Yngvar Kjus

• Kjus, Yngvar, Ragnhild Brøvig og Solveig Wang (in press): Kvinners første møte med DAW: En følelse av å være i gutteklubbens skygger (bidrag til Kulturrådets forskningsprogram Skapende praksiser i Musikk).   
• Spilker, Hendrik Storstein, Yngvar Kjus og Håvard Kiberg (2022): Strømmekonserter - mer enn nødløsninger?. Knut Ove Eliassen, Anne Ogundipe og Øyvind Prytz (red.). Estetiske praksiser i den digitale produksjonens tidsalder. Oslo: Fagbokforlaget, 423-460. 
• Kjus, Yngvar and Roy Aulie Jacobsen (2022): Will the EU's directive on copyright in the digital market change the power balance of the music industry? Views from Norway. The Nordic Journal of Cultural Policy 25(1), 28-42. 
• Kjus, Yngvar, Hendrik S. Spilker and Håvard Kiberg (2022): Liveness online in deadly times: How artists explored the expressive potential of live-streaming concerts at the face of Covid-19 in Norway. First Monday 27(6). 
• Kjus, Yngvar (2022): Twists and turns in the 360 deal: Spinning the risks and rewards of artist–label relations in the streaming era. European Journal of Cultural Studies 25(2), 463-478.  
• Kjus, Yngvar (2022): License to stream? A study of how rights-holders have responded to music streaming services in Norway. International Journal of Cultural Policy 28(1), 61-73. 
• Kjus, Yngvar (2021): The Use of Copyright in Digital Times: A Study of How Artists Exercise Their Rights in Norway. Popular Music and Society 44(3), 241-257. 
• Kjus, Yngvar and Hendrik S. Spilker (2020): Lyden av digitalisering: Preludium om musikk og medier. Norsk medietidsskrift, 27(3), 1-10. 
• Kjus, Yngvar (2020): Book review: "Women in the Studio: Creativity, Control, and Gender in Popular Music Sound Production", by Paula Wolfe. Popular Music, 39(2), 373-375.  
• Danielsen, Anne and Kjus, Yngvar (2019): The Mediated Festival: Live Music as Trigger of Music Streaming and Social Media Engagement. Convergence: The International Journal of Research into New Media Technologies, 25(4), 714–734. 
• Danielsen, Anne, Kjus, Yngvar and Kraugerud, Emil (2018): Gendered Patterns in Music Mediation: A Study of Male and Female Performers at the Øya Festival Using Multiple Data Sources. Poetics: Journal of Empirical Research on Culture, the Media and the Arts.  
• Kjus, Yngvar (2018): Live and Recorded: Music Experience in the Digital Millennium. Cham: Palgrave Macmillan.
• Kjus, Yngvar (2017): Harmonious or out of Tune: Cooperation between the Television Industry and the Music Business in Talent Contests of the 2000s. Media, Culture & Society, 39(7), 1011–1026. 
• Kjus, Yngvar (2016): Musical Exploration via Streaming Services: The Norwegian Experience. Popular Communication: The International Journal of Media and Culture, 14(3), 127–136.
• Kjus, Yngvar and Danielsen, Anne (2016): Live Mediation: Performing Concerts Using Studio Technology. Popular Music, 35(3), 320–337.
• Kjus, Yngvar (2016): Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services. New Media & Society, 18(9), 2116-2132.
• Kjus, Yngvar and Danielsen, Anne (2014): Live Islands in the Seas of Recordings: The Music Experience of Visitors at the Øya Festival. Popular Music and Society, 37(5), 660–679.
• Kjus, Yngvar (2009): Everyone Needs Idols: Reality Television and Transformations in Media Structure, Production and Output. European Journal of Communication 24(3), 287–304.
• Kjus, Yngvar (2009): Idolizing and Monetizing the Public: The Production of Celebrities and Fans, Representatives and Citizens in Reality TV. International Journal of Communication (3), 277–300. 
• Kjus, Yngvar (2009): Event Media: Television Production Crossing Media Boundaries. PhD avhandling. 
• Kjus, Yngvar (2007): Ideals and Complications in Audience Participation for Public Service Media: Open Up or Hold Back? In Gregory Ferrell Lowe and Jo Bardoel (eds.), From Public Service Broadcasting to Public Service Media, 135–150. Gothenburg: Nordicom.

• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2022). Strømmekonserter - mer enn nødløsninger? I Eliassen, Knut Ove; Ogundipe, Anne & Prytz, Øyvind (Red.), Estetiske praksiser i den digitale produksjonens tidsalder . Fagbokforlaget. ISSN 978-82-450-4350-1. s. 423–460. doi: 10.55669/oa140512. Fulltekst i vitenarkiv
• Kjus, Yngvar; Spilker, Hendrik Storstein & Kiberg, Håvard (2022). Liveness online in deadly times: How artists explored the expressive potential of live-streamed concerts at the face of COVID-19 in Norway. First Monday. ISSN 1396-0466. 27(6). doi: 10.5210/fm.v27i6.12398. Fulltekst i vitenarkiv Vis sammendrag

  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 Norway, we find that the performances transcended traditional modes of live concerts in innovative ways, while responding to the stresses associated with the pandemic crisis. We identify three performance strategies, intimization, intensification and expansion, which in different ways rearticulated established modes of live musical expression by fusing them with the liveness of mediated communication.

• Kjus, Yngvar & Jacobsen, Roy Aulie (2022). Will the EU’s directive on copyright in the digital market change the power balance of the music industry? Views from Norway. . Nordisk kulturpolitisk tidsskrift. ISSN 1403-3216. 25(1), s. 28–42. doi: 10.18261/nkt.25.1.3. Fulltekst i vitenarkiv Vis sammendrag

  The EU’s directive on copyright in the digital single market (the DSM directive) has been associated with pervasive transformations in the exploitation of copyright-protected work, particularly by holding online services, such as YouTube, more accountable for the music consumed by their users. The directive also features a series of other articles, however, suggesting substantial strengthening of the entitlements of songwriters and performers in the digitized music industry, such as the right to proportionate remuneration, the right to transparency in terms of how their work is exploited, and the right to have unfair contracts adjusted. But what kinds of change will the directive actually trigger for musicians? This article explores the notion of change by inquiring how people invested in different parts of the Norwegian music industry interpret the articles of the directive and what they expect from them. The study finds that the directive inspires music industry players to join forces in their struggles with online services, but that it goes on to challenge deep-seated power structures within the music industry in ways that also trigger opposition to the directive.

• Kjus, Yngvar (2021). Twists and turns in the 360 deal: Spinning the risks and rewards of artist–label relations in the streaming era. European Journal of Cultural Studies. ISSN 1367-5494. 25(2), s. 463–478. doi: 10.1177/13675494211044731. Vis sammendrag

  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 after the rise of streaming services, capturing the turn away from the album and towards the smaller project of the single, which, among other things, entails higher royalty rates for the artists but also increases their responsibilities for financing production. The article goes on to discuss the extent to which such shifts in the investments and returns of both creator and company should be accompanied by changes in the legal protections of creative work.

• Kjus, Yngvar (2021). License to stream? A study of how rights-holders have responded to music streaming services in Norway. International Journal of Cultural Policy. ISSN 1028-6632. 28(1), s. 61–73. doi: 10.1080/10286632.2021.1908276. Vis sammendrag

  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 organi- sations for composers and performers in Norway, where streaming caught on early. It finds that streaming services, with Spotify out in front, have led majors and indies to wage a war over rights and global market shares, while the ability of collecting societies to hang on to their bargaining cards now depends on the way in which on-demand access to music is legally defined. This article also concludes that, so far, these struggles have been easier on the composers than on the performers of music.

• Kjus, Yngvar (2019). The Use of Copyright in Digital Times: A Study of How Artists Exercise Their Rights in Norway. Popular music and society. ISSN 0300-7766. doi: 10.1080/03007766.2019.1698206. Fulltekst i vitenarkiv Vis sammendrag

  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 musi- cal works and seek to exploit their economic as well as moral rights. Interviews with eighteen artists in Norway reveal a series of technology- mediated challenges to the ownership of one’s work, the recognition of one’s authorship, and one’s remuneration that demonstrate the need for open discussion of the ethical aspects of copyright in music.

• 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
• Danielsen, Anne & Kjus, Yngvar (2017). The Mediated Festival: Live Music as Trigger of Music Streaming and Social Media Engagement. Convergence. The International Journal of Research into New Media Technologies. ISSN 1354-8565. 25(4), s. 714–734. doi: 10.1177/1354856517721808. Fulltekst i vitenarkiv Vis sammendrag

  Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents sta- tistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.

