the last decade music streaming has become the dominant way of listening to music in many parts of the world, and is currently the single largest revenue source in the music business. This panel addresses how the turn to music streaming in important ways influences the way musicians are producing music, making a living, how audiences listen and discover music, and how the streaming economy and business models influence the way artists and rights holders are paid. While music streaming in many ways is a success story – bringing a generation back to paying for music many previously ‘downloaded for free’ – it seems clear that streaming brings new challenges and an unprecedented concentration of power and money, that need to be addressed and amended, in order to have a sustainable and a diverse music culture in the future. The empirical data behind the presentations in the panel builds on several recent and current projects ranging from in depth user studies (experience sampling method), focus groups, in interviews with industry actors, and 'big data’ analysis of streaming usage patterns. ### PAPER: "How the revenue share model of music streaming services made Spotify’s ‘clickfarms’ scandals, ‘playlist payola’ and Tidal’s streaming scams possible, and how it can be fixed (Maasø)" ## One of the major shortcomings and areas of conflict in the streaming era has been artist payment and revenue share. Recently, several scandals have increased the criticism of the current streaming model: the ongoing TIDAL scandal where someone inside TIDAL is believed to have added 320 million streams to Kanye West and Beyoncé, and the Spotify ‘click farm’ uncovered in Bulgaria, where 1200 fake accounts had generated $2-3 million in revenue and several accounts of ‘playlist payola’. In all cases, the pro rata model for revenue distribution has been exploited to benefit some artists over the rest. The paper explains the revenue share model and shows how it makes foul play possible. An alternative user-centric model (Maasø, 2014) – where each user’s subscription fee would be divided according to the artist each user listened to each month – is presented. This model would arguably have made the scams difficult or impossible to perform. The paper argues for the need of transparency and accountability in the streaming business, and the need to build and manage trust for the model to be sustainable.

• Maasø, Arnt (2018). How streaming scandals are made possible by the revenue model, and how business model innovations could bring back trust and transparency.
• Maasø, Arnt (2016). Sky & Scene – et tilbakeblikk. Ballade. ISSN 0332-5148.
• Maasø, Arnt (2016). Musikkbruk i dag og da besteforeldrene dine var unge. Hva betyr det for fremtidens musikkultur? Vis sammendrag

  Strømmetjenester som Spotify og WiMP registrerer hva brukerne hører: hva, når, hvor lenge, på hvilken dings og mye mer. I gamle dager var det ikke mulig å registrerte musikkbruk på denne måten, og vi vet mye mindre om musikkbruk i hverdagslivet. Forskningsprosjektet Sky & Scene har forsket på strømmebruk siden 2010, og har også i samarbeid med Folkemuseet spurt gamle mennesker i dag om hvordan de lyttet da de var unge. For første gang presenterer Arnt Maasø fra forskningsprosjektet en sammenligning av bruken før og nå, og diskuterer hva tilgang, bruk og musikkmedier betyr for morgendagens tilbud og musikkultur.

• Maasø, Arnt (2016). Nye lyttemønstre i strømmingens tid.
• Maasø, Arnt (2016). Eventisation and concentration of online music.
• Danielsen, Anne; Maasø, Arnt; Hagen, Anja Nylund & Kjus, Yngvar (2016). Clouds & Concerts summarised.
• Maasø, Arnt & Ytreberg, Espen (2016). Eventer som forretning. Dagens næringsliv. ISSN 0803-9372. Vis sammendrag

  Eventer fremstår nå som en stadig mer attraktiv forretningsmodell, både i musikkbransjen og andre medieindustrier.

• Ytreberg, Espen & Maasø, Arnt (2016). Eventisering.
• Maasø, Arnt (2015). Muligheter og utfordringer 
for musikkstrømming.
• Maasø, Arnt (2015). Streaming – a challenge for the future of music?
• Maasø, Arnt (2015). Musikk mot strømmen.
• Maasø, Arnt (2015). Lyttevaner og -mønstre i musikkstrømmetjenester.
• Maasø, Arnt (2015). Forskning med / mot / og / eller på strømmen.
• Maasø, Arnt (2014). Digital Music Innovation.
• Maasø, Arnt (2014). Paneldebatt om strømmemodellen.
• Maasø, Arnt (2014). Brukersentrert avregning av strømmeinntekster? Betydningen for artister og norskandel.
• Maasø, Arnt (2014). Brukersentrert avregning av strømmeinntekter?
• Maasø, Arnt (2014). Mobile streaming: emerging trends.
• Maasø, Arnt (2014). Businessmodels and revenue streams.
• Maasø, Arnt (2014). A better way to cut a cake and eat it too: On revenue share in music streaming and the value of platform economics. Medium.
• Maasø, Arnt (2014). Dividing the stream. Record of the Day.
• Maasø, Arnt (2014). Digital deltakelse og live-opplevelser. Vis sammendrag

