Tor Dybo

Professor Department of Popular Music

Email: tor.dybo@uia.no
Phone: +47 38 14 19 33
Mobile phone: +47 90 05 09 45
Office: K1025 (Universitetsveien 25, 4630 Kristiansand, Norway)

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Background and experience

CURRENT AND PREVIOUS POSITIONS

2004 – today Professor of Musicology Faculty of Fine Arts/Department of Popular Music, University of Agder (UiA) /Norway

2021 – 2023 Adjunct Professor of Musicology (professor II) at Østfold University College, Norway. Tasks: Supervise the academic staff in music for the purpose of strengthen the individual staff member’s scientific competence. This in terms of upcoming applications for accreditation of new courses of music education at the graduate level (Master’s degree).

2007 – 2009 Temporary appointment as Supervisor PhD (part-time), Norwegian Academy of Music (NMH), Oslo, Norway.

2005 – 2009 Adjunct Professor of Musicology (professor II) at Nord University, Campus Nesna, Norway with an emphasis on ethnomusicology, jazz and popular music research.

2003 – 2004 Professor of Musicology (100% permanent position) at Nord University, Campus Nesna, Norway with an emphasis on ethnomusicology, jazz and popular music research.

1997 – 2003 Research Supervisor (50%) for the academic staff Nord University, Campus Nesna, Norway.

1995 – 2003 Associate Professor of Musicology (100% permanent position) at Nord University, Campus Nesna, Norway with an emphasis on ethnomusicology, jazz and popular music research.

1990 – 1994 Research Fellow in Jazz Research, Faculty of Humanities/Department of Music/Norwegian University of Science and Technology (NTNU)/Trondheim/Norway.

Areas of responsibility

Experienced Professor with a demonstrated history of working in higher education and research. Skilled in Research Assessment, Research Leadership, Developing Doctoral Programs, Musicology (including Ethnomusicology, Popular Music, Jazz), and Lecturing. Strong education professional with a Dr.art. in Musicology from Norwegian University of Science and Technology (NTNU).

Research profile: Jazz Research; Popular Musicology and Popular Music Studies (including popular music and gender, popular music and media and folk rock); Musicological Theory and Method; Ethnomusicology; Norwegian and European Music History (with emphasis on the twentieth century including styles and genres such as contemporary classical music, jazz and rock, world music, etc.); PhD Assessment in Popular Music Performance.

EDUCATION

2010 Awarded scientific competence for position as Professor of Popular Music and Media.

2003 Awarded scientific competence for position as Professor of Musicology with an emphasis on ethnomusicology, jazz and popular music research.

2001 Awarded scientific competence for position as Associate Professor of Ethnomusicology.

1995 Dr.art. (Musicology), disputation date: 03.06.1995. Faculty of Humanities/Department of Music, Norwegian University of Science and Technology (NTNU), Trondheim, Norway

1995 Awarded scientific competence for position as Associate Professor of Music Education.

1994 Awarded scientific competence for position as Associate Professor of Musicology with an emphasis on Music History, especially Norwegian and European Music History.

1989 Cand.philol. (Musicology), Faculty of Humanities/Department of Music/Norwegian University of Science and Technology (NTNU), Trondheim, Norway.

1987 Cand.mag. (Musicology, Nordic literature and language, Media Studies, Sociology and Psychological Anthropology), Faculty of Humanities/Department of Music/Norwegian University of Science and Technology (NTNU), Trondheim, Norway.

Teaching

SUPERVISION OF GRADUATE STUDENTS AND RESEARCH FELLOWS

Department of Popular Music, University of Agder, Kristiansand, Norway:

2008 – today Number of Research Fellows/PhD candidates: 12 (9 graduated and 3 active)

2004 – today Master students: 30 graduated

Norwegian Academy of Music (NMH), Oslo, Norway:

2007 – 2009 PhD candidates: 1 graduated

Faculty of Education and International Studies, OsloMet – Oslo Metropolitan University:

2002 Master students: 1 graduated

TEACHING ACTIVITIES

2008 – today University of Agder/Norway: PhD Program in Popular Music Performance: 1) Head of the program (2008–2020); 2) Lectures and seminar management on doctoral courses; 3) Main and secondary supervisor for a majority of the Research Fellows/PhD candidates; 4) Several lectures and conducting seminars throughout the years on the doctoral courses in Analytical Theory and Methods in Popular Music Research (10 credits), Music Technology and Production (10 credits), Ethnomusicology and World Music Research (10 credits), and Dissertation Seminars.

2005 – 2009 Nord University/Norway: Adjunct Professor – Theory teaching and supervision on a master’s degree in musicology.

2004 – today University of Agder/Norway: Popular Music Master: 1) Supervisor of master's theses, 2) Seminar leadership on thesis courses, Lectures and seminars on the mandatory course Musicological Theory and Method (15 credits).

2002 – 2004 Norwegian University of Science and Technology (NTNU), Department of Music/Norway: Lecturer (substitute for Professor Kjell Oversand) on the BA Programme in Musicology in Ethnomusicology (10 credits) and Popular Music (10 credits).

1996 Norwegian University of Science and Technology (NTNU), Department of Musicology/Norway: Lecturer (substitute for Professor Ola Kai Ledang) in Jazz History (bachelor), Music Knowledge (30 credits on bachelor level) and the master courses Jan Garbarek (15 credits) and Jazz and Popular Music Research (15 credits).

1995 – 2004 Nord University/Norway: Associate Professor and Professor – Theory teaching on basic plus intermediate subjects in musicology and music education, inclusive bachelor's degree in Musicology.

1995 – 1997 Norwegian University of Science and Technology (NTNU), Center for Continuing Education, ALLFORSK/Norway: Course leader and lecturer in jazz studies.

1995 Norwegian University of Science and Technology (NTNU), Department of Musicology/Norway: Lecturer in Jazz History (basic studies) and Project Manager (short-term engagement).

