Department of Popular Music

This study investigates the correlations between theories of intense emotional experiences and production techniques used in electronic dance music (EDM), commonly known as “build-up” and “drop”, which are designed to create tension and a heightened emotional intensity among clubbers. This is done by descriptive and interpretive music analysis, where spectrograms and a schematic model visually represent the dominant production techniques. Through a theoretical framework consisting of musical expectancy and gravity, an analysis of two recently produced EDM tracks suggests that i) extensive use of uplifters, ii) the “drum roll effect”, iii) large frequency changes, iv) removal and reintroduction of bass and bass drum, and v) a contrasting “breakdown” cause tension and anticipation, which seem to correlate with a possible intensification of emotional experience. This is furthermore discussed and more broadly related to the club experience, drawing on the psychological concepts of Peak Experience, Strong Experiences with Music and Absorption.

This paper explores the experience of pleasure and the desire to move to Electronic Dance Music (EDM) in two different settings. Additionally, it provides a detailed account of musical features and structural conventions of EDM associated with such experiences. The paper’s point of departure is the preliminary findings from two experimental empirical studies. In experiment 1 an optical motion capture system recorded body movements of 16 participants, dancing together in a club-like atmosphere to a DJ mix. In experiment 2, electrodermal activity, heart rate level and respiration of 24 participants were measured while they listened to EDM excerpts situated still and alone in a lab context. Both studies included questionnaires, gathering information about participants’ self-reported pleasure and bodily and affective appraisal of the music. Results from the dance study show correlations between specific features in the music, intensity of body movements and self-reported affective experience. The physiology study indicated correlations between physiological arousal, self-reported affective experience and the same musical features. Dance participants mentioned the club setting and moving together with others as important in reinforcing their affective experience. Interestingly, the physiology study participants reported about intensely pleasurable experiences and a wish to move despite sitting still and alone. Participants from both studies perceived features related to structural changes as especially pleasurable and causing a wish to move. Regardless of experiment setting and bodily involvement, both studies indicate correspondences between musical features and participants’ degree of movement or wish to move, and the intensity of their affective engagement.

How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group's bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group's quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers' movements. Pronounced changes occurred in the group's quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one's own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience. MUSIC has the unique ability to temporally synchronize us, both physically and affectively. This can be seen in the way in which a group of people are able to move " together " to music and also share similar pleasurable experiences of dancing together. Such experiences are often to be found on nightclub dance floors, a setting in which people dance both individually and collectively to loud and energetic music while spectacular visual effects light up the darkened space. There are many studies of shared embodied experiences with electronic dance music (EDM) in club settings (. These studies, however, have tended to focus on sociological and cultural aspects, such as identity, social interaction, gender, and sexuality, and they have mainly used interpretive readings and ethnography as points of departure. As far as we know, there are no existing empirical investigations into how people move to EDM, what happens affectively in such settings, and how these body movements and affective engagements are related to sonic features in particular. This paper reports on an experimental study of EDM dancers' experiences that was carried out in a controlled yet club-like environment. In it, we explore how the co-shaping of a shared experience happens in an EDM environment, as evidenced through motion capture data and subjective self-reports. The general research question of the project is: • How do people engage with EDM when dancing? 302 This research question is approached from three different perspectives: (1) Music: What is the role of the EDM track in the shaping of the club experience? (2) Pleasure: What are the associations between how the participants move to the EDM track and their experience of pleasure? (3) Intersubjectivity: In what ways can experiences with EDM be described as intersubjective? An overall aim in the study has been to connect the affective and embodied aspects of the musical experience of EDM. This had some implications for the research design, in that we focused on creating a controlled experiment in a club-like setting that would hopefully evoke real life. In doing so, we ventured into fairly unexplored motion capture territory, since optical, marker-based motion capture systems have been little used in either complex group settings or real-life clubbing situations. The paper starts with a review of some relevant literature, followed by a presentation and discussion of the experiment and its results.

The admission to the music performance programs in Norway is not coordinated. There are good reasons for that, but it also presents some challenges. An example of these is that there are no surveys at the national level of the changes over time in the number of applicants to the classical and popular music performance programs. The article contributes to new knowledge and insight in this area in that it explains and discusses the findings of three empirical studies in the 2000s, studies that provide the basis for answering the question: Is it in Norway today more applicants to the popular music educations than to the classical ones?

