Yngvar Kjus
Datos Biográficos
| ID | 323591 |
|---|---|
| NOMBRE | Yngvar Kjus |
| NOMBRES | Yngvar |
| APELLIDO | Kjus |
| FIRMA | KJUS Y |
| AFILIACIONES | University of Oslo |
| ORCID | 0000-0002-7864-3335 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAS | 33 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2009 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 4 |
The platformization of music production
Recent decades have seen the proliferation of digital music production technologies, led by digital audio workstations (DAWs) such as Pro Tools and Live . The companies behind them, including Avid and Ableton, resemble music distributors in their ongoing process of platformization —that is, in making themselves the foundation of an increasing range of interactions and transactions. The article discusses economic, social, and cultural aspects of p…
Liveness online in deadly times
This study was initiated as the pandemic erupted in the spring of 2020, triggered by our curiosity about the wave of Internet-mediated concerts which followed in the wake of COVID-19. The article examines what kind of social and cultural phenomenon these events were, and how their presentational and participatory potential was explored within a few, hectic spring months. Basing our analysis on interviews with 13 performers and four promoters in N…
Twists and turns in the 360 deal
This article studies the contracts of labels and artists in the 2000s and 2010s in order to understand the conditions for creative work in a predominantly digital environment. It argues that contract negotiation is a key site for the exchange of creative and economic resources which is likely to reflect developments in the technological but also legal frameworks of the music industry. It presents analyses of contract documents from before and aft…
License to stream? A study of how rights-holders have responded to music streaming services in Norway
This article rewinds a decade to reconstruct the arrival of streaming services and their impact on the music industry. It focuses on copyright holders and their experience with reaching out and getting paid via streaming, charting developments in the relationship between licensor and licensee such as the rise of direct licensing. The study is based on interviews with labels, publishers, collecting societies and interest organisations for composer…
The Use of Copyright in Digital Times
How do artists use copyright to further their creative ends? To approach this question, this article focuses on the relationship between artists’ appropriation of digital technology and exertion of their rights. In particular, it relates the evolving range of production tools and distribution services to the ways in which artists currently create musical works and seek to exploit their economic as well as moral rights. Interviews with eighteen ar…
Gendered patterns in music mediation
Harmonious or out of tune? Cooperation between the television industry and the music business in talent contests of the 2000s
In recent years, the television industry has cooperated closely with the music business in producing talent contests such as Idols, X-Factor and The Voice. While these music contests have been one of the most popular entertainment trends of the 2000s, their ratings and associated music sales have dropped substantially. This article explores opportunities and limitations in the cooperation between television and music production, examining differe…
Musical exploration via streaming services
Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88% of digital music revenues in 2014 versus just 23% globally. In essence, streaming services offer subscribers access to vast databases of music and offer artists new means of exposure and sources of revenue. This article argues that the possibility of musical discovery is essential to these services’ distribution m…
Live mediation
The use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In this study, we present an artist-oriented approach to this question through interviews with artists invested in performing studio works on stage, as well as improvising musicians using studio technology in their concerts. We fin…
Reclaiming the music
Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological platforms into assets in regaining customer favour. This article presents an interview-based study of the transformations of two Norwegian record stores in the 2000s, one of which invested in vinyl records, and the other in onlin…
Live Islands in the Seas of Recordings
Live music remains popular in the digital age, as reflected in the growth in music festivals in the 2000s. The increased availability of music online highlights the issue of what sets live music apart but also raises the question of whether the use of new music media changes the experience of live music. This article explores perceptual, psychological, and social aspects of the music experience of visitors at the Øya festival in Norway. It finds …
Impact of prestige programs on production practices
The 21st century and the rise of new media have accentuated socio-political as well as organizational/practical challenges to public service broadcasters. New political vision is needed to address fragmenting and pluralizing societies; however, the challenge in turn lies in program production. This article examines and relates developments in both areas via a seldom-applied approach to transformations in traditional media organizations, namely cl…
Everyone Needs Idols