1994 – 1997 Norwegian University of Science and Technology (NTNU), Music Conservatory in Trondheim /Norway:Lecturer in Jazz Studies (Bachelor Thesis Supervision, Jazz History and Jazz Historical Specialization).

Research

Selected publications

1. The total number of publications during the career: 5 monographs (3 in production), 2 edited volumes, 1 Dr.art.-dissertation, 1 Cand.philol.-thesis, 12 book chapters, 24 articles in journals, 2 chapters in production for the multivolume-work The Oxford History of Jazz in Europe, 2 articles in Encyclopedia, 20 papers.

2. List of ten publication (scientific and/or artistic) (number of quotations):

Dybo, T. (2019). Folk and Popular Music in the Nordic Countries. In T. Howell (ed.), The Nature of Nordic Music(pp. 139–156). Abingdon: Routledge.

Dybo, T. (2017). Doctoral Scholarship in Popular Music Performance. In H. Dunin-Woyseth & F. Nilsson (eds.), Perspectives on Research Assessment in Architecture, Music and the Arts (pp. 101–113). Abingdon: Routledge.

Dybo, T. (2017). Fairport Convention: Gender and Voicing Strategies in a Sound Signature. In S. Hawkins (ed.), The Routledge Research Companion to Popular Music & Gender (pp. 182–195). Abingdon: Routledge.

Dybo, T. (2015). Folkrock som globalisert musikkultur lokalisert i nordområdene. In P. Fagerheim & O. Larsen (eds.), Musikk, folk og landskap (pp. 175–200). Stamsund: Orkana forlag.

Dybo, T. & K. Oversand (2012). Musikk, politikk og globalisering. Trondheim: Akademika Forlag.

Dybo, T. (2012). Karelsk glokalisering: Värttinä og verdensmusikken. In T. Dybo & K. Oversand (eds.), Musikk, politikk og globalisering (pp. 75–96), Trondheim: Akademika Forlag.

Dybo, T. (2012). Bretonsk glokalisering. In T. Dybo & K. Oversand (eds.), Musikk, politikk og globalisering (pp. 57–74), Trondheim: Akademika Forlag.

Dybo, T. (2012). Britisk etnisitet og Fairport Convention. In T. Dybo & K. Oversand (eds.), Musikk, politikk og globalisering (pp. 33–55), Trondheim: Akademika Forlag.

Dybo, T. (2011). “The Ballad of Matty Groves”: Fairport Convention and the British Folk Tradition. In L. Jonnson (ed.), Mangfold og vidsyn: En musikkvitenskapelig antologi til Ola Kai Ledang ved fylte 70 år (pp. 103–134). Trondheim: Tapir akademiske forlag.

Dybo, T. (2010). Jazz Research in Scandinavia. Jazzforschung Jazz Research 42, 111–127.

3. Research monographs and any translations thereof

Dybo, T. (2022). Fairport Convention: Folk-Rock and Globalization (to be submitted to Routledge).

Dybo, T. (2013). Representasjonsformer i jazz- og populærmusikkanalyse. Trondheim: Akademika Forlag.

Dybo, T. (1996). Jan Garbarek: Det åpne roms estetikk. Oslo: Pax forlag.

