Anja Nylund Hagen

• Hagen, Anja Nylund (2020). Paths in the Online Music Jungle: Personal Practices with Music-Streaming Services (forthcoming). Participations. Journal of Audience and Reception Studies.  ISSN 1749-8716.
• Hagen, Anja Nylund & Lüders, Marika (2017). Social streaming? Navigating music as personal and social. Convergence. The International Journal of Research into New Media Technologies.  ISSN 1354-8565.  23(6), s 643- 659 . doi: 10.1177/1354856516673298 Full text in Research Archive. Show summary

  Music-streaming services embed social features that enable users to connect to one another and use music as social objects. This paper examines how these features are experienced within negotiations of music as personal and social through the acts of sharing music and of following others. The analysis relies on 23 focus-group interviews with 124 Spotify or/and Tidal users, and a mixed-method study including music-diary self-reports, online observation, and interviews with 12 heavy users. Our findings suggest that users incorporate social awareness in non-sharing, selective-sharing, and all-sharing approaches with strong, weak, and absent ties. These ties are characterized by different configurations of social and music homophily. Negotiations of music as personal and social shape how music-streaming services are experienced

• Hagen, Anja Nylund (2016). Streaming the Everyday Life, In Raphaël Nowak & Andrew Whelan (ed.),  Networked Music Cultures. Contemporary Approaches, Emerging Issues..  Palgrave Macmillan.  ISBN 978-1-137-58289-8.  Kapittel 13. Show summary

  Hagen offers an analysis of uses of music streaming services, and discusses how such services participate in shaping individual experiences and acquire meaning through how the services are embedded in everyday life. Focusing on the services’ affordances, the chapter acknowledges the interactions arising within each moment of streaming, including the online streaming applications, the person, the music and the context. ‘Music Streaming the Everyday Life’ demonstrates that individual music streaming experiences arise immediately and with a taken-for-granted attitude that enhances music’s role in people’s daily life. The study also offers a productive methodological model for exploring online (listening) habits that stand to benefit from immediate sampling, as it produces a fleeting, contextual understanding of people’s individual everyday experiences.

• Hagen, Anja Nylund (2016). The metaphors we stream by: Making sense of music streaming. First Monday.  ISSN 1396-0466.  21(3) . doi: 10.5210/fm.v0i0.6005 Full text in Research Archive. Show summary

  In Norway music-streaming services have become mainstream in everyday music listening. This paper examines how 12 heavy streaming users make sense of their experiences with Spotify and WiMP Music (now Tidal). The analysis relies on a mixed-method qualitative study, combining music-diary self-reports, online observation of streaming accounts, Facebook and last.fm scrobble-logs, and in-depth interviews. By drawing on existing metaphors of Internet experiences we demonstrate that music-streaming services can make sense as tools, places, and ways of being. Music streaming as lifeworld mediation is discussed as a fourth framework for understanding online music experiences, particularly those arising from mobile and ubiquitous characteristics of contemporary Internet technology.

• Hagen, Anja Nylund (2015). The Playlist Experience: Personal Playlists in Music Streaming Services. Popular music and society.  ISSN 0300-7766. . doi: 10.1080/03007766.2015.1021174 Full text in Research Archive. Show summary

  Music streaming services encompass features that enable the organization of music into playlists. This article inquires how users describe and make sense of practices and experiences of creating, curating, maintaining, and using personal playlists. The analysis relies on a mixed-method study, including music-diary self-reports, online observations, and in-depth interviews with 12 heavy users of Spotify or/and WiMP Music. The findings suggest heterogeneous management of static and dynamic playlists based on structural and contextual schemes of aggregating music. User control motivates different playlist practices that demonstrate new ways of collecting music via streaming services but also derive from pre-digital collecting.