■ The rise of digital media has generally been accompanied by audience fragmentation, but the trend of reality-TV has helped television enterprises around the world retain their audience’s attention. One obvious reason for this is reality-TV’s increased social interaction with the audience. Also important, however, are the rapidly evolving interactions between media sectors, companies and departments on the production side of reality-TV. This art…
Fabricating Cultural Events
International trade and cooperation are increasingly affecting what we experience in the national and local media. This development is rapidly evolving with live televised events, like Idols and Dancing with the Stars, and here I pursue why (and how) this is so. I engage specifically with the ways in which licensed international programme formats intervene in existing programme traditions, and affect the repertoire and capacity of national televi…
Musical exploration via streaming services
Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88% of digital music revenues in 2014 versus just 23% globally. In essence, streaming services offer subscribers access to vast databases of music and offer artists new means of exposure and sources of revenue. This article argues that the possibility of musical discovery is essential to these services’ distribution m…
The Use of Copyright in Digital Times
How do artists use copyright to further their creative ends? To approach this question, this article focuses on the relationship between artists’ appropriation of digital technology and exertion of their rights. In particular, it relates the evolving range of production tools and distribution services to the ways in which artists currently create musical works and seek to exploit their economic as well as moral rights. Interviews with eighteen ar…
Live Islands in the Seas of Recordings
Live music remains popular in the digital age, as reflected in the growth in music festivals in the 2000s. The increased availability of music online highlights the issue of what sets live music apart but also raises the question of whether the use of new music media changes the experience of live music. This article explores perceptual, psychological, and social aspects of the music experience of visitors at the Øya festival in Norway. It finds …
Impact of prestige programs on production practices
The 21st century and the rise of new media have accentuated socio-political as well as organizational/practical challenges to public service broadcasters. New political vision is needed to address fragmenting and pluralizing societies; however, the challenge in turn lies in program production. This article examines and relates developments in both areas via a seldom-applied approach to transformations in traditional media organizations, namely cl…
Twists and turns in the 360 deal
This article studies the contracts of labels and artists in the 2000s and 2010s in order to understand the conditions for creative work in a predominantly digital environment. It argues that contract negotiation is a key site for the exchange of creative and economic resources which is likely to reflect developments in the technological but also legal frameworks of the music industry. It presents analyses of contract documents from before and aft…
Everyone Needs Idols
■ The rise of digital media has generally been accompanied by audience fragmentation, but the trend of reality-TV has helped television enterprises around the world retain their audience’s attention. One obvious reason for this is reality-TV’s increased social interaction with the audience. Also important, however, are the rapidly evolving interactions between media sectors, companies and departments on the production side of reality-TV. This art…
Fabricating Cultural Events
International trade and cooperation are increasingly affecting what we experience in the national and local media. This development is rapidly evolving with live televised events, like Idols and Dancing with the Stars, and here I pursue why (and how) this is so. I engage specifically with the ways in which licensed international programme formats intervene in existing programme traditions, and affect the repertoire and capacity of national televi…
The platformization of music production
Recent decades have seen the proliferation of digital music production technologies, led by digital audio workstations (DAWs) such as Pro Tools and Live . The companies behind them, including Avid and Ableton, resemble music distributors in their ongoing process of platformization —that is, in making themselves the foundation of an increasing range of interactions and transactions. The article discusses economic, social, and cultural aspects of p…
Gendered patterns in music mediation
Live mediation
The use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In this study, we present an artist-oriented approach to this question through interviews with artists invested in performing studio works on stage, as well as improvising musicians using studio technology in their concerts. We fin…
Reclaiming the music
Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological platforms into assets in regaining customer favour. This article presents an interview-based study of the transformations of two Norwegian record stores in the 2000s, one of which invested in vinyl records, and the other in onlin…
Impact of prestige programs on production practices
The 21st century and the rise of new media have accentuated socio-political as well as organizational/practical challenges to public service broadcasters. New political vision is needed to address fragmenting and pluralizing societies; however, the challenge in turn lies in program production. This article examines and relates developments in both areas via a seldom-applied approach to transformations in traditional media organizations, namely cl…
Everyone Needs Idols