• Kjus, Yngvar (2017). Harmonious or out of Tune: Cooperation between the Television Industry and the Music Business in Talent Contests of the 2000s. Media, Culture and Society. ISSN 0163-4437. 39(7), s. 1011–1026. doi: 10.1177/0163443716686671. Vis sammendrag

  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 differences in industrial practices and the ways in which these practices are being affected by digitisation and globalisation. Its empirical approach involves interviews with television and music professionals, as well as amateur participants of talent contests in Norway. The article finds that structural differences between these industries trigger struggles over the content and presentation of musical performances which, over time, undermine the credibility of the joint venture. However, the ‘flow model’ of television and the ‘editorial model’ of music are presently undergoing transformation within the digital media context that in turn afford new opportunities for corporate collaboration and for musical talents to find their audiences.

• Kjus, Yngvar (2016). Musical Exploration via Streaming Services: The Norwegian Experience. Popular Communication - The International Journal of Media and Culture. ISSN 1540-5702. 14(3), s. 127–136. doi: 10.1080/15405702.2016.1193183. Fulltekst i vitenarkiv Vis sammendrag

  Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88 percent of digital music revenues in 2014, as opposed to 23 percent 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 model. It examines the provisions for exploration through streaming, pointing to automated algorithms and human curation as key devices. It then collects quantitative data on the presentation of music via a Norwegian service (WiMP/Tidal) and qualitative findings from interviews with consumers about their experiences with music streaming. Key discrepancies arise between the promise and the reality of streamed-music discovery, both for artists seeking new fans (and funds) and for audiences expecting streaming to supersede existing forms of musical exploration.

• Kjus, Yngvar & Danielsen, Anne (2016). Live Mediation. Performing Concerts Using Studio Technology. Popular Music. ISSN 0261-1430. 35(3), s. 320–337. doi: 10.1017/S0261143016000568. Fulltekst i vitenarkiv Vis sammendrag

  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 find that challenges to creative authorship and expressive agency are constantly negotiated through evolving practices of up- and down-scaling particular aspects of studio works on stage, as well as designing technological set-ups tailored to individual forms of improvisation. While these practices challenge deep-rooted notions of the ‘right’ or appropriate bond between musician and music, the appropriation of studio technology in live performance has clearly become an integral part of many artists’ continual exploration of their musical agency.

• Kjus, Yngvar (2016). Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services. New Media & Society. ISSN 1461-4448. 18(9), s. 2116–2132. doi: 10.1177/1461444815580414. Fulltekst i vitenarkiv Vis sammendrag

  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 online streaming with a local profile. These distributors are found not only to have changed the way in which they make records available, but also to have cultivated specific forms of musical communication, in perceptual, psychological and social terms. In doing so, they have developed crucial tools, such as the retailing of high-fidelity sound systems and the hosting of local concert events.

• Kjus, Yngvar & Danielsen, Anne (2014). Live Islands in the Seas of Recordings: The Music Experience of Visitors at the Øya Festival. Popular music and society. ISSN 0300-7766. 38(5), s. 660–679. doi: 10.1080/03007766.2014.929322. Fulltekst i vitenarkiv Vis sammendrag

  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 that new music media can in fact enhance the live music experience but also uncovers fresh dilemmas regarding the fundamental pleasures of attending performances.

• Kjus, Yngvar (2011). Folk ser mer på nett-tv. Hvorfor burde vi bry oss? Norsk Medietidsskrift. ISSN 0804-8452. 2011(1), s. 68–73.
• Kjus, Yngvar (2011). New Industry Dynamics: Lessons from Reality TV in Norway. I Kraidy, Marwan M. & Sender, Katherine (Red.), The Politics of Reality Televison: Global Perspectives. Routledge. ISSN 9780415588256. s. 161–176.
• Kjus, Yngvar (2010). Fabricating Cultural Events : The Rise of International Programme Formats in Norwegian Television Production. Mediekultur. ISSN 0900-9671. s. 92–105.
• Sundet, Vilde Schanke & Kjus, Yngvar (2010). Medienes selvopptatthet. Norsk Medietidsskrift. ISSN 0804-8452. 17(1), s. 77–83.
• Kjus, Yngvar (2009). Impact of prestige programs on production practices : the case of crossmedia and audience participation in public service organizations. Journal of Media Practice. ISSN 1468-2753. 10(2&3), s. 167–184.
• Kjus, Yngvar (2009). Everyone needs idols : realitiy television and transformations in media structure, production and output. European Journal of Communication. ISSN 0267-3231. 24(3), s. 287–304. doi: 10.1177/0267323109336758.
• Kjus, Yngvar (2009). Idolizing and Monetizing the Public: The Production of Celebrities and Fans, Representatives and Citizens in Reality TV. International Journal of Communication. ISSN 1932-8036. s. 277–300.
• Kjus, Yngvar (2009). Collaborative Reproduction of Attraction and Performance: The Case of the Reality Show Idols. I Moran, A (Red.), TV Formats Worldwide: Localizing Global Programs. Intellect Ltd.. ISSN 1841503061. s. 113–128.
• Kjus, Yngvar (2008). Kampen om oppmerksomheten, Fjernsyn i digitale omgivelser : kringkastingens møte med nye medier. IJ-forlaget. s. 67–86.