This article discusses whether comparable traits exist between the acad-emising processes that have taken place within Norwegian folk music and popular music/jazz. A major similarity shared by the said types of music is the concern voiced against education in the field, because there often is a focus on what is rights or wrongs in education. One of the differences is that, when it comes to jazz, pop, rock education, all were established within already existing art music institutions, with the particular challenges this entails. As regards folk music part, this is the case only at one of the three Norwegian institutions offering folk music education on a large scale and at a high level. The remaining two were established as quite new independent academies, as a result of local and individual initiatives. The article also considers whether educational frames and a focus on what is "right or wrong" in instruction can contribute to the creation of great art within the folk mus...

This article discusses whether comparable traits exist between the academising processes that have taken place within Norwegian folk music and popular music/jazz. A major similarity shared by the said types of music is the concern voiced against education in the field, because there often is a focus on what is rights or wrongs in education. One of the differences is that, when it comes to jazz, pop, rock education, all were established within already existing art music institutions, with the particular challenges this entails. As regards folk music part, this is the case only at one of the three Norwegian institutions offering folk music education on a large scale and at a high level. The remaining two were established as quite new independent academies, as a result of local and individual initiatives. The article also considers whether educational frames and a focus on what is "right or wrong" in instruction can contribute to the creation of great art within the folk music genre.

The admission to the music performance programs in Norway is not coordinated. There are good reasons for that, but it also presents some challenges. An example of these is that there are no surveys at the national level of the changes over time in the number of applicants to the classical and popular music performance programs. The article contributes to new knowledge and insight in this area in that it explains and discusses the findings of three empirical studies in the 2000s, studies that provide the basis for answering the question: Is it in Norway today more applicants to the popular music educations than to the classical ones?

This article explores how Norwegian record label managers understand their current positions and future possibilities in a market that is increasingly driven by on-demand subscription-based streaming. It adds to a growing body of research by adopting a qualitative approach, seeking to describe issues at a personal or company level, and provide nuance and dynamics in a discourse that is often described in dichotomies and on aggregate levels. The article argues that stakeholders have more varied attitudes than simply being for or against the innovation, the new economic models and their eff ects on their own business, and the market in general. It also demonstrates that perceptions change as markets develop, and stakeholders and their businesses adjust. The article uses four in-depth interviews to assess a 2013 government-initiated project, and provides insights into differing positions and changes over time.

In this second section, focus will be given the Kristiansand Roundtable Conference and the dialogues and data that this book builds upon. Throughout this part, extracts and quotations will be taken from conferences to exemplify and illustrate issues that will be further discussed in the text. The Kristiansand Roundtable Conference provides a rare opportunity to follow the difficult discussions among key stakeholders within and outside the music industries, as they try to make sense of the current situation, the different options on the table, as well as the opposing and conflicting agendas. The dialogues and discussions display a complex matrix of different interests and agendas, illuminating a variety of problems relating to digitalization in the music industries. It also represents a landscape in transition, as power-dynamics shift and the logics that previously underpinned the music industries looks less certain in. Hence an articulated objective for the very Conference being to ...

The stipulated standard time according to annual inspection done under the Health Facility Act 2008 is once per year however, due to varying workloads, use factor, and tube age the calibration cycles can be adjusted. Significance of this work includes determining the optimal calibration time of diagnostic X-ray tubes, resulting in promotion of new knowledge and influencing policies on the need for timely calibrations, additionally it may be used as a marker for urgent calibration in high workload facilities via diagnostic reference per unit to establish an institutional local standard. Parameters involved in this research are X-ray tube output (mGy/mAs), workload (mAmin/week), use factor and fluence (mGy/cm 2). Comparative studies were done at two local hospitals in Guyana namely Georgetown Public Hospital Corporation (GPHC) and Linden Hospital Corporation (LHC). Barium meals (B.M) and intravenous pyelograms (IVP) were measured at Georgetown Public Hospital Corporation. The RaySafe X2 was placed in the path of the X-ray beam at different settings of peak kilovoltage and millamperage-second and the radiation quantities were displayed on the base unit. This research investigated the effect of variation factor on the calibration of the static radiography on a fluoroscopy unit. Factors measured included kerma, tube output, fluence and age of tube output and workload. The differences obtained were significant in the cases of the elevated R/F sensor at 60 cm and at table top of 115 cm and varying peak kilovoltages and milliamperage. The difference in tube output could be attributed to anode surface damage (pitting), age of the tube, filtration, and collimation. A lower workload requires less calibration. In conclusion facilities with a workload of approximately 50 patients do not require more frequent calibration.