■ The rise of digital media has generally been accompanied by audience fragmentation, but the trend of reality-TV has helped television enterprises around the world retain their audience’s attention. One obvious reason for this is reality-TV’s increased social interaction with the audience. Also important, however, are the rapidly evolving interactions between media sectors, companies and departments on the production side of reality-TV. This art…
Fabricating Cultural Events
International trade and cooperation are increasingly affecting what we experience in the national and local media. This development is rapidly evolving with live televised events, like Idols and Dancing with the Stars, and here I pursue why (and how) this is so. I engage specifically with the ways in which licensed international programme formats intervene in existing programme traditions, and affect the repertoire and capacity of national televi…
Live Islands in the Seas of Recordings
Live music remains popular in the digital age, as reflected in the growth in music festivals in the 2000s. The increased availability of music online highlights the issue of what sets live music apart but also raises the question of whether the use of new music media changes the experience of live music. This article explores perceptual, psychological, and social aspects of the music experience of visitors at the Øya festival in Norway. It finds …
Reclaiming the music
Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological platforms into assets in regaining customer favour. This article presents an interview-based study of the transformations of two Norwegian record stores in the 2000s, one of which invested in vinyl records, and the other in onlin…
Musical exploration via streaming services
Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88% of digital music revenues in 2014 versus just 23% globally. In essence, streaming services offer subscribers access to vast databases of music and offer artists new means of exposure and sources of revenue. This article argues that the possibility of musical discovery is essential to these services’ distribution m…
Live mediation
The use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In this study, we present an artist-oriented approach to this question through interviews with artists invested in performing studio works on stage, as well as improvising musicians using studio technology in their concerts. We fin…
Harmonious or out of tune? Cooperation between the television industry and the music business in talent contests of the 2000s
In recent years, the television industry has cooperated closely with the music business in producing talent contests such as Idols, X-Factor and The Voice. While these music contests have been one of the most popular entertainment trends of the 2000s, their ratings and associated music sales have dropped substantially. This article explores opportunities and limitations in the cooperation between television and music production, examining differe…
Gendered patterns in music mediation
The Use of Copyright in Digital Times
How do artists use copyright to further their creative ends? To approach this question, this article focuses on the relationship between artists’ appropriation of digital technology and exertion of their rights. In particular, it relates the evolving range of production tools and distribution services to the ways in which artists currently create musical works and seek to exploit their economic as well as moral rights. Interviews with eighteen ar…
Twists and turns in the 360 deal
This article studies the contracts of labels and artists in the 2000s and 2010s in order to understand the conditions for creative work in a predominantly digital environment. It argues that contract negotiation is a key site for the exchange of creative and economic resources which is likely to reflect developments in the technological but also legal frameworks of the music industry. It presents analyses of contract documents from before and aft…
License to stream? A study of how rights-holders have responded to music streaming services in Norway
This article rewinds a decade to reconstruct the arrival of streaming services and their impact on the music industry. It focuses on copyright holders and their experience with reaching out and getting paid via streaming, charting developments in the relationship between licensor and licensee such as the rise of direct licensing. The study is based on interviews with labels, publishers, collecting societies and interest organisations for composer…
Liveness online in deadly times
This study was initiated as the pandemic erupted in the spring of 2020, triggered by our curiosity about the wave of Internet-mediated concerts which followed in the wake of COVID-19. The article examines what kind of social and cultural phenomenon these events were, and how their presentational and participatory potential was explored within a few, hectic spring months. Basing our analysis on interviews with 13 performers and four promoters in N…
The platformization of music production
Recent decades have seen the proliferation of digital music production technologies, led by digital audio workstations (DAWs) such as Pro Tools and Live . The companies behind them, including Avid and Ableton, resemble music distributors in their ongoing process of platformization —that is, in making themselves the foundation of an increasing range of interactions and transactions. The article discusses economic, social, and cultural aspects of p…
Sociology (11 obras) · Business (10 obras) · Political science (9 obras) · Advertising (7 obras) · Art (7 obras) · Computer Science (7 obras) · Visual arts (7 obras) · Law (6 obras) · Music History and Culture (6 obras) · Public relations (6 obras)