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• Kjus, Yngvar (2018). Live and Recorded: Music Experience in the Digital Millennium. Palgrave Macmillan. ISBN 978-3-319-70367-1. 184 s. Vis sammendrag

  This book uncovers how music experience–live and recorded–is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume employs the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.

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• Kjus, Yngvar; Kraugerud, Emil & Skjerdal, Øyvind (2024). Tutoring, selling, gearfluencing, or what? An explorative study of the players, motives, and methods of online introductions to music production technology.
• Kjus, Yngvar (2024). Musicians in the flow of technology: A study of how music makers relate to new technology and the implications for creative practices, roles, and rights.
• Kjus, Yngvar (2024). Panelsamtale under lanseringen av boken "Parody in the age of remix" .
• Kjus, Yngvar (2024). Endelig rettferdig? Norsk musikkbransjes forventninger til EUs direktiv om opphavsrett i digitale markeder. .
• Kjus, Yngvar & Kraugerud, Emil (2023). Transformations of production technology in the online environment.
• Kjus, Yngvar (2023). The rise of music production platforms.
• Kjus, Yngvar (2023). Working on the (value) chain: A study of how technology companies intervene in music production in the online era.
• 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.

• Kjus, Yngvar (2022). Strømmekonserter - mer enn en nødløsning? Presentasjon på boklansering.
• Kjus, Yngvar (2022). Is music production undergoing platformization? If so, how, and with what effects?
• Kjus, Yngvar; Brøvig, Ragnhild & Wang, Solveig Margrethe (2022). Encountering new technology: A study of how female creators explore DAWs.
• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild & Wang, Solveig Margrethe (2022). Getting onto the platforms of music production: How women negotiate the creative opportunities of digital audio workstations. Vis sammendrag

  The topic of this paper is the encounter with new technology and the exploration of its potential in creative work. More specifically, it looks at experiences with digital audio workstations (DAWs), such as Ableton and Logic, which during a few decades have been established as almost indispensable software for composing songs, shaping sounds and refining expressions, among other things. We ask what characterizes the early and potentially formative encounters with DAWs, probing how beginners relate to opportunities and obstacles for their creative ambitions. Our study focuses on female creators, who often are underrepresented in music production. The study will shed light on the conditions of, and the potential barriers for, women to take part in contemporary music production, thereby also illuminating the pathway for others who begin to use DAW platforms in their music making. There exists considerable research on the development of new music technology and on the creative processes of production, including how the use of DAWs entail innovations in musical expression (e.g. Bennett and Bates 2018, Brøvig-Hanssen and Danielsen 2016, Kjus 2018, Zagorski-Thomas 2012). There are few studies, however, on how creators encounter technology which is new to them. This can be seen as an explorative sense-making process that music makers go through when they discover the tools and techniques they want to use. Insights from research on perceptual processes can contribute to our understanding of how individuals chart possibilities and limitations in their environment, over time developing awareness of nuances and variations in the musical affordances of tools and technologies (e.g. Clarke 2005). We are interested in how beginners explore the architecture of DAW programs and how they develop competency in the use of different functionalities and effects. Moreover, we are interested in the significance of DAWs for creative processes, whether they are used to continuate existing workflows or to develop musical materials, effects and structures in new ways. We are thereby interested in how the use of DAWs stimulates (or obstructs) different kinds of creativity, and will thereby lean on literature on creative processes (e.g. McIntyre 2011, Csikszentmihalyi 1996). One aspect of creativity is the ability to identify problems as well as solutions, which for music makers involves various issues regarding the construction and articulation of sounding expressions. One of the things we explore is the extent to which the problems/solutions of music making is being entwined with the problems/solutions of using DAWs. The primary method of the study is qualitative interviews with female musicians, probing various aspects of their experience with using DAWs with specific attention to their accounts of creative gratification as well as to technology-induced frustrations. Our informants (n=11) are recruited from DAW introduction courses, where we also carried out field observation and interviews with experienced instructors as part of our ambition to identify patterns in the appropriation and utilization of DAWs.