This study investigates modes of moving visitors in a tourist location using a location-based service. Two field experiments were conducted at a zoo using real visitors as participants and behavior-based dependent variables. Experiment 1 included 2,618 visitors and investigated whether the amount of rewards, in the form of free spins on a wheel of fortune, would affect the choice to move to this wheel and claim the offered rewards. The choice of using this offer was used as a dependent variable. Experiment 2 included 970 visitors and investigated whether labelling participants with a fitting trait led them to move to a certain location. Geographical data using iBeacon logging was used as the dependent variable. Using chi-square tests for independence, we causally show that both the reward and the label had a positive and significant effect on moving the visitors to the targeted location.

The International Journal of Music Business Research (IJMBR) as a double‐blind reviewed academic journal provides a new platform to present articles of merit and to shed light on the current state of the art of music business research. Music business research is a scientific approach at the intersection of economic, artistic, especially musical, cultural, social, legal, technological developments that aims at a better understanding of the creation/production, dissemination/distribution and reception/consumption of the cultural good music. Thus, the IJMBR targets all academics, from students to professors, from around the world and from all disciplines with an interest in research on the music economy. Articles Customer experience management in the music industry online communities Jari Salo 7 The new artrepreneur ‐ how artists can thrive on a networked mu‐ sic business Maike Engelmann, Lorenz Grünewald and Julia Heinrich 31 How media prosumers contribute to social innovation in toda...

According to Krueger (2005) the main reason for concert ticket prices for popular music to show a sharp increase between 1996 and 2003 is that artists felt less constrained from increasing prices due to the erosion of the complementary relationship with album sales. This paper continues his analysis in a more current context by focusing on how the rise of music streaming services has influenced concert ticket prices and revenues, while also providing a brief analysis on the effects of the eco-

With his new book, Fabian Holt provides a critical assessment of current live music discourse and prospects for new theory in the field of live music research. As the book's subtitle suggests, focus is on performance institutions-the club and the festival, and an ambition to provide new theory that captures transformations in these institutions. Holt argues for broader academic perspectives on live performance institutions, more grounded in the humanities and less on business-and industry-research. Fabian Holt posits that performance culture's position in music studies has been uncritically viewed through industry lenses and proposes a sociological approach instead. The author further argues that the book provides an alternative concept for analysing and discussing live music, to the predominant discourses. In that sense, the book might be considered by some to be outside the realm of a journal in music business research. However, Holt's thorough and detailed descriptions of developments in the fields of rock clubs and festivals are valuable contributions to the research of music business, as are the analytical frameworks proposed in the book. The book is structured through ten chapters, organised in three main parts. The first two chapters provide a theoretical framework for the following chapters to be read within. The second part-chapters three to five-focuses on the rock clubs in Europe and in New York. Chapters six to nine constitute part three of the book, which is dedicated to festivals and the summer season-and chapter ten is dedicated to a conclusion. The book is a valuable contribution to the research of music, or to students in search of broader frameworks to read, or research live music within. Much of the book builds on thorough and rather detailed historic accounts of rock clubs, festivals and policy-or political developments in the respective regions and cities. And while these historic accounts are valuable (such as the New York clubs in chapter four, or the historic accounts of western festival growth in chapters seven and eight), it's not all clear to this reader how these accounts develop into new theory. It would appear that the purpose of the framework offered in the book is to assess music performance institutions against the backdrop of the history of the changing framework conditions and ownerships of clubs and festivals. Holt makes several points, arguing the central position of history in his analysis, such as in p 168: History is essential to this book's interest in denaturalizing live music and the conditions of performance culture in contemporary society, or the whole of chapter six. He also argues to broaden our debates and avoid limitations from 'industry-discourse'. Throughout the book, there's a continuous critique of the general live music discourse being excessively based on capitalistic measures and values. And although this might be true, the question becomes whether the alternative is equally limiting. Developments described in the book are closely linked to issues and developments described thoroughly in more 'industry-, or management-centred' literature-and could these perhaps be linked in some way? The division between what Holt seems to present as the ideal models for performance culture and corporate consumer culture, is difficult to fully determine. And it's not all clear how these divisions lead to new theory, beyond (rightfully) pointing out the need for including the humanities in academic discourse, and to view developments in longer historic lines. One of the book's many good offers is the data built on Holt's experience as a field researcher and accounts from an extensive period of data gathering in Denmark, Europe and in the US. This alone provides a much-needed addition to the field of research and the empirical foundations usually provided in research on performance institutions-or the live music industry. Holt's data also provides important insights to the difficult work of the researcher, the difficulties of working at the crossroads of culture and big business and being dependent on business logics to correspond with academic freedom and scientific conduct. These accounts offer important detail to the field, to historic events and historic places, and some will certainly become a point of reference for future researchers.

