Emil Kraugerud

• Kraugerud, E. (2020). Come Closer: Acousmatic Intimacy in Popular Music Sound. PhD dissertation, University of Oslo. 
• Danielsen, A.; Kjus, Y. & Kraugerud, E. (2018). Gendered patterns in music mediation: a study of male and female performers at the Øya festival using multiple data sources. Poetics. ISSN 0304-422X.
• Kraugerud, E. (2017). Meanings of Spatial Formation in Recorded Sound. Journal on the Art of Record Production, Proceedings of the 10^th Art of Record Production Conference, Drexel University, Philadelphia, Nov. 6-8, 2015. http://www.arpjournal.com/asarpwp/meanings-of-spatial-formation-in-recorded-sound/

Diskografi

• Dingus (2016). Dingus. Safe & Sound Recordings. (Album - Produsent/Tekniker/Mikser/Komponist/Utøver)

• Danielsen, Anne; Kjus, Yngvar & Kraugerud, Emil (2018). Gendered patterns in music mediation: a study of male and female performers at the Øya festival using multiple data sources. Poetics. ISSN 0304-422X. doi: 10.1016/j.poetic.2018.09.002. Fulltekst i vitenarkiv
• Kraugerud, Emil (2017). Meanings of Spatial Formation in Recorded Sound. Journal on the Art of Record Production. ISSN 1754-9892. Fulltekst i vitenarkiv

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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.

• Kraugerud, Emil (2022). Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy.
• Kraugerud, Emil (2021). Acousmatic intimacy in popular music sound.
• Sørbø, Solveig; Solberg, Live Miranda & Kraugerud, Emil (2021). Louien Og Emil Kraugerud Om Musikk Og Nærhet. [Radio]. radiOrakel.
• Backe Madsen, Lars & Kraugerud, Emil (2020). Holder Bøhler og Northug musikkfaglig mål? Vi har spurt ekspertene. [Avis]. Dagens Næringsliv.
• Kraugerud, Emil & Dæhlen, Marte (2020). Hvorfor føles Stein Torleif Bjellas musikk så nær? [Internett]. forskning.no.
• Kraugerud, Emil (2020). Musikkens intimitet. ballade.no.
• Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore (2019). First Things First.
• Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle (2019). Dragging the Lake.
• Kraugerud, Emil (2019). The acousmatic intimacy of domestic spatialities.
• Kraugerud, Emil (2019). Intimitet i innspilt musikk.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• 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.

• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Kraugerud, Emil (2019). Domestic intimate space in recorded music.
• Kraugerud, Emil (2018). Intimacy in popular music sound.
• Kraugerud, Emil (2018). Take Time.
• Kraugerud, Emil (2018). Hyperintimacy in St. Vincent's "Hang On Me".
• Kraugerud, Emil (2018). Constructions of Intimacy in St. Vincent's "Hang On Me".
• Kraugerud, Emil (2017). The role of stereo center placement in constructions of intimacy.
• Kraugerud, Emil (2015). Sound­box as tool in record production.
• Kraugerud, Emil (2020). Come Closer: Acousmatic Intimacy in Popular Music Sound. 07 Gruppen. Fulltekst i vitenarkiv
• Kraugerud, Emil; Danielsen, Anne & Askerøi, Eirik (2016). Spaces of Sound: Meanings of Spatiality in Recorded Sound. Universitetet i Oslo.

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