• Kjus, Yngvar (2021). Bransjen bak scenen: Strømmetjenester og plateselskap får avgjøre hvem som kan leve av musikken. Dagsavisen. ISSN 1503-2892.
• Kjus, Yngvar (2021). Collective musicking on DAW platforms? Vis sammendrag

  This talk will present key aims of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. This presentation will discuss the extent to which the response (ranging from comprehensive employment to rejection) to technological advances is conditioned by collectives, whether they are informal genre communities or more formalized institutions of art and education. Music making entails various forms of collaboration, and the project will examine how online production resources stimulate or challenge them. It aims to carry out in-depth case studies of genres with specific social characteristics, including rock/pop (with bands involved in long-term projects) and rap/hip-hop (where artists engage in projects more flexibly with other artists and producers). The benefits of this approach will be compared with the insights that might be found by examining how contemporary production platforms are introduced and taught at music education institutions (including the Norwegian Academy of Music), unpacking how the platforms are incorporated into courses on computer music and laptop musicianship, as well as more traditional courses on composition and performance. The talk will discuss how these approaches might shed light on the routes and milieus, informal and formal, through which a new generation of music makers is brought to these new platforms.

• Kjus, Yngvar (2021). Transformations in the creative roles and modes of music production. Vis sammendrag

  This talk will present key aims and issues of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. One of the project’s key questions is: To what extent is platformization involved with transforming creative roles and modes of music production? The hypothesis is that new platforms influence key professions in the value chain of music. The central roles of composer, performer, and producer are already reflected in the protection afforded by copyright law and the associated right of remuneration, but DAWs represent a growing range of functionality, including algorithmic automatization and networked cooperation, that challenges these established roles.

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2021). Møter med teknologi: Kvinnelige skaperes utforsking av DAWs.
• Kjus, Yngvar (2021). Comparing the platforms of cultural production: Music, film, game. Vis sammendrag

  A key development in the creative industries is the spread of large digital services and tools in numerous countries. Such utilities and technologies are often presented and perceived as platforms that are able to accommodate countless users and uses. Their emergence has been highly visible in the area of distribution, with the proliferation of online services such as YouTube, Facebook, Spotify, the operations and growing dominance of which has triggered much research (for an overview, see Hesmondhalgh 2020, Spilker 2018, Van Dijck et al. 2018). The 2000s and 2010s have also seen pervasive developments in production tech¬nology, including digital audio workstations (DAWs) such as Logic Pro and Live as well as more recent entrants such as AudioTool and BandLab, but their establishment as platforms of music making in the online environment remains comparatively under-researched. This is also the case for neighboring sectors, such as computer games, which leads Foxman (2019: 9) to conclude that “platform tools remain seriously understudied.” To understand how different production platforms develop–and what sets them apart–can be a powerful inroad to understand how cultural content is produced and then channeled into different distribution platforms. The development of products and services that thrive on the internet is a process of platformization, which has been defined as the “penetration of infrastructures, economic processes and governmental frameworks of digital platforms in different economic sectors and spheres of life” (Poell et al. 2019). It is the hypothesis of the current abstract that the developers of production technology, as well as their various user groups, are all involved in a platformization process which are having profound but also distinctive cultural, social, and economic ramifications for different creative industry sectors.

• Kjus, Yngvar & Spilker, Hendrik Storstein (2021). Liveness in deadly times: How artists in Norway explored the expressive potential of live-streamed concerts at the face of Covid-19 .
• Kjus, Yngvar (2021). Har internett gjort det vanskeligere å lykkes i musikkbransjen? [Radio]. NRK P2 - Studio 2. Vis sammendrag

  Selv om de fleste er enige i at strømmetjenester og sosiale medier er viktig for å nå et globalt publikum, kan også de samme plattformene begrense mulighetene for artister i dag. Forskere ved Univesitetet i Oslo mener musikkbransjen er rammet av digital ambivalens.

• Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt (2021). Musikk, opphavsrett og internett. Vis sammendrag

  Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30. På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet. Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter). Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no. Seminarprogrammet: Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30) Velkommen og kort presentasjon av seminaret og prosjektet - Forhandlinger om opphavsrett, Yngvar Kjus - Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen - Opphavsrettslige utfordringer, Olav Torvund Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00) Keynotes: - Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis? - Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo) Panel: - Kathrine Synnes Finnskog (Music Norway) - Ole Henrik Antonsen (NOPA) - Erik Brataas (Arctic Rights, Amplify:Creatives) Vel møtt!

• Kjus, Yngvar (2021). Strømming gjør det vanskeligere å lykkes i musikkbransjen enn noensinne. [Internett]. www.hf.uio.no/imv/forskning/aktuelt.
• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter.
• Kjus, Yngvar (2020). The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Redaktører for spesialnummer om musikk og medier. Norsk Medietidsskrift. ISSN 0804-8452. 27(3). doi: 10.18261/ISSN.0805-9535-2020-03-01.
• Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard (2020). Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Lyden av digitalisering: Preludium om musikk og medier. Norsk Medietidsskrift. ISSN 0804-8452. 27(3), s. 1–10.
• Kjus, Yngvar (2020). Book Review: "Women in the Studio: Creativity, Control, and Gender in Popular Music Sound Production", by Paula Wolfe. Popular Music. ISSN 0261-1430. 39(2), s. 373–375. doi: 10.1017/S0261143020000306.
• Kjus, Yngvar & Hagen, Anja Nylund (2020). Music on (and in) demand: Negotiating and competing in streaming. Vis sammendrag

  This keynote asks what kind of negotiations that take place as music is made available for streaming and how the various players of the music business maneuver the competition in globalized markets. It presents findings from an industry-wide survey (N=556) and 35 qualitative interviews featuring Norwegian musicians, composers and intermediaries across different genres and roles. The aim is to highlight key developments in the practices and prospects of music streaming in recent years, both for creators and other industry professionals. The presenters are both part of the research project Music on demand: Economy and copyright in a digitised cultural sector (MUSEC), funded by the KULMEDIA program of the Research Council of Norway.

• Kjus, Yngvar & Spilker, Hendrik Storstein (2020). Introduksjon til seminar om musikk og medier i den digitale tiden.
• Kjus, Yngvar (2020). Vil ha opphavsretten ut av lukkede rom. [Fagblad]. Ballade.no. Vis sammendrag

  Kunne bandkonfliktene vi kjenner fra media og rettsvesenet de siste årene vært unngått? Møt forskeren som mener han har løsninga, etter å ha intervjuet norske artister om deres forhold til den komplekse opphavsretten.

• Kjus, Yngvar (2019). Keynote foredrag: Hvordan oppleves levende musikk i den digitale tiden?
• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara (2019). Musikkprodusentens rolle. Vis sammendrag

  Musikkprodusentens rolle - Hva skal til for å lykkes som studioprodusent? - Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål? - Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres? Debattleder: Yngvar Kjus (førsteamanuensis ved IMV) Med Sara Karoliussen (artist, produsent, ex-IMV) Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV) Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO) Michael Scott Hartung (produsent) Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)

• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019). Med opphavsrett på studieplanen. [Fagblad]. Ballade.no.
• Kjus, Yngvar (2019). Is streaming streamlining copyright in music? .
• Kjus, Yngvar & Hagen, Anja Nylund (2019). Musikkbransjen i strømmetiden.
• Kjus, Yngvar (2018). Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy .
• Kjus, Yngvar (2018). The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
• Kjus, Yngvar (2018). Musical negotiations: How singer-songwriters relate to economy and copyright in digital times.
• Kjus, Yngvar (2018). Kontemporære medier og fremveksten av nye musikalske sjangere. Vis sammendrag

  Prøveforelesning for stilling (førsteamanuensis) innen musikk og medier.

• Kjus, Yngvar (2018). Boklansering: Live and Recorded: Music Experience in the Digital Millennium. Vis sammendrag

  Gjennom datamaskiner, nettbrett og mobile medier formidles mer musikk enn noensinne – men hvordan oppleves musikk i vår tid? Velkommen til lanseringen av Yngvar Kjus’ bok «Live and Recorded. Music Experience in the Digital Millennium». Artister og fans kaster seg ofte over nye medier, fra radioapparater til mobilapper, men hvordan brukes de til å kommunisere gjennom musikk? Det åpnes nye muligheter for å uttrykke seg, men samtidig reises nye utfordringer til å leve seg inn i musikken, både den levende og den innspilte. I sin utforskning av denne tematikken bruker forfatteren perspektiver fra medievitenskap, musikkvitenskap og psykologi, deriblant forskning på mentalisering. Til lanseringen kommer derfor et panel bestående av en medieviter, en musikkviter og en musikkpsykolog. De vil kommentere boka og det tverrfaglige potensialet den peker på. Program Presentasjon av boka v/Yngvar Kjus Musikk, medier, psykologi – innlegg og samtale mellom Yngvar Kjus, Ragnhild Brøvig-Hanssen, Anders Fagerjord og Even Ruud.