Research groups

Popular Music Studies

Dybo, Tor (2025). Gehørtradering: uformelle læringsarenaer i populærmusikken. In Elle, Øystein; Warem, Øystein Sverre; Thorstensen, Jon Sverre & Hovde, Sunniva Skjøstad (Ed.), Musikkfagets kompleksitet og bredde – nye praksiser i et sammensatt samfunn. Cappelen Damm Akademisk. ISSN 9788202840242. p. 309–341. doi: 10.23865/cdf.240. Full text in Research Archive Show summary
I dette kapittelet drøftes gehørtradering som læringsform innenfor populærmusikalske uttrykk som rock, reggae, blues, folk, jazz, elektronika med flere. Kjennetegn for gehørtradering er muntlig overføring av musikalsk kunnskap på uformelle arenaer som øvingslokalet, i hjemmet på privat basis mellom venner, jam sessions med mer. Denne læringsformen har vært forsøkt fanget opp av eksempelvis kulturskoler og kommunalt organiserte rockeverksteder, videregående skoler og høyere utdanning. Men helhetlig vurdert er det er stor mangel på didaktisk kunnskap på feltet. I kapittelet diskuteres norsk og internasjonal forskning på feltet og forskning innen rock-, blues-, folkemusikk-, jazz- og improvisasjonslæring som kapittelforfatteren har vært involvert i.
Dybo, Tor (2020). Made in Sweden: Studies in Popular Music. Puls - journal for ethnomusicology and ethnochoreology. 5. Full text in Research Archive
Dybo, Tor (2019). Folk and Popular Music in the Nordic Countries. In Howell, Tim (Eds.), The Nature of Nordic Music. Routledge. ISSN 9781138207189. p. 139–156. doi: 10.4324/9781315462851-8. Full text in Research Archive
Dybo, Tor (2017). Doctoral Scholarship in Popular Music Performance. In Nilsson, Fredrik; Dunin-Woyseth, Halina & Janssens, Nel (Ed.), Perspectives on Research Assessment in Architecture, Music and the Arts: Discussing Doctorateness. Routledge. ISSN 9781138695573. p. 101–113. doi: 10.4324/9781315526652-7. Full text in Research Archive
Dybo, Tor (2017). Fairport Convention: Gender and Voicing Strategies in a Sound Signature, The Routledge Research Companion to Popular Music and Gender. Routledge. ISSN 9781472456830. p. 182–195. doi: 10.4324/9781315613437-16. Full text in Research Archive
Dybo, Tor (2015). Folkrock som globalisert musikkultur lokalisert nordområdene. In Fagerheim, Paal & Larsen, Ove (Ed.), Musikk, folk og landskap. Orkana Forlag. ISSN 9788281042735. p. 175–200. Full text in Research Archive
Dybo, Tor (2012). Karelsk glokalisering: Värttinä og verdensmusikken, Musikk, politikk og globalisering. Akademika forlag. ISSN 9788232101467. p. 75–96. Full text in Research Archive
Dybo, Tor (2012). Bretonsk glokalisering, Musikk, politikk og globalisering. Akademika forlag. ISSN 9788232101467. p. 57–74. Full text in Research Archive
Dybo, Tor (2012). Britisk etnisitet og Fairport Convention, Musikk, politikk og globalisering. Akademika forlag. ISSN 9788232101467. p. 33–55. Full text in Research Archive
Dybo, Tor (2011). “The Ballad of Matty Groves”: Global Perspectives on Fairport Convention and British Folk Tradition. In Jonsson, Leif Sigvard (Eds.), Mangfold og vidsyn: en musikkvitenskapelig antologi til Ola Kai Ledang ved fylte 70 år. Tapir Akademisk Forlag. ISSN 9788251927130. p. 103–134. Full text in Research Archive
Dybo, Tor (2010). Jazz Research in Scandinavia. Jazzforschung. ISSN 0075-3572. 42, p. 111–127. Full text in Research Archive Show summary
Der vorliegende Artikel gibt einen Überblick uber die Jazzforschung in Skandinavien, und es werden ausgewählte Problemfelder diskutiert. Einleitend wird dargestellt, was unter dem kulturellen Bereich Skandinavien zu verstehen ist. Darauf aufbauend wird auf die skandinavische Jazzforschung eingegangen, und es werden wesentliche Tendenzen innerhalb und außerhalb der musikologischen Forschungslandschaft beleuchtet. Abschließend widmet sich die Untersuchung ausgewählten Themenbereichen innerhalb der skandinavischen Jazzforschung. The purpose of this paper is to give an overview of and discuss some challenges in Scandinavian jazz research. In the first part definitions of Scandinavia and the cultural complex within this region will be talked about. This is followed by a discussion of tendencies in Scandinavian jazz research both within and outside the musicological milieus. In the last part some challenges in Scandinavian jazz research will be presented and analyzed.
Dybo, Tor (2008). Jazz som etnomusikologisk forskningsfelt. STM-Online. Vol. 11 (2008), p. 31–31. Full text in Research Archive Show summary
I denne artikkelen fokuseres særskilt på enkelte nyere tendenser innenfor jazzforskningsfeltet, et forskningsfelt som har gjennomgått omfattende endringer i hva som er aktuelle forskningsspørsmål, som grovsortert kan sies å være preget av fra å være fokusert på jazz som verk (stilanalyse) til fokusering på jazzens iboende kompleksitet og kulturbetydning. Det siste vil si jazzmusikalske uttrykk tolket i en kulturell kontekst. Med antydningen av slike nyere tendenser er vi inne på jazz som etnomusikologisk forskningsfelt. Det etnomusikologiske fagfeltet kjennetegnes bl.a. av et grunnleggende fokus på musikk i og som kultur, og videre en tverrfaglig tilnærming til undersøkelsesfeltet hvor det hentes inn teorier og metoder fra tilgrensende fagfelt som historie, religionsstudier, kulturstudier, sosialantropologi, sosiologi, mediefag osv i analysearbeidet. In this article the focus falls specifically on new tendencies in the field of jazz research. This is an area of study that has undergone extensive changes with respect to a number of overarching questions that, in broad terms, have ranged from the focus on jazz as a stylistic work to that of intrinsic complexity and cultural significance. In the case of the latter, the issue of expression in jazz is interpreted within a cultural context. By suggesting such new tendencies in jazz we inevitably enter the ethnomusicological research field, which is characterized by the underlying focus on music within and as part of culture, and, in addition, as an interdisciplinary approach to the field where theories and methods are extracted from the bordering disciplines of history, religious studies, cultural studies, social anthropology, sociology, media studies, as part of an analytical objective.
Dybo, Tor (2007). Cross-Cultural Forms of Improvisation in Norwegian Jazz Life, Jazzforschung Jazz Research. Jazzforschung Jazz Research. p. 99–110. Full text in Research Archive Show summary
In this article I discuss cross-cultural forms of improvisation in Norwegian jazz life from an ethnomusicological point of view with an emphasis on the questions of musical borrowing from other cultures?where improvisation is an important musical character?and how such borrowing could create other sort of musical characteristics, e.g. in creating «time» and «groove» during performance practices. This theme has its reference to the question of creating a kind of «otherness» with the basis in jazz improvisations, but where it is influenced of cultural impressions from outside the mainstream American jazz traditions. In other words the purpose for this article is to discuss some aspects on how Norwegian jazz musicians and ensembles 1) either use material from other oral musical cultures than the jazz tradition in their improvisations or 2) collaborate with improvising musicians from other oral cultures outside the jazz tradition. My discussions is limited to three different Norwegian based groups: 1) E?Olen, 2) Frode Fjellheim Jazz Joik Ensemble, and 3) Utla.