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

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

• Hagen, Anja Nylund (2019). Bokomtale: Engasjement og arrangement - ei utgreiing om konsertarrangørar. Musikkmagasinet Ballade.  ISSN 0805-5041.
• Hagen, Anja Nylund (2019). En lesning av Engasjement og arrangement: Ei utgreiing om konsertarrangørar.
• Hagen, Anja Nylund (2019). Facing the global music industry: Norwegian responses to the digitalisation of the music industry. Show summary

  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, 22. januar). Hva betyr digitaliseringen for norsk musikkeksport?. [Internett].  Ballade.no. Show summary

  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, 03. desember). Hva definerer musikken på 2010-tallet?. [Radio].  NRK, P2. Show summary

  Vi fortsetter vår oppsummering av tiåret vi nå snart legger bak oss. 2010-tallet er strømmingens tiår - både når det gjelder tv-serier og musikk. Kloke hoder mener mye. Intervjuobjekt: Anja Nylund Hagen, Robert Hoftun Gjestad, Audun Molde Programleder: Kristian Bendiksen og Otto Haug Produsent: Nina Kammersten

• Hagen, Anja Nylund (2019). Kulturøkonomi-symposium.
• Hagen, Anja Nylund (2019). Music streaming and data literacy. Show summary

  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, Anja Nylund (2019). Musikkbransjen er ikke så digital som vi tror. Dagens næringsliv.  ISSN 0803-9372.  109(109), s 31- 31 Show summary

  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.

• Hagen, Anja Nylund (2019). Napster. Store Norske Leksikon (Nettutgaven).
• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Show summary

  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.

• Hagen, Anja Nylund (2019). Norsk musikk i internasjonale markeder. Frokostseminar, Kulturdepartementet: Musikkeksport. Show summary

  KUD-skolen og avdeling for medier og kunst inviterer til frokostseminar 8. november klokken 09:00-09:45 med Anja Nylund Hagen om musikkeksport. Hagen er postdoktor ved Institutt for musikkvitenskap, Universitetet i Oslo, og har nylig gjennomført en omfattende spørreskjemaundersøkelse og dybdeintervjuer med musikkbransjeaktører om deres eksportarbeid. Hun vil presentere resultater tilknyttet aktørenes arbeidsvirkelighet i den digitale musikkbransjen og deres opplevde utfordringer og muligheter. Undersøkelsen legger vekt på betydningen av nye medier og hvordan digitaliseringen spiller inn på arbeidsvirkelighet, forutsigbarhet, nye kompetanseområder, tillits- og maktforhold, samspill med staten, inntektsstrømmer, forhandlingsmuligheter, samarbeidspartnere osv. Undersøkelsen er gjennomført som en del av forskningsprosjektet MUSEC (Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor), som er finansiert gjennom KULMEDIA-programmet i Norges forskningsråd. Hagens postdoktorstilling er en del av forskningprosjektet MUSEC og hennes forskningsinteresser omfatter skjæringspunktet mellom nye medier og musikk. Hun har tidligere vært tilknyttet forskningsprosjektet Sky & Scene, også ved UiO, hvor hun avla sin doktorgradsavhandling om bruk av musikkstrømmetjenester. Presentasjonen holdes noen uker før oppstart av eksportprogrammet Musikk ut i verden, som Innovasjon Norge gjennomfører i samarbeid med Music Norway, på oppdrag fra Kulturdepartementet. Eksportprogrammet er det fjerde i rekken. Det har vært gjennomført tilsvarende program for dataspill og arkitektur - og Litteratur ut i verden pågår enda.

• Hagen, Anja Nylund (2019). Norsk musikk og globale selskaper. Show summary

  En sentral problemstilling for denne workshopen er forholdet mellom nasjonale medieselskaper og globale plattformer. Vi er interessert i hvilke muligheter og utfordringer ulike medieaktører ser i samarbeidet med globale plattformer, og hvilke løsninger man eventuelt ønsker seg fra politisk hold.

