Kjell Andreas Oddekalv

• Oddekalv, Kjell Andreas (2024). Lyrisk brunst: Rapanalysens form, m?l og form?l. I Fj?gesund, Peter; Nordstoga, Sveinung & Baklid, Herleik (Red.), Songen og teksten. Fr? Draumkvedet til Dimmu Borgir. Novus Forlag. ISSN 9788283901634. s. 277¨C295.
• Danielsen, Anne; Br?vig, Ragnhild; B?hler, Kjetil Klette; C?mara, Guilherme Schmidt; Haugen, Mari Romarheim & Jacobsen, Eirik [Vis alle 13 forfattere av denne artikkelen] (2024). There¡¯s More to Timing than Time: Investigating Musical Microrhythm Across Disciplines and Cultures. Music Perception. ISSN 0730-7829. 41(3), s. 176¨C198. doi: 10.1525/mp.2024.41.3.176. Fulltekst i vitenarkiv Vis sammendrag

  The TIME project: Timing and Sound in Musical Microrhythm (2017¨C2022) studied microrhythm; that is, how dynamic envelope, timbre, and center frequency, as well as the microtiming of a variety of sounds, affect their perceived rhythmic properties. The project involved theoretical work regarding the basic aspects of microrhythm; experimental studies of microrhythm perception, exploring both stimulus features and the participants¡¯ enculturated expertise; observational studies of how musicians produce particular microrhythms; and ethnographic studies of musicians¡¯ descriptions of microrhythm. Collectively, we show that: (a) altering the microstructure of a sound (¡°what¡± the sound is) changes its perceived temporal location (¡°when¡± it occurs), (b) there are systematic effects of core acoustic factors (duration, attack) on microrhythmic perception, (c) microrhythmic features in longer and more complex sounds can give rise to different perceptions of the same sound, and (d) musicians are highly aware of microrhythms and have developed vocabularies for describing them. In addition, our results shed light on conflicting results regarding the effect of microtiming on the ¡°grooviness¡± of a rhythm. Our use of multiple, interdisciplinary methodologies enabled us to uncover the complexity of microrhythm perception and production in both laboratory and real-world musical contexts.

• Oddekalv, Kjell Andreas (2024). Rap as Composite Auditory Streams: Techniques and Approaches for Chimericity Through Layered Vocal Production in Hip-Hop, and their Aesthetic Implications. I Gull