Dybo, Tor (2005). Jazz og globalisering i et nordkalottenperspektiv, Büchmann-Møller, Frank (red.): Nordisk Jazzforskning: Rapport fra den syvende konference i Odense, 25.-27. august 2004. Syddansk Universitetsforlag. p. 17–27. Full text in Research Archive Show summary
Nordkalotten - som geografisk inkluderer bl.a. Nord-Norge, Nord-Sverige, Finland og Kolahalvøya i Russland - utgjør et geografisk område kjennetegnet med et kulturelt mangfold som representerer både historiske røtter og globale samtidsuttrykk. Blant Nordkalottens musikere og grupper innenfor genre som rock og jazz finner en rekke musikalske markeringer av regional identitet. Slike regionale kulturuttrykk kan således ses på som resultater av en globaliseringsprosess hvor kulturuttrykk på tvers av landegrenser møtes og brytes. Formålet med denne artikkelen er å drøfte hvordan globale kulturmøter og kulturbrytninger kan komme til uttrykk innenfor dagens jazzliv på Nordkalotten. Med bruken av begrepene globale kulturmøter og kulturbrytninger siktes det til hvordan jazz som musikalsk genre - og da med røtter i en afrikansk-amerikansk kulturtradisjon - har dannet utgangspunkt for en rekke nye musikalske synteser og blandingsformer gjennom dens spredning til geografiske områder utenfor USA. I artikkelen brukes eksempler av den finske gruppen Värttinä og det norske ensemblet Oofotr som utgangspunkt for en diskusjon om jazzmusikalske globaliseringsprosesser og krysskulturelle møter på Nordkalotten.
Dybo, Tor (2005). Folkrock - folkemusikalsk revival eller populærmusikalsk fenomen? Studia Musicologica Norvegica. ISSN 0332-5024. 31(Nr 31), p. 124–149. Full text in Research Archive Show summary
Denne artikkelen drøfter enkelte aspekter ved fenomenet folkrock, et globalt kulturelt fenomen som innenfor en europeisk sammenheng fikk sin aktualitet fra slutten av 1960-tallet. Som tittelen gir inntrykk av antydes en polariserende problemstilling med drøfting av hvorvidt om folkrock kan forstås som folkemusikalsk revival eller populærmusikalsk fenomen sett i lys av en globaliseringsdiskusjon. Med dette signaliseres et problemfelt om hvorvidt musikalske prosjekter til enkelte folkrockgrupper og artister representerer en videreføring av folkemusikk i betydningen folkelig tradisjonsmusikk, eller om dette representerer en variant av rock som populærmusikalsk fenomen. Artikkelen avgrenses til et sammenlignende studium over den franskbretonske artisten Alan Stivell og den britiske folkrockgruppen Fairport Convention. This article discusses several aspects of folk rock, a global cultural phenomenon that, in a European context, has gained importance since the 1960s. As indicated in the title, the phenomenon will be discussed in terms of whether folk rock can be understood as a folk music revival or represents a form of popular music; the discussion tends towards polarization between the two mentioned positions and should be seen as an aspect of the debate on globalization. The question is to which degree musical projects of folk rock groups and artists represent a continuation of folk music in the sense of traditional folk music or to which degree it represents a variant of rock as a popular music phenomenon. The discussion is contrasted to a similar study of the French-Breton artist Alan Stivell and the British folk rock group Fairport Convention.
Dybo, Tor (2005). Improvisasjonsformer i norsk jazzliv: Rapport fra et forskningsprosjekt i musikkvitenskap, i: Aasen, Torbjørn (red.): Lærdom i lyd: Musikkonservatoriet i Kristiansand gjennom 40 år. Universitetet i Agder. p. 95–126. Full text in Research Archive Show summary
"Jazzimprovisasjon er i utgangspunktet åpen og kan utvikles i ulike retninger med tilhørende ulike variabler. Innenfor hver jazzgenre må det nødvendigvis utvikles en egen improvisasjonspraksis." Med utgangspunkt i denne arbeidshypotesen blir det i dette forskningsprosjektet fokusert på improvisasjonsmusikkens egenart. For å gjøre dette blir det tatt utgangspunkt i ulike jazzgenrer i Norge. Og for å få mer kunnskap om improvisasjonsmusikkens egenart blir det foretatt et komparativt studium av et utvalg jazzgenrer som jazzrock, standardjazz og krysskulturelle improvisasjonsformer. Utvalget blir gjort ut fra dagens jazzliv. Med utgangspunkt i ulike case studies søkes det gjennom en eksplorerende forskningsprosess å beskrive og analysere særegenheter i improvisasjonsformer fordelt på forskjellige norske jazzmusikere og grupper fra slutten av 60-tallet fram til i dag. Utvalget gjøres blant musikere og grupper som Terje Rypdal, Jan Garbarek, Karin Krog, Arild Andersen, Egil Kapstad, Bjørn Johansen, Bjarne Nerem, Einar Iversen, Blow Out, Moose Loose, E?Olen m.fl. Innenfor hver improvisasjonsform vil det bli fokusert på spørsmål som berører kommunikasjonsprosesser, improvisasjonsvalg, sound og ny musikkteknologi.
Dybo, Tor (2002). En drøfting av analytiske perspektiver i tilknytning til soundbegrepet, Musikklidenskapelig årbok 2002. NTNU. p. 15–54. Full text in Research Archive
Dybo, Tor (1995). Improvisasjonsformer i norsk jazzliv: Rapport fra et forskningsprosjekt i musikkvitenskap, i: Aasen, Torbjørn (red.): Lærdom i lyd ? Musikkonservatoriet i Kristiansand gjennom 40 år, Skiftserien nr. 113, Høgskolen i Agder. Universitetet i Agder. p. 95126–95126. Full text in Research Archive Show summary
?Jazzimprovisasjon er i utgangspunktet åpen og kan utvikles i ulike retninger med tilhørende ulike variabler. Innenfor hver jazzgenre må det nødvendigvis utvikles en egen improvisasjonspraksis. ? Med utgangspunkt i denne arbeidshypotesen blir det i dette forskningsprosjektet fokusert på improvisasjonsmusikkens egenart. For å gjøre dette blir det tatt utgangspunkt i ulike jazzgenrer i Norge. Og for å få mer kunnskap om improvisasjonsmusikkens egenart blir det foretatt et komparativt studium av et utvalg jazzgenrer som jazzrock, standardjazz og krysskulturelle improvisasjonsformer. Utvalget blir gjort ut fra dagens jazzliv. Med utgangspunkt i ulike case studies søkes det gjennom en eksplorerende forskningsprosess å beskrive og analysere særegenheter i improvisasjonsformer fordelt på forskjellige norske jazzmusikere og grupper fra slutten av 60-tallet fram til i dag. Utvalget gjøres blant musikere og grupper som Terje Rypdal, Jan Garbarek, Karin Krog, Arild Andersen, Egil Kapstad, Bjørn Johansen, Bjarne Nerem, Einar Iversen, Blow Out, Moose Loose, E?Olen m.fl. Innenfor hver improvisasjonsform vil det bli fokusert på spørsmål som berører kultursetting, kommunikasjonsprosesser, improvisasjonsvalg, sound og ny musikkteknologi.