  Hva er verdien av levende musikk? Hvordan bruker publikum digitale medier i forbindelse med konserter og festivaler? Hvordan har konsertpublikumet endret atferd det siste tiåret? Og hva kan områder som teater, museum, kunst lære av forskningen på musikkfeltet? Dette innlegget tar utgangspunkt i det pågående forskningsprosjektet Sky & Scene, som undersøker publikums live-opplevelser og bruken av nye digitale musikktjenester

• Maasø, Arnt (2014). Le streaming musical: Un modèle pérenne d'accès a la musique.
• Maasø, Arnt (2014). FAST FORWARD – NORWEGIAN EXPERIENCES WITH THE DIGITALIZATION OF THE MUSIC MARKET. Vis sammendrag

  Innlegg og deltaker i paneldebatt. Andre paneldeltakere: Cecilie Asker (moderator), Sveinung Rindal (Global editorial manager, WiMP Music), Trond Tornes (marketing manager Phonofile).

• Maasø, Arnt (2014). Surviving Streaming: How insight into listening patterns and the streaming model provide maps for the future.
• Maasø, Arnt (2014). A user-centric settlement for streaming? Vis sammendrag

  The Norwegian digital music market is the world’s most advanced, with a 78 % digital market share of recorded music. Most artists and labels regard streaming as positive and that substantial revenues are being generated, yet some still raise concerns about the current settlement model’s ability to sustain local music, smaller niches and more ‘complex’ music. Clouds & Concerts, a research project at the University of Oslo, presents the results of a study comparing two different settlement models based on anonymized user data from music streaming service WiMP. The panel will then discuss what a new settlement model could mean for the fan-artists relation, development of new talent, and long-term legitimacy of streaming services.

• Maasø, Arnt (2014). Music Streaming in Norway: Four trends, Four years later.
• Maasø, Arnt & Toldnes, Ragnhild (2014). Mitt lille land: Sørgemusikk og sosiale strømmer. I Knudsen, Jan Sverre; Skånland, Marie Strand & Trondalen, Gro (Red.), Musikk etter 22. juli. Norges musikkhøgskole. ISSN 1893-3580. s. 25–48. Vis sammendrag

  Musikk etter 22. juli dreier seg om sterke opplevelser knyttet til musikk – opplevelser som griper og nærer oss, samler eller forstyrrer oss. Det handler om musikk som overlevelse. I noen tilfeller i helt bokstavelig forstand, om flyktende ungdommer fra Utøya som synger sammen for å makte å svømme videre. Det dreier seg om å handle gjennom musikk som en del av det individuelle og kollektive arbeidet med å bearbeide sorgen og komme seg videre i livet; om anerkjennelse, tro på fremtiden, og om eksistensielle dimensjoner i møtet mellom musikk og mennesket. Det handler om hvordan musikk formidler verdier og idealer i samfunnet, men også om musikkens plass innenfor de destruktive ideologiske forestillingene som lå til grunn for angrepene denne mørke fredagen i Norges historie. Musikk etter 22. juli er skrevet av forskere fra en rekke ulike felt: populærmusikkstudier, litteraturvitenskap, religionsvitenskap, musikk og helse (musikkterapi) og medievitenskap.

• Maasø, Arnt (2013). Den nye musikkhverdagen: Strømming og sosiale medier.
• Maasø, Arnt; Løvholm, Ola & Jian, Xin (2013). Playlist listening.
• Maasø, Arnt (2013). Navigating the Seven Seas of Songs: Search, Playlists and Editorial content in WiMP streaming service.
• Maasø, Arnt (2013). Music streaming and innovation through research.
• Maasø, Arnt (2013). "Music streaming and user patterns: Scandinavians as crash test dummies for the future of music?".

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