• 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). Spotify. Store Norske Leksikon (Nettutgaven). Show summary

  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). «Superstar Economy?» - Art and Cultural Economy in the Digital Era. Show summary

  The term "Superstar Economy" refers to a theory stating that while digitaliization creates opportunites, it also demands vast resources in order to be a part of it. Will the digital economy give us less diversity? Or does it simply provide easier access to music, literature and movies, making art more profitable? For Arts Council Norway, this is a debate that needs both a national and a European perspective. And we start off by exploring two interesting aspects of the Norwegian cultural sphere: Despite being a small country with a small language market, a large number of books are written and published in Norway. Authors, publishers, bookstores and other industry actors are important for the scope and quality of production and distribution of Norwegian literature. But if the literature is to develop as it should, there must also be an active and committed literature policy. Meanwhile, Norway is a leading country when it comes to digitalization and streaming music. Recent numbers show that 9 out of 10 Norwegians are streaming music, and more than half are paying for these services. In 2017, 85 % per cent of sales revenue for recorded music in Norway came from streaming. Can the Norwegian literary policies and the Norwegian digital consumption of culture learn anything from each other? And what can we learn from the main players in the cultural sector themselves? In Frankfurt on October 18th, we will hear from Norwegian and international experts, writers and academics.

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

  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?

• Hagen, Anja Nylund (2019, 15. august). Thomas Hayes har signert med Sony, skal gi ut musikk.  Aftenposten. Show summary

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

• Hagen, Anja Nylund (2019). Tidal. Store Norske Leksikon (Nettutgaven). Show summary

  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). strømmetjenester. Store Norske Leksikon (Nettutgaven). Show summary

  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 & Kjus, Yngvar (2019). Musikkbransjen i strømmingens tidsalder..
• Hagen, Anja Nylund; Sandvik, Eystein; Witek, Julia; Nedrelid, Alma & Hovland, Torkjell (2019). Å bygge en karriere i musikklivet. Show summary

  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)

• Kjus, Yngvar & Hagen, Anja Nylund (2019). Musikkbransjen i strømmetiden.
• Hagen, Anja Nylund (2018). Changing practices in a globalised and digitalised music industry.
• Hagen, Anja Nylund (2018). Competing with music in national and global markets.
• Hagen, Anja Nylund (2018). Echoes in the Canon: How Smart Speakers are Shaking Up Music (ENG). Show summary

  Echoes in the Canon: How Smart Speakers are Shaking Up Music (ENG)

• Hagen, Anja Nylund (2018). Industry in change: cultural labour in a globalised and digitalised music industry. Show summary

  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).

• Hagen, Anja Nylund (2018). Norwegian music industry as global and digital media industry.
• Hagen, Anja Nylund (2018, 02. mars). Snakkisen: Spellemannsprisen.  Klassekampen.
• Hagen, Anja Nylund (2018). The communication of music in the streaming paradigm.
• Hagen, Anja Nylund & Kjus, Yngvar (2018). How to make money in music in the digital age?. Show summary

  Spotify, Tidal, YouTube, Soundcloud and Facebook: media which have opened up new possibilities for making a living via music, but have also produced challenging conditions for collecting earnings. A research project is starting this year which will take a closer look at the best ways to tap the new potential. What’s the best way to deal with the music media to ensure maximum exposure and revenue? How do you get hold of income from foreign territories? How can state funding strengthen the artists' position in dealing with big media organisations? A research team from the University of Oslo will present these issues, and a panel of artists, managers and record label executives will share their experiences and their hopes for the project.

• Hagen, Anja Nylund (2017). Perspektiver på kunsten og kulturens plass i barn og unges liv.
• Danielsen, Anne; Maasø, Arnt; Hagen, Anja Nylund & Kjus, Yngvar (2016). Clouds & Concerts summarised.
• Hagen, Anja Nylund (2016, 05. august). Deler ikke spillelister med andre. [Radio].  NRK, P1. Show summary

  Mange holder musikklistene sine private fordi musikk oppleves som personlig. Programleder er Tron Soot-Ryen.

• Hagen, Anja Nylund (2016). Gode analyser, detaljrikdom, fargerikt språk Bjarne Markussen (red.): Lydspor. Når musikk møter tekst og bilder. Norsk Medietidsskrift.  ISSN 0804-8452.  22(02/2016), s 1- 4 . doi: 10.18261/issn.0805-9535-2016-02-07
• Hagen, Anja Nylund (2016, 28. januar). Kveldsåpent. [Radio].  NRK p1.
• Hagen, Anja Nylund (2016, 01. august). Musikken er privat.  Dagsavisen. Show summary

  Kun 8 prosent av spillelistene som lages i WiMP deles med andre. Det viser ny forskning.

