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/
• 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 Fulltekst i vitenarkiv.
• 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

• Backe Madsen, Lars & Kraugerud, Emil (2020, 18. desember). Holder Bøhler og Northug musikkfaglig mål? Vi har spurt ekspertene.  Dagens Næringsliv.
• Kraugerud, Emil (2020). Come Closer: Acousmatic Intimacy in Popular Music Sound. 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.

• Kraugerud, Emil (2020). Musikkens intimitet. ballade.no.
• Kraugerud, Emil & Dæhlen, Marte (2020, 17. oktober). Hvorfor føles Stein Torleif Bjellas musikk så nær?. [Internett].  forskning.no.
• Devine, Kyle; Kraugerud, Emil; Jones, Ellis Nathaniel & Størvold, Tore (2019). First Things First.
• 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.

• Jones, Ellis Nathaniel; Kraugerud, Emil; Størvold, Tore & Devine, Kyle (2019). Dragging the Lake.
• Kraugerud, Emil (2019). Domestic intimate space in recorded music.
• Kraugerud, Emil (2019). Intimacy and extimacy in record production.
• Kraugerud, Emil (2019). Intimitet i innspilt musikk.
• Kraugerud, Emil (2019). Producing intimacy: Siv Jakobsen's Nordic Mellow (2017).
• Kraugerud, Emil (2019). The acousmatic intimacy of domestic spatialities.
• 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