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Dybo, Tor (2013). Representasjonsformer i jazz- og populærmusikkanalyse. Akademika forlag. ISBN 9788232101290. 129 p. Full text in Research Archive Show summary
Hvordan kan forskere beskrive og analysere jazz- og populærmusikk? Boken omhandler flere aktuelle forskningsspørsmål innenfor musikkvitenskapelig teori og metode og viser hvordan disse aktualiseres i jazz- og populærmusikkanalyse. Forfatteren presenterer eksisterende vitenskapelige modeller og undersøkelser sammen med egne casestudier. Hvordan representere analytisk jazz- og populærmusikk som skapes på scene og i studio?Dette har forfatteren til hensikt å synliggjøre i denne boken. Boken henvender seg primært til masterstudenter, ph.d-kandidater og forskere på feltet.
Oversand, Kjell & Dybo, Tor (2012). Musikk, politikk og globalisering. Akademika forlag. ISBN 9788232101467. 386 p. Full text in Research Archive
Dybo, Tor (1996). Jan Garbarek: Det åpne roms estetikk. Pax Forlag. ISBN 9788253018454. 168 p. Full text in Research Archive

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Dybo, Tor (2024). PhD Dissertations in Popular Music. Full text in Research Archive
Dybo, Tor (2024). Telemarkfestivalen 4 August 2000, Bø, Norway. Full text in Research Archive
Dybo, Tor (2024). Assessment of submitted doctoral dissertations. Full text in Research Archive
Dybo, Tor (2024). Workshop on careers and job applications after completing a PhD in popular music. Full text in Research Archive
Dybo, Tor (2023). Introduction to ethnomusicology and world music research. Full text in Research Archive
Dybo, Tor (2023). Workshop on ethnomusicology and academic writing. Full text in Research Archive
Dybo, Tor (2023). Research on live music and festivals: A case study of the music festival Fairport’s Cropredy Convention. Full text in Research Archive
Dybo, Tor (2022). Introductiion to keynote lecture by Dr Ruth Dockwray, University of Chester, UK. Full text in Research Archive Show summary
Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes. Thus, a two-day conference on new perspectives in popular music research will be held by the Department of Popular Music, Faculty of Fine Arts, University of Agder (UiA) in cooperation with the Popular Music Research Unit at UiA. The overarching goal of this conference is to address new perspectives on popular music through the lens of these recent changes and the perceived turmoil (and benefits) that has resulted from them. This marks the fourteenth anniversary of our PhD programme in popular music performance, and provides an opportunity to showcase work by former graduates, current PhD candidates and scholars associated with music research within the broad field of popular music studies. One international keynote speaker will frame and contextualize the event. It is also envisaged that contributors will have the opportunity to have their papers published through an international peer review channel.
Dybo, Tor (2022). Jan Garbarek: The Aesthetics of Open Space. Full text in Research Archive Show summary
This paper provides a presentation of a planned book release of the music of the Norwegian saxophone player Jan Garbarek (b. 1947). The content of the book provides insight into Garbarek’s music philosophy and musical processes based on interviews and analyzes of a comprehensive source material. Garbarek’s saxophone sound and improvisational practice is well known through numerous recordings and concerts since the late 1960s. A significant and significant musician who has participated in recordings and concerts with internationally renowned American musicians from jazz history, such as orchestra leader and composer George Russell, free jazz trumpeter Don Cherry, pianist Keith Jarrett, and others. In addition to his jazz background, Garbarek is known for cross-cultural musical collaborative projects with improvisational musicians such as the Brazilian guitarist Egberto Gismonti, the Indian violinist Lakshimananda Shankar, the Brazilian percussionist Nana Vasconcelos, the Indian percussionists Uilakatu Hilakan Hurtan, Trilokh Gurt. to highlight some examples. This book project constitutes an updated critical rewriting into English of my previous book publication Jan Garbarek: Det åpne roms estetikk [Jan Garbarek: The Aesthetics of Open Space] which was published in Norwegian in 1996 on Pax publishing house. In comparison, the new planned book includes a critical rewriting and new analyses of both the original source materials, and new empirical materials for the period after 1996. More specifically, Garbarek’s music and musical personae will be discussed in relation to ongoing international discourses and research within jazz and popular music studies on sound, improvisation, and innovations in music technology for stage and studio.
Dybo, Tor (2022). Ethnography in Popular Music Studies. Full text in Research Archive
Dybo, Tor (2022). Introduction to Popular Music Research. Full text in Research Archive
Dybo, Tor (2022). The Study of Authenticity in Popular Music. Full text in Research Archive
Dybo, Tor (2021). Kritisk musikkvitenskap og etnomusikologi: Essays til ære for Kjell Overland. Full text in Research Archive
Dybo, Tor (2021). Ethnographic approaches to the analysis of live sound at big outdoor music festivals versus small club venues. Full text in Research Archive
Dybo, Tor (2021). Introduction to research on music technology and production. Full text in Research Archive
Dybo, Tor (2019). Populærmusikkstudier. Gjesteforelesning på Master i musikk, Nord universitet. Full text in Research Archive
Dybo, Tor (2019). Fieldwork as Method in Popular Music Studies. Full text in Research Archive
Dybo, Tor (2019). Vi skaper oss selv med musikk. [Journal]. Fedrelandvennen. Full text in Research Archive
Dybo, Tor (2019). Presentation of PhD Specialization in Popular Music Performance at the University of Agder. Full text in Research Archive
Dybo, Tor & Bang, Jan (2018). Satser på internasjonale musikkforskningssamarbeid. [Internet]. Nyheter UiA hjemmeside. Full text in Research Archive
