Andreas Waaler Røshol

• Røshol, Andreas Waaler (2024). Putting the ego aside: A case study of the peer-to-peer feedback dialogue among electronic popular music makers within higher education. Journal of Popular Music Education. ISSN 2397-6721. 8(3), s. 293–317. doi: 10.1386/jpme_00134_1. Fulltekst i vitenarkiv Vis sammendrag

  Settings where students showcase their original songs to peers and teachers can seem advantageous and harmless. However, beneath this surface is a complex, multifaceted negotiation. In this article, I engage with the construction of this complexity. I interviewed eight Norwegian electronic popular music students at the university level on how they experienced the real-time peer group song assessment (PGSA) setting. Through semi-structured interviews, I seek to give a critical view on how PGSA works as a vehicle for learning. I discuss how the student’s experience of risk varies according to what the student is presenting and what the feedback focuses on. The interviews indicate that feedback that engages with elements that contain the highest degree of creative and personal investment is the hardest feedback to give and yet most desirable to receive. Appendix 1 offers suggestions for presenters, peers and teachers related to the PGSA setting.

• Sørbø, Eirik & Røshol, Andreas Waaler (2024). What do you mean? Developing a ‘model of the aesthetic dialogue’ in collaborative music making. Journal of Popular Music Education. ISSN 2397-6721. 8(3), s. 377–395. doi: 10.1386/jpme_00137_1. Fulltekst i vitenarkiv
• Pusey, Christopher Garry; Haugen, Tommy; Høigaard, Rune; Ivarsson, Andreas; Røshol, Andreas Waaler & Laxdal, Aron Gauti (2023). Put Some Music on: The Effects of pre-Task Music Tempo on Arousal, Affective State, Perceived Exertion, and Anaerobic Performance. Music & Science. 6, s. 1–9. doi: 10.1177/20592043231174388. Fulltekst i vitenarkiv Vis sammendrag

  Research on the ergogenic effects of music on athletic performance usually includes multiple antecedents simultaneously. Consequently, this study set out to isolate a single antecedent using a highly controlled experiment. More specifically, the aim of the study was to investigate the effect of pre-task, slow- and fast-tempo music on arousal, affective state, perceived exertion, and anaerobic rowing performance by isolating music tempo as the sole intrinsic musical factor. Forty young adults (male = 23, female = 17) participated in three trials where they all were exposed to no-music, slow-tempo, and fast-tempo music conditions in a randomized order. The music was exclusively composed for this study and equally novel for all participants. It was based on the same electronic track with a techno-orientation rendered to both 110 (slow-tempo) and 140 (fast-tempo) BPM. Following music exposure, the participants were momentarily asked to report levels of felt arousal and affective state before being instructed to perform a 30-s maximal rowing test on an ergometer. Upon completion of each rowing test, subjects were then asked to report their perceived exertion. Both fast- and slow-tempo pre-task music exposure led to increased arousal and positive affective state when compared to no music. Fast-tempo music led to a significantly higher mean power output than slow-tempo music. No significant differences were found for peak watt output or rating of perceived exertion when comparing all conditions. These findings suggest that exposure to pre-task music may offer positive psychological benefits prior to commencing anaerobic sporting tasks. Results also suggest that fast-tempo music may have an ergogenic effect on anaerobic performance.

• Sørbø, Eirik & Røshol, Andreas Waaler (2020). Teaching Aesthetics – A Case Study of One-To-One Tuition in Popular Electronic Music in Higher Education. I Eiksund, Øyvind Johan; Angelo, Elin & Knigge, Jens (Red.), Music Technology in Education – Channeling and Challenging Perspectives. Cappelen Damm Akademisk. ISSN 9788202652258. s. 257–278. doi: 10.23865/noasp.108.ch10. Fulltekst i vitenarkiv Vis sammendrag

  This anthology presents research projects that examine the intersection between music, technology and education from a variety of perspectives. The contributors are from a range of educational programs within traditional pre-, primary and lower secondary school education, as well as music performance and technology educational programs. Data for the studies stems from primary and lower secondary school, as well as informal learning environments, in addition to the contributors’ respective education programs. The research projects examine a wide range of topics such as gamification of ukulele and song teaching, composition with iPads in the classroom, live looping as an approach to ensemble conducting, authentic music technology learning spaces, music-making in the “laptop-era”, sound, the notion of net-based presence, and challenges in higher electronic music education. As this anthology is the first publication in the MusPed:Research series, it also contains an introductory chapter about the series and the research network Musikkpedagogikk i utdanning (MiU). This anthology makes a distinct contribution to the research field of music technology in education and questions educational practices in the school and higher educational levels, the goals and content of music education, and our understanding of music and music creation in itself.

• Røshol, Andreas Waaler & Sørbø, Eirik (2020). Making Music, Finishing Music – An Inquiry Into the Music-Making Practice of Popular Electronic Music Students in the “Laptop-Era”. I Eiksund, Øyvind Johan; Angelo, Elin & Knigge, Jens (Red.), Music Technology in Education – Channeling and Challenging Perspectives. Cappelen Damm Akademisk. ISSN 9788202652258. s. 151–178. doi: 10.23865/noasp.108.ch6. Fulltekst i vitenarkiv Vis sammendrag

  This anthology presents research projects that examine the intersection between music, technology and education from a variety of perspectives. The contributors are from a range of educational programs within traditional pre-, primary and lower secondary school education, as well as music performance and technology educational programs. Data for the studies stems from primary and lower secondary school, as well as informal learning environments, in addition to the contributors’ respective education programs. The research projects examine a wide range of topics such as gamification of ukulele and song teaching, composition with iPads in the classroom, live looping as an approach to ensemble conducting, authentic music technology learning spaces, music-making in the “laptop-era”, sound, the notion of net-based presence, and challenges in higher electronic music education. As this anthology is the first publication in the MusPed:Research series, it also contains an introductory chapter about the series and the research network Musikkpedagogikk i utdanning (MiU). This anthology makes a distinct contribution to the research field of music technology in education and questions educational practices in the school and higher educational levels, the goals and content of music education, and our understanding of music and music creation in itself.

