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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, London.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Manchester.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Oxford.
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Kraugerud, Emil; Devine, Kyle; Størvold, Tore & Jones, Ellis Nathaniel
(2023).
Konsert med Podcasts, Sheffield.
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Kraugerud, Emil
(2023).
Konsert med Tusen Takk og Hanne Fjeldstad.
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Kraugerud, Emil
(2023).
Konsert med Hanne Fjeldstad.
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Jones, Ellis Nathaniel; Devine, Kyle; Størvold, Tore & Kraugerud, Emil
(2023).
Podcasts.
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Kraugerud, Emil; Devine, Kyle; Jones, Ellis Nathaniel & Størvold, Tore
(2023).
Cockatoos.
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Kraugerud, Emil
(2023).
Spatial mediation of music production in DAWs.
Vis sammendrag
Existing research on the design of digital audio workstation (DAW) software has largely been concerned with its relations to recording hardware, and the concept of skeuomorphism has been adopted as a way of distinguishing DAWs referring to a tape recorder and mixing desk workflow from other allegedly more innovative approaches to user interface design. Whereas the former approaches tend to incorporate horizontal representations of recorded sound in a linear manner, the latter by contrast often uses vertical layouts of musical building blocks. In this paper I expand and nuance this opposition between skeumorphic and non-skeumorphic design by proposing to think of interfaces in music production software as virtual spaces that are organized in terms of verticality, horizontality, foreground, background, and time. These spaces, in turn, are linked to the different performance and production paradigms that have informed the design of the various DAWs in the first place, and as such they carry information about what kinds of users and practices that are inscribed in the software by its designers. While the use of DAWs to varying extents will be affected by those inscriptions, actual users may also find ways to go beyond the script in incorporating the software into their own musical practices. The research in this paper is based on interface analyses of Ableton Live’s user interface, along with analyses of the Ableton’s online outreach in tutorial videos and blog posts.
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Devine, Kyle; Jones, Ellis Nathaniel; Størvold, Tore & Kraugerud, Emil
(2023).
Summerland, 1992.
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Kraugerud, Emil & Coughlan-Allen, Joseph
(2023).
Framing intimacy: Reimagining noise as a signifier of silence and intimacy.
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Kraugerud, Emil
(2023).
Impact of software design on creative diversity, or the production and reproduction of space in DAWs.
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Kjus, Yngvar; Kraugerud, Emil & Skjerdal, Øyvind
(2023).
Frokostseminar på Popsenteret om musikk, kreativitet og teknologi .
Vis sammendrag
På mandag 24. april har vi invitert Hanne Hukkelberg, Kristine Hoff, Christian Blom og Fartein Orestad for å snakke om hvordan musikk skapes, med hvilke metoder og teknologier. Vi som inviterer har startet et forskningsprosjekt om musikkproduksjon i digitale omgivelser, og ønsker nå å få informasjon, inspirasjon og tilbakemeldinger om hvordan kreativt arbeid med musikk foregår i vår tid.
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Kraugerud, Emil
(2022).
Getting intimate with recorded music.
Vis sammendrag
“Intimacy” or “intimate” is often used in daily speech and in popular media to describe the sound of recordings, or elements of recordings (such as voices or instrumental sounds), but what does it mean when we refer to a recorded musical sound as intimate? Several scholars have touched on this question, often with reference to Edward Hall’s (1969) description of intimate distance as the closest distance at which we communicate. In relation to recorded music, intimacy and intimate thus often denote a perceived physical proximity, resulting from various recording and mixing techniques, such as close microphone placement and reverb-less recording. However, it is rarely discussed what this intimacy involves beyond perceived proximity. Thorough discussions of what an acousmatic sense of intimacy is and how it may mean something to the listener seem to be lacking from the discourse.
This paper draws on findings from a three-year doctoral project that addresses these questions, based on theory from sociology and psychology, as well as music analysis and interviews with recordists. My main argument is that acousmatic intimacy involves not just a perceived physical closeness, but also what we could call a perceived emotional closeness, where the listener is exposed to the vulnerabilities of the performer, leading to a feeling of exclusive connection. Following this argument, I also discuss what happens to these experiences when auditory “clues to intimacy” are highly exaggerated in the mix.
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Kraugerud, Emil
(2022).
Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy.
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Kraugerud, Emil
(2021).
Acousmatic intimacy in popular music sound.
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Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore
(2019).
First Things First.
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Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle
(2019).
Dragging the Lake.
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Kraugerud, Emil
(2019).
The acousmatic intimacy of domestic spatialities.
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Kraugerud, Emil
(2019).
Intimitet i innspilt musikk.
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Kraugerud, Emil
(2019).
Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
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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.
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Kraugerud, Emil
(2019).
Intimacy and extimacy in record production.
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Kraugerud, Emil
(2019).
Domestic intimate space in recorded music.
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Kraugerud, Emil
(2018).
Intimacy in popular music sound.
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Kraugerud, Emil
(2018).
Take Time.
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Kraugerud, Emil
(2018).
Hyperintimacy in St. Vincent's "Hang On Me".
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Kraugerud, Emil
(2018).
Constructions of Intimacy in St. Vincent's "Hang On Me".
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Kraugerud, Emil
(2017).
The role of stereo center placement in constructions of intimacy.
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Kraugerud, Emil
(2015).
Soundbox as tool in record production.
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Kraugerud, Emil
(2020).
Come Closer: Acousmatic Intimacy in Popular Music Sound.
07 Gruppen.
Fulltekst i vitenarkiv
Vis sammendrag
When intimacy is mentioned in music reviews, daily speech, and research on music—when a voice or other sound is described as “intimate,” for example—it might at first be understood as synonymous to perceived proximity. Yet it implies much more, including several engaging aspects of close interpersonal relations or interactions. This dissertation examines this experience of intimacy when one listens to music recordings, and the role of record production in triggering such an experience. I refer to this specific sense of intimacy as acousmatic intimacy in order to distinguish it from the intimacy that one experiences in everyday interpersonal encounters. I investigate this notion through a combination of literary reviews, sound analyses, and interviews with recordists, all informed by my overall hermeneutic approach. The aim of the dissertation is to conceptualize “acousmatic intimacy” as a theoretical approach to the sensation of intimacy that may be experienced when one listens to music recordings—that is, when the origins of the sounds (musicians and instruments) are absent. Such a sensation is often triggered by what musicians and recordists do in the process of making the recordings. As such, the dissertation provides qualitative insight into some of the ways in which listeners connect to music, and, more specifically, into the role of recordists in influencing listeners’ interpretation of musical meaning. The concept of acousmatic intimacy may eventually serve as a useful hermeneutic analytical framework for analyzing recorded music, and for understanding listening processes and production strategies.
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Kraugerud, Emil; Danielsen, Anne & Askerøi, Eirik
(2016).
Spaces of Sound: Meanings of Spatiality in Recorded Sound.
Universitetet i Oslo.