Dybo, Tor & Gunvaldsen, Erik (2018). Rekordmange vil ta doktorgrad i rytmisk musikk. [Internet]. Nyheter UiA hjemmeside. Full text in Research Archive
Dybo, Tor (2018). Presenter at Punkt Seminar at Punkt Festival Kristiansand 30 September – 1 October 2018. Full text in Research Archive
Dybo, Tor (2017). Invited by Professor Stan Hawkins to panel discussion at Book Launch: The Routledge Research Companion to Popular Music and Gender. Full text in Research Archive
Dybo, Tor (2017). Populærmusikkforskere fra UiA medvirker i prestisjetung utgivelse. [Internet]. Universitetet i Agder Nyheter. Full text in Research Archive
Dybo, Tor; Bang, Jan & Erik, Honoré (2017). Project Meeting in International Research Network in Global Jazz Studies. Full text in Research Archive
Dybo, Tor (2017). Presentation of Chapter 8 Folk and Popular Music in the Nordic Countries. In T. Howell (ed.), The Nature of Nordic Music (forthcoming book publication). Abingdon: Routledge. Full text in Research Archive
Dybo, Tor (2015). What is World Music? Full text in Research Archive
Dybo, Tor (2015). Folkrock og globalisering. Full text in Research Archive
Dybo, Tor (2015). Andre opponent under ph.d.-disputasen til Erlend Hegdal. Full text in Research Archive
Dybo, Tor (2015). Opponent under David Myhr Midpoint Seminar. Full text in Research Archive
Dybo, Tor (2014). Slik ble lyden av Norge til. [Journal]. Morgenbladet. Full text in Research Archive
Dybo, Tor (2014). Meeting of the ANEMONE Project - A NEw Music Of Northern Europe. Full text in Research Archive
Dybo, Tor (2014). Appointed opponent post during the presentation of the artistic research project "Music Without Borders: Traditional music from Setesdal meets world musicians" by Professor Bjørn Ole Rasch and Research Fellow Ingolv Haaland. Full text in Research Archive
Dybo, Tor (2014). Final Discussion - Panel Participant. Full text in Research Archive
Dybo, Tor (2014). Doctoral Scholarship in Popular Music Performance. Full text in Research Archive
Dybo, Tor (2013). Gender and Voicing Strategies in a Folk Rock Band’s Sound Signature. Full text in Research Archive Show summary
The purpose for this paper is to examine voicing strategies and gender in a bands sound signature and role in the popular music marked, in this case the English folk-rock band Fairport Convention. This band has mainly consists of male members. But already from their start up in 1967 the female voice was an important part of their sound signature and strategy to get a distinctive voice among the many London-based bands in that period. Fairport Convention’s first female singer was Judy Dyble (b. 1949) who was a member of the band until 1968. Sandy Denny (1947–1978) replaced Judy Dyble in 1968, and Denny was signified by a unique and powerful delicacy voice. Not at least, she was an active songwriter who also was dedicated to traditional songs from England and Scotland. When Denny left the band in the 70s she was replaced by the other band members male voices. Later, the founding member and guitarist Simon Nicol took over the singer role in the band characterized by a deep powerful baritone voice. Such voicing strategies in the band sound will be discussed in this presentation.
Dybo, Tor (2013). British Folk Rock and Censorship within the Recording Industry. Full text in Research Archive Show summary
The purpose for this paper is to examine how the British folk rock-movement has gone through extensive changes from the end of the 70s up to now caused censorship within international recording industry. This is limited to a case study on how changes in the recording industry results that the British folk rock band Fairport Convention split up as a full time band in 1979 and restarted as a full time band again in 1985, but now as an independent band of the mainstream popular music industry. And Fairport has since then appeared as an independent band that run their own festival, record company, management, etc. In this paper I will present results from my long-standing research project on folk rock. The main methodological tools I have used in this project includes many years of field work at the festival entitled Fairport’s Cropredy Convention as well as at numerous concerts with Fairport Convention in the UK, Norway and Denmark, where interviews with the band members of FC and its crew comprise a certain number of the methodological elements.
Dybo, Tor (2013). Folkrock fra Bretagne, Karelen og Storbritannia: Presentasjon av de tre artiklene “Britisk etnitisitet og Fairport Convention”, “Bretonsk glokalisering” og “Karelsk glokalisering: Värttinä og verdensmusikken” i bokutgivelsen Musikk, politikk og globalisering (Akademika forlag 2012). Full text in Research Archive
Dybo, Tor & Bråthen, Tore (2013). Musikkvitenskapelig forskning og kunstnerisk utviklingsarbeid ved UiA. Full text in Research Archive
Dybo, Tor (2013). Kildebasert pop, rock og jazzstudier, og forskning - før og nå. Full text in Research Archive
Oversand, Kjell & Dybo, Tor (2012). Innledning, Musikk, politikk og globalisering. Akademika forlag. ISSN 9788232101467. p. 7–14. Full text in Research Archive
Dybo, Tor (2012). Presentasjon av bokprosjektet “Folk Rock and Globalization: An Ethnographic Study of Fairport Convention”. Full text in Research Archive Show summary
This book deals with several aspects of Fairport Convention and the folk-rock movement, a global cultural phenomenon that, in a European context, has steadily gained popularity since the 1960s. The phenomenon of folk-rock will be addressed in terms of whether it can be understood as either a revival or representation of a form of popular music. The arguments presented in this work tend towards the establishment of a polarisation between the two above-mentioned positions, and are inextricably connected to the larger debates of globalisation. The main question posed is to what degree the musical projects of a folk-rock group such as Fairport Convention suggest a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. This study therefore involves a discourse that seeks to unveil numerous perspectives that are relevant to issues of folk revival, and the revitalization of folk music in a globalised popular music setting. In this context the results of my ethnographic work at the annual festival entitled Fairport’s Cropredy Convention will be presented and discussed.