and Composers represents a broad range international collecting societies, working to enhance creators' rights. They are an important political actor on matters that involve authors and composer's rights. http://www.cisac.org/ DRM Digital Rights Management is a broader term referring to different actions and initiatives providing copyright protection for digital media. GEMA Gesellschaft für musikalische Aufführungs-und mechanische Vervielfältigungsrechte is the German collecting society/performing rights society, collecting and distributing performing rights royalties and mechanical rights royalties. https://www.gema.de/en/ GRD Global Repertoire Database. The GRD was an attempt to create a central, multi-territorial source of copyright metadata on the global repertoire of musical works. The Original working group on the project was initiated x names. The delegates were for the most part at executive level, working with some of the world's most acclaimed artists. Over the next couple of years, the Roundtable Conferences in Kristiansand became an event that spawned initiatives and discussions on such a level that it attracted policy and decision-makers from international organisations within and outside the music industries. Although I was partly involved in music at the time, it was obvious that my invitation to the event was the result of regional funding more than any substantial contribution I was likely to make to the talks. Either way, I was happy and excited to be allowed to observe and follow the conversation and debate. An incredible pool of data Beyond the impressive list of attendants and the nature of the talks, there was one thing in particular I remember noticing; the presence of a microphone in the room. The proceedings were being recorded! This was especially interesting given that the participants were speaking so openly about the opportunities, challenges and problems concerning the music industries in general, as well as their own affiliated industries, companies and organisations. A number of the attendants were as inwardly critical as they were of digital pirates and 'outside' actors. Many controversial points were raised and discussed and I was fascinated to witness the extent of disagreement on subjects that were (and still are) contentious, but which are seldom debated in public. Perhaps the central dimension of the talks was the inherent complexity surrounding the topics. There were specific suggestions that may have led to meaningful progress, but were dependent on so many stakeholders, most with vested interests in competing solutions (and others more interested in the status quo), that any advancement seemed highly unlikely. Many of these complexities stem from internal power struggles within the structures of the music industries, though some can be traced to 'outside' actors-the tech industries, "the pipes and lines to people", as one of the delegates put it, and whose business is dependent on contentand whose direct or indirect influence in the processes became evident during the talks. An additional dimension was the role of policy-making and legislation, both national and international; forces that exert pressure on the processes, while at the same time being a key component to solutions, leading to a considerable proportion of the talks addressing political and legislative issues. And during that first meeting in 2007, this triangular mix of interests and solutions was being discussed in its full range xi and with all three 'parties' represented, although with a majority of delegates from the traditional music industries. As I will explore more thoroughly, the true value of the Kristiansand Roundtable Conferences lies not only in the level of insight among the delegates, but also the range of affiliations and interests represented in the meetings, triggering dynamic, multi-faceted discourse. In 2009, I was encouraged by the University of Agder to apply for a PhD scholarship to study the music industries, music business and music management in the throes of a digital transformation. Remembering the Roundtable Conferences and the recordings of the talks, I asked Peter Jenner and Bendik Hofseth if I could be allowed access to them, and to use them as the empirical foundation for my doctorate thesis. Since the Conferences were held under Chatham House rules, their consent wasn't a given. On the other hand, Peter Jenner had himself explained to the attendees at the beginning of the meeting in 2007 (as well as the following Roundtable Conferences) that the microphones were there to document the talks, that he might organize someone to do something with them in the future and, importantly, that their anonymity would be respected. I was hoping I could be that someone. Thanks to the generous and very inclusive nature of both Peter and Bendik, I was not only given access to the recordings, I was also invited to join the team to help organise the continuation of the dialogue, resulting in five recorded Roundtable Conferences from 2007 to 2011 3 , which I'll elaborate on more thoroughly later in the text.

Or, What needs to be in place before proponents are likely to enter the ring? • Governance arrangements, procedures, work program? • Administrative arrangements? (e.g., for submitting methodology or activity for review, requesting registry account, appealing a decision) • Fully functioning registry, and related rules and requirements? • Detailed activity-cycle guidance? (e.g., for monitoring; defining crediting periods; baselines and additionality provisions; resolving leakage and reversals; validation and verification procedures)