• Hagen, Anja Nylund (2016). Musikkforum, NOPA: ALBUMETS DØD, STRØMMING OG LYTTEVANER I ENDRING Panel: Anja Nylund Hagen, Audun Vinger, Vegard Waske og Trond Tornes i samtale med Ida Habbestad fra ballade.no..
• Hagen, Anja Nylund (2016). Streaming the everyday life: Playlists and the lifeworld of music listening.
• Hagen, Anja Nylund (2016, 07. februar). Tidenes morgen. [Radio].  NRK, P13.
• Hagen, Anja Nylund (2016, 05. april). https://radio.nrk.no/serie/spillerom-hovedsending/MKMR06006716/05-04-2016. [Radio].  NRK P2, Spillerom. Show summary

  Episodebeskrivelse Vi deler bilder og artikler på nett, men spillelistene våre holder vi for oss selv! Anja Nylund Hagen har forsket på bruken av strømmetjenester, og møter oss i studio for å fortelle hvorfor musikken er så privat.

• Hagen, Anja Nylund (2015, 18. desember). Doktoren svarer.  Morgenbladet.
• Hagen, Anja Nylund (2015, 17. desember). Kulturnytt, P2, gjest i studio. [Radio].  NRK, P2, Kulturnytt.
• Hagen, Anja Nylund (2015, 05. juni). Looking For A Connection In An Infinite Jukebox. With Millions Of Songs At Our Fingertips, Is The Idea Of Owning Music A Thing Of The Past?. [Fagblad].  http://www.npr.org/sections/therecord/2015/06/04/411795140/l.
• Hagen, Anja Nylund (2015, 11. desember). Musikk er fortsatt musikk. [Internett].  Ballade. Show summary

  Strømmetjenestene gjør musikk til en integrert del av hverdagen, men de digitalt innfødte bryr seg mindre om hvem som spiller eller har skrevet det de hører på.

• Hagen, Anja Nylund (2015, 14. desember). Rastløs i strømmetida.  Klassekampen, Musikkmagasinet.
• Hagen, Anja Nylund (2015). Sosial Strømming? Å navigere musikk som personlig og sosialt i musikkstrømmetjenester.
• Hagen, Anja Nylund (2015, 04. desember). Strides om strømmingen http://www.klassekampen.no/article/20151204/ARTICLE/151209987.  Klassekampen (papir og internett).
• Hagen, Anja Nylund (2015). Using Music Streaming Services: Practices, Experiences and the Lifeworld of Musicking.
• Hagen, Anja Nylund (2014, 23. september). Musikken fester seg ikke.  Finansavisen.
• Hagen, Anja Nylund (2014). Personal playlists in music streaming services.
• Hagen, Anja Nylund (2014, 16. september). På med leppestift og spilleliste.  Vårt Land.
• Hagen, Anja Nylund (2014, 12. desember). Spillelister gir kontroll på musikkstrømmen. [Internett].  http://www.ballade.no/sak/spillelister-gir-kontroll-pa-musik.
• Hagen, Anja Nylund (2013). Online Music Listening Strategies.
• Hagen, Anja Nylund (2013). Personal Practices in Playlist Use.
• Hagen, Anja Nylund (2013). Personal streaming?.
• Hagen, Anja Nylund (2013). Social and personal music streams.
• Kjus, Yngvar & Hagen, Anja Nylund (2013). Playlists as phenomenon and analysis of editorial playlists, Playlists use as strategic personalization.
• Hagen, Anja Nylund (2012). Approaching the Music Streaming Audiences.
• Hagen, Anja Nylund (2012). Approaching the Music Streaming Audiences: methodological reflections.
• Hagen, Anja Nylund (2012). Music Streaming: Phonograph Effect and Medium Specificity.

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