Dybo, Tor (2011). "The Ballad of Matty Groves”: Fairport Convention and the British Folk Tradition. Full text in Research Archive
Dybo, Tor (2011). “The Ballad of Matty Groves”: Mediating Perspectives on Fairport Convention and British Folk Tradition. Full text in Research Archive
Dybo, Tor (2010). Jazz in Norway, vols. 1-5. Jazz Perspectives. ISSN 1749-4060. 4(2), p. 239–246. Full text in Research Archive
Dybo, Tor (2010). Rockhistorisk begivenhet i Ravnedalen. p. 8–8. Full text in Research Archive Show summary
Kronikken setter Jethro Tulls musikk og karriere inn i en musikkfaglig sammenheng. Herunder gås det inn på de musikalske, historiske og kulturelle forutsetningene for hvordan elementer fra britisk folkemusikktradisjon, keltiske musikktradisjoner, klassisk musikk, visetradisjoner m.m. blandet med rockens klangverdener smelter sammen til en ny opplevelse.
Dybo, Tor (2010). Folk-Rock: A Folk Music Revival or a Popular Music Phenomenon? Full text in Research Archive Show summary
This paper deals with several aspects of Fairport Convention and the folk-rock-movement, the latter a global cultural phenomenon that, in a European context, has gained importance since the 1960s. The phenomenon of folk-rock will be discussed in terms of whether it can be understood as a revival or a representation of a form of popular music. The arguments presented in this paper tend towards a polarization between the two mentioned positions, and are inextricably connected to the larger debates of globalization. The main question posed is to what degree the musical projects of a folk rock group such as Fairport Convention represent a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. My discussion is positioned in a discourse that seeks to unveil numerous perspectives relevant to issues of folk revival, and revitalization of folk music in a globalized popular music setting. In this context results from my ethnomusicological-based fieldworks at the annual festival Fairport Cropredy Convention will be presented and discussed, and as a part of these fieldworks I will present excerpts from an analysis of the current line-up performance of the ballad "Matty Groves" at the festival.
Dybo, Tor (2009). Folk rock: a folk music revival or a popular music phenomenon? Full text in Research Archive Show summary
This presentation deals with several aspects of folk rock, a global cultural phenomenon that, in a European context, has gained importance since the 1960s. As indicated in the title, the phenomenon of folk rock will be discussed in terms of whether it can be understood as a revival or a representation of a form of popular music. The arguments presented in this presentation tend towards a polarization between the two mentioned positions, and are inextricably connected to the larger debates of globalization. The main question posed is to what degree the musical projects of folk rock groups and artists represent a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. To this end, my discussion focuses primarily on the British folk rock group, Fairport Convention, which are positioned in a discourse that seeks to unveil numerous perspectives relevant to issues of revival.
Dybo, Tor (2009). Jazz Research in Scandinavia. Full text in Research Archive Show summary
This lecture gives an overview, and discusses some challenges in Scandinavian jazz research. In the first part definitions of Scandinavia and the cultural complex within this region is discussed. This is followed by a discussion on tendencies in Scandinavian jazz research both within and outside the musicological milieus. In the last part some challenges in Scandinavian jazz research is presented and discussed.
Dybo, Tor (2009). Folkrock i globaliseringsperspektiv. Full text in Research Archive Show summary
I denne gjesteforelesningen drøftes aspekter ved fenomenet folkrock, et globalt kulturelt fenomen som innenfor en europeisk sammenheng fikk sin aktualitet fra slutten av 1960-tallet. Som tittelen tilsier antydes en polariserende problemstilling med en drøfting av hvorvidt folkrock kan forstås som folkemusikalsk revival eller populærmusikalsk fenomen i lys av en globaliseringsdiskusjon. Med dette signaliseres et problemfelt om hvorvidt musikalske prosjekter til enkelte folkrockgrupper og artister representerer en videreføring av folkemusikk i betydningen folkelig tradisjonsmusikk, eller om dette representerer en variant av rock som populærmusikalsk fenomen. Gjesteforelesningene er avgrenset til et sammenlignende studium av den fransk-bretonske artisten Alan Stivell og den britiske folkrockgruppen Fairport Convention.
Dybo, Tor (2009). Globalizing Perspectives on Norwegian Jazz History. Full text in Research Archive Show summary
In this paper I discuss globalizing perspectives on Norwegian jazz history from the beginning of the 70s. A special emphasis will be on cross-cultural forms of improvisation in Norwegian jazz life from an ethnomusicological point of view with an emphasis on the questions of musical borrowing from other cultures ? where improvisation is an important musical character ? and how such borrowing could create other sort of musical characteristics, e.g. in creating ?time? and ?groove? during performance practices. This theme has its reference to the question of creating a kind of ?otherness? with the basis in jazz improvisations, but where it is influenced of cultural impressions from outside the mainstream American jazz traditions. In other words the purpose for this article is to discuss some aspects on how Norwegian jazz musicians and ensembles 1) either use material from other oral musical cultures than the jazz tradition in their improvisations or 2) collaborate with improvising musicians from other oral cultures outside the jazz tradition. My discussion is limited to different Norwegian based groups, artist, and musical projects such as Østerdalsmusikk, Jan Garbarek, Frode Fjellheim Jazz Joik Ensemble, and Utla.
Dybo, Tor (2006). Jazz som etnomusikologisk forskningsfelt. Full text in Research Archive