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• Røshol, Andreas Waaler (2024). Artist, vokalist og produsent på albumet: While I Collide. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2023). Paneldeltaker på panel om artistic research under Arendalsuka 2023. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2021). Paneldeltaker på to panel på konferansen: Den Rytmiske Stemmen. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2021). Topliner and songwriter on the single "Tell Me" on the artist M11's single. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler & Nygaard, Isak (2020). Låtskriver og vokalist på utgivelsen "Trigger". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler & Harvel, Rado Be (2020). Låtskriver og vokalist på utgivelsen "Falling". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2020). For Granted. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2020). No Words. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Art of Record Production Conference (May 2019): When is the music speaking to us? A proposed model for analyzing choices in studio practice. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Release of the EP "V" by Daffe. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Popular Music Pedagogy: Teaching song-making in the "laptop era". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Song-making in the "laptop-era". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). How close is too close? Discerning one`s own creative agency in popular music record production via close critical readings. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler; Moe, Berent Phillip & Waag, Kyrre (2019). Topliner and programmer on the single "Deep Water". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Stay Afloat. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Topliner on the single "Another Round" by the artist HOBBS. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2019). Topliner and songwriter on Electro-Light's EP: Legacy Lost. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2018). Topliner på Utgivelsen Travelers. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2018). Topline writer on the single "I get it". Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2018). Topliner on the single "Waiting on You". Fulltekst i vitenarkiv
• Iveland, Kari & Røshol, Andreas Waaler (2018). Sunget tekst fra et utøverperspektiv: Ulike tilnærminger til låtskriving. Fulltekst i vitenarkiv
• Røshol, Andreas Waaler (2025). Unpacking the DAW experience: The self-producing tracker-topliner-artists and aesthetic ideals of vocal-driven electronic popular music-making. Universitetet i Agder. ISSN 9788284272917. Fulltekst i vitenarkiv Vis sammendrag

  Denne avhandlingen undersøker DAW-opplevelsen (Digital Audio Workstation) fra perspektivet til tracker-topliner-artister som produserer vokaldrevet rytmisk elektronisk musikk. Akkurat som gravitasjonskreftene fra flere planeter trekker og skyver på en satellitt i bevegelse gjennom rommet, former også estetiske idealer kreative handlinger ved å påvirke de kunstneriske intensjonene gjennom en prosess som utfolder seg over tid. Avhandlingen foreslår at musikkproduksjon er en dragkamp, formet av en kompleks matrise av sosiale, individuelle, teknologiske, estetiske og kulturelle krefter. Samlet sett produserer disse kreftene et verdisystem, eller en aksiologi. I denne avhandlingen viser aksiologi til et verdi-hierarki som informerer kreative handlinger. Avhandlingen belyser et verdi-hierarki som er relevant for produksjon av vokaldrevet rytmisk elektronisk musikk. Dette gjøres ved å rette søkelyset mot estetiske idealer. Estetiske idealer representerer en manifestert komponent i et verdi-hierarki, og i dette arbeidet spores noen av disse idealene ved å forsøke å forstå hvor de kommer fra og hva de peker mot – gjennom både teoretiske drøftinger og kunstnerisk praksis. Kapittel 3 presenterer fem tidslinjer fra kunstnerisk praksis som viser hvordan estetiske idealer trekker og skyver på beslutningsprosessene i en kreativ prosess. Disse tidslinjene danner grunnlaget for de tre påfølgende kapitlene, som hver presenterer en bestemt teoretisk ramme som markerer et konseptuelt landskap hvorfra estetiske idealer kan oppstå. Kapittel 4 undersøker hvordan DAW-miljøets enkle tilgang til den digitaliserte fortiden påvirker beslutningstaking, gjennom begrepet “hauntology”. Kapittel 5 utforsker hvordan musikkproduksjon forhandler med selvet ved å kuratere dets kreative og personlige investeringer, med utgangspunkt i begrepet overproduksjon. Kapittel 6 drøfter lydlig og tekstlig design gjennom begrepet “poetic faith”. Avhandlingen behandler flere gjennomgående temaer. For det første undersøker den hvordan utøveren autentiserer den nåværende versjonen av det musikalske materialet (selv-autentisering). For det andre undersøker den estetiske motivasjoner for å inkorporere lyd- og tekstdesign som vanskelig kan spores tilbake til én enkelt kilde. For det tredje drøfter den inkommensurabiliteten som preger forholdet mellom språk og estetisk erfaring, hvordan den påvirker musikkanalyse og praksisbasert forskning, og hvordan den oppstår og formes av menneskelige begrensinger. For det fjerde introduserer og anvender den en taksonomi for musikalsk tolkning for å undersøke hvorvidt musikken muliggjør en erfaring av overgivelse – og dermed lykkes i å transportere en tenkt lytter. Denne avhandlingen har som mål å utvide diskusjonen om hvordan estetiske idealer former beslutningstaking i musikk som skapes i DAW-miljøet. Den er relevant for forskere, pedagoger, studenter og utøvere som er interessert i et praksisbasert perspektiv på produksjon av rytmisk elektronisk musikk.

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