• Kjus, Yngvar (2018). Music on demand: Economy and copyright in a digitised cultural sector. Vis sammendrag

  Presentasjon og diskusjon av delprosjekter.

• Kjus, Yngvar (2018). How to make money in music in the digital age? Vis sammendrag

  Spotify, Tidal, YouTube, Soundcloud and Facebook: media which have opened up new possibilities for making a living via music, but have also produced challenging conditions for collecting earnings. A research project is starting this year which will take a closer look at the best ways to tap the new potential. What’s the best way to deal with the music media to ensure maximum exposure and revenue? How do you get hold of income from foreign territories? How can state funding strengthen the artists' position in dealing with big media organisations? A research team from the University of Oslo will present these issues, and a panel of artists, managers and record label executives will share their experiences and their hopes for the project.

• Kjus, Yngvar (2017). Dur eller moll for norsk musikk? Dagens næringsliv. ISSN 0803-9372.
• Kjus, Yngvar (2017). Producing consumption: Facilitating musical immersion across online and offline media.
• Kjus, Yngvar (2017). Music experience in the digital millennium.
• Kjus, Yngvar (2017). Music Experience in the Intersection of Concerts and Archives.
• Kjus, Yngvar (2017). Instituttleiar Arne H. Krumsvik i samtalar om media og samfunn: Yngvar Kjus om Idol, X Factor, The Voice og The Stream. [Internett]. https://krumsvik.podbean.com/e/yngvar-kjus-om-idol-x-factor-.
• Kjus, Yngvar (2017). Paneldebatt: Brave New World – med SoMe som våpen. Vis sammendrag

  Den eksplosive bruken av sosiale medier har gjort det mulig for artister å gradvis bygge sitt eget image på kontrollert vis. Tradisjonelle og hierarkiske strukturer har blitt skjøvet til side til fordel for direkte kommunikasjon med fansen, og med det en ekstraordinær kontroll over eget uttrykk. Kan denne selvstyrte merkevarebyggingen gjøre det lettere å omgå etablerte strukturer og hindere knyttet til stereotypier og kjønnsroller? Har vi friheten til å unngå å settes i bås når vi selv kan forme både uttrykk og budskap – eller er maktstrukturer og portvoktere bare bedre skjult? Hvordan promoterer man seg selv på en vellykket måte i denne nye verdenen av muligheter, og kan tilstedeværelsen i sosiale medier egentlig erstatte tradisjonell pressedekning? I seminaret "Brave New World – med SoMe som våpen" møter du unge influencers som har eget uttrykk i sin hule hånd. Du vil også få inspirasjon til hvordan du på kreativt og nytenkende vis kan vise hvem du er og nå ut til nye grupper gjennom sosiale medier. Panel: Moderator: Yngvar Kjus (PhD) jobber med musikk og medier ved Universitet i Oslo og har blant annet undersøkt kjønnsforskjeller i formidlingen av artister. Yngvar deltok i forskningsprosjektet Sky og Scene, som i flere år studerte trender i musikkulturen. Namra Saleem har skrevet oppvekstromanen I morgen vi ler, spiller i bandet Level & Tyson og jobber til daglig som kulturansvarlig i Antirasistisk senters ungdomsavdeling, Agenda X. Rebekka/Seaweed Girls har en bachelor i musikkteknologi og er singer/songwriter i Seaweed Girls, en DJ-duo med et svært karakteristisk uttrykk og en enorm følgerskare på sosiale medier. Oda Faremo Lindholm er utdannet økonomisk historiker og jobber i NRK. Hun har tidligere vært samfunns- og kulturjournalist i Dagsavisen og redaksjonssjef i Natt&Dag. Høsten 2014 ga hun ut sakprosaboken Bullshitfilteret, der hun forsøker å gi ungdom et bullshitfilter mot den seksualiserte og kjønnede medie- og populærkulturen vi er omgitt av i dag.

• Kjus, Yngvar (2016). Intervju om strømmetjenester for musikk i i Søndagsåpent på NRK P1. [Radio]. NRK.
• Kjus, Yngvar (2016). Strømming = markedsføring eller inntekter? Dagens næringsliv. ISSN 0803-9372.
• Kjus, Yngvar (2016). Live and Recorded. Creations of Stage and Studio.
• Øgrim, Tellef & Kjus, Yngvar (2016). Musikkmaskinene kvesser sine algoritmer. [Fagblad]. Ballade.no.
• Danielsen, Anne; Maasø, Arnt; Hagen, Anja Nylund & Kjus, Yngvar (2016). Clouds & Concerts summarised.
• Kjus, Yngvar (2016). Live and Recorded: Music Experience in the Digital Environment.
• Kjus, Yngvar (2016). Hvordan spille konsert i laptopens tidsalder? Musikkmagasinet Ballade. ISSN 0805-5041.
• Kjus, Yngvar (2016). Festivalopplevelser i den digitale tiden - nye muligheter for musikkformidlere?
• Kjus, Yngvar (2015). Konsertopplevelser i digitale omgivelser.
• Kjus, Yngvar (2014). Who needs a middleman? Transformations in local music distribution in the age of global online services.
• Kjus, Yngvar (2014). Festivaler i en strømmeverden. Ballade. ISSN 0332-5148.
• Kjus, Yngvar (2014). Sky og scene: Endringer i musikkformidlingen.
• Kjus, Yngvar & Hagen, Anja Nylund (2013). Playlists as phenomenon and analysis of editorial playlists, Playlists use as strategic personalization.
• Kjus, Yngvar (2013). The Use of Editorial Playlists: The WiMP Case.
• Kjus, Yngvar (2013). Kulturpolitikkens nytale. Prosa - tidsskrift for skribenter. ISSN 0805-276X.
• Kjus, Yngvar (2013). Konsertopplevelser i den digitale alderen: Påvirker nye medier det perseptuelle, psykologiske eller sosiale ved å dra på konsert?
• Kjus, Yngvar (2013). Festival! Mellom rølp, kultur og næring. Studia Musicologica Norvegica. ISSN 0332-5024. 39, s. 145–148.
• Kjus, Yngvar (2013). Strukturendringer i musikkindustrien: Å navigere i digitale omgivelser.
• Kjus, Yngvar (2013). Live islands in the seas of recordings: The live music experience of festivalgoers in the digital age.
• Kjus, Yngvar (2013). The New Faces of Music: Festivals and Streaming services as Interfaces of Live and recorded music.
• Kjus, Yngvar (2013). Hva er musikkens verdi? Masterbloggen.
• Kjus, Yngvar (2012). Robotmusikk og følelser. [Radio]. https://www.uio.no/om/aktuelt/universitetsplassen/nyheter/20.
• Kjus, Yngvar (2012). Konsertopplevelser i den digitale alderen.
• Kjus, Yngvar (2012). New Spaces for Music? Festivals and Streaming Services as Intermediaries of Live and Recorded Music in Norway.
• Kjus, Yngvar (2012). Sky og scene: Gamle og nye formidlere.
• Kjus, Yngvar (2008). Impacts of event formats on television.
• Kjus, Yngvar (2008). Historisk humorist. Morgenbladet. ISSN 0805-3847.
• Kjus, Yngvar (2009). Event media : television production crossing media boundaries. Universitetet i Oslo.
• Kjus, Yngvar (2009). Event media: television production crossing media boundaries. Unipub forlag. ISSN 0806-3222. Vis sammendrag

  This thesis studies the production of big program events, which are characterised by creating strong experiences of unfolding here and now. Their sense of presence and liveness is closely connected to their communication via multiple media (TV, radio, online, mobile), and that the media also allows the audience to participate in the events. The study is thereby concerned with a broad program trend, which reality TV is a marked exponent for, with programs like Big Brother, The Farm and Dancing With The Stars, but which also is represented in more educational and informative programs like Test Your Vote, Extreme Weather Week and Better Puls. By addressing this program trend, the thesis is also addressing the transformations of the TV industry after the turn of the century, including in particular its rapid expansions beyond broadcasting due to the rise of digital technology. The study sets out to identify developments in production, distribution and content, and to evaluate their implications for television in industrial as well as public life terms.

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