Dybo, Tor (2005). Kristiansand, Stavanger and Southern Norway, Continuum encyclopedia of popular music of the world / edited by John Shepherd ... [et al. p. 277–279. Full text in Research Archive
Dybo, Tor (2005). Värttinä og verdensmusikken. Full text in Research Archive Show summary
Det finske verdensmusikkensemblet Värttinä utgjør en gruppe som har sitt opphav i finske Karelen, men som har høstet stor internasjonal suksess og anerkjennelse en gjennomårrekke. Värttinä-ensemblet bruker sin finsk-karelske musikktradisjon som utgangspunkt når de nærmer seg andre musikktradisjoner. Det mest iørefallende er blandingsformene som det musikalske møtet mellom folkemusikk fra Karelen og jazz- og rockgenrene resulterer i. Møteresultatet gjør at vi kan snakke om globalisering og verdensmusikk, nettopp ut fra de nye blandingsformene som oppstår. I dette framlegget setter Tor Dybo Värttina-musikken inn i en musikkfaglig sammenheng hvor han tar for seg de musikalske forutsetningene for hvordan elementer fra særlig finsk-karelsk folkemusikk, jazz og rock smelter sammen til en ny opplevelse. Värttinä frontes i dag av de tre sangerne Susan Aho, Mari Kaasinen og Johanna Virtanen. Ensemblet består ellers av gitaristen Antto Varilo, Markku Lepistö på accordeon, Hannu Rantanen (kontrabass), Lassi Logren (fiolin), Jaska Lukkarinen (trommer) og Janne Lappalainen (bouzouki, saxofon og diverse blåseinstrumenter).
Dybo, Tor (2003). “Southern Norway”, Encyclopedia of Popular Music of the World, “Vol. 2: Locations". Continuum. Full text in Research Archive
Dybo, Tor (2003). Garbarek, Jan, Die Musik in Geschichte und Gegenwart. Bärenreiter. Full text in Research Archive
Larsen, Ove & Dybo, Tor (2002). Gehørtradert musikk som forskningsfelt. Full text in Research Archive Show summary
I dette foredraget ble det gått inn på hva forskning på gehørtradert musikk kan innebære. Begrepet ‘gehørtradert musikk’ utgjør en fellesbetegnelse for musikalske genrer som folkemusikk, viser, rock og jazz. I denne forbindelse kan det nevnes at temaet også planlegges som et større forskningsprosjekt ved HiNe i regi av Nordnorsk senter for folkemusikkforskning, hvor en rekke andre musikkforskningsmiljøer i Norge, Sverige og Irland søkes som samarbeidspartnere. Under foredraget ble det bl.a. gått inn på en rekke eksempler på hvordan innøving av nytt materiale for musikere innenfor disse genrene kan skje. Foredraget ble illustrert med en rekke musikkeksempler.
Dybo, Tor (2002). Komparative aspekter ved norsk jazzliv på 70-tallet: sammenligning mellom amerikanske, europeiske og norske utøvere. Full text in Research Archive
Dybo, Tor & Larsen, Ove (2001). Tradisjon og fornying i folkemusikalske uttrykksformer. Full text in Research Archive
Dybo, Tor (2000). Ethnomusicological Reflections on Challenges in Norwegian Jazz Research. Full text in Research Archive
Dybo, Tor & Dreyer, Bjørn Charles (2020). Doing It to Death: An Investigation into a Session Musician’s Migration. 07 Media. ISSN 9788271179649. Full text in Research Archive
Alterhaug, Bjørn; Dybo, Tor & Oversand, Kjell (2002). Challenges in Norwegian Jazz Research : a report from the conference. Institutt for musikk, NTNU. ISSN 9788292267073. Full text in Research Archive Show summary
Institutt for musikk, NTNU arrangerte konferansen Utfordringer i norsk jazzforskning ("Challenges in Norwegian Jazz Research") på Radisson SAS Royal Garden Hotel i Trondheim 15.–17. september 2000. Konferansen ble arrangert i samarbeid med Norsk Jazzarkiv, Oslo og Nordnorsk senter for folkemusikkforskning ved Høgskolen i Nesna. Konferansen søkte å nå ut til både 1) norske forskere og studenter innen musikkvitenskap og andre relevante vitenskapelige disipliner og 2) øvrige (regionale) jazzhistorieforskere og andre som er engasjert i arbeid med lokal jazzhistorie, hvor formålet var: 1) Styrking av samarbeidet innen jazzforskningen mellom universitets- og høgskolemiljøene, Norsk jazzarkiv og den øvrige aktiviteten på området; 2) Metodeproblematikk i forbindelse med dokumentasjon av norsk jazzhistorie; 3) Rekrutteringsspørsmål i norsk jazzforskning; 4) Internasjonale standarder i jazzforskningen. Rapporten “Challenges in Norwegian Jazz Research” inneholder artikler fra flesteparten av de foredrag som ble gitt – og papers som ble presentert – under konferansen
Davidsen, Hanne; Dybo, Tor & Klepaker, Tom (2000). FoU-virksomheten ved Høgskolen i Nesna : årsmelding 1998. Høgskolen i Nesna. ISSN 9788275690805. Full text in Research Archive
Dybo, Tor (1995). Jan Garbareks musikk i en kulturell endringsprosess. Universitetet i Trondheim, det historisk-filosofiske fakultet,. ISSN 9788290896688. Full text in Research Archive Show summary
Avhandlingens overordnede mål er gjennom beskrivelser og analyser å gi en framstilling av kontinuitet og endring i Jan Garbareks musikk for perioden 1961- 1994. Her vil jeg gå inn på hva som er med på å særprege Jan Garbarek og hans musikk sett i forhold til endringsprosesser i 1) nyere norsk kulturhistorie generelt og 2) nyere jazzhistorie både nasjonalt internasjonalt. Hovedvekten legges naturlig nok på det andre momentet. Det første momentet er tatt med for å gi en skisse over den kulturelle konteksten musikken til Jan Garbarek har virket innenfor i løpet av et 30-årig tidsforløp. Under dette momentet diskuteres de kulturelle, sosiale og økonomiske forutsetningene for Norge i perioden 1960-1994 mer generelt for å danne grunnlag for diskusjoner om bl.a de kulturoverføringer og kulturbrytninger som kommer til uttrykk gjennom Jan Garbareks musikk. Spørsmålene som blir stilt i avhandlingen kan relateres til følgende tre emneområder: a)kultur, b)teknologi og c) musikkstruktur og sound. Hovedspørsmålene innefor de tre emneområdene er: I den første gruppen trekkes inn spørsmål som tar for seg den generelle kulturelle konteksten som Jan Garbareks musikk virker innenfor. I den andre gruppen reflekteres den stadig raskere teknologiske utviklingen innnenfor musikkindustrien og i den tredje gruppener det fokusert på spørsmål om musikkstruktur og sound, og hvordan disse henger sammen med kultur og teknologi.

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Published Apr. 16, 2024 11:20 AM