Emil Kraugerud

• 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/
• Kraugerud, E. (2016). Spaces of Sound: Meanings of Spatiality in Recorded Sound. Master’s thesis, University of Oslo.

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
• Kraugerud, Emil (2017). Meanings of Spatial Formation in Recorded Sound. Journal on the Art of Record Production.  ISSN 1754-9892.  (11) Fulltekst i vitenarkiv.

Se alle arbeider i Cristin

• 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). Domestic intimate space in recorded music.
• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• Kraugerud, Emil (2018). Constructions of Intimacy in St. Vincent's "Hang On Me".
• Kraugerud, Emil (2018). Hyperintimacy in St. Vincent's "Hang On Me".
• Kraugerud, Emil (2018). Intimacy in popular music sound.
• Kraugerud, Emil (2018). Take Time.
• Kraugerud, Emil (2017). The role of stereo center placement in constructions of intimacy.
• Kraugerud, Emil; Danielsen, Anne & Askerøi, Eirik (2016). Spaces of Sound: Meanings of Spatiality in Recorded Sound.
• Kraugerud, Emil (2015). Sound­box as tool in record production.

Se alle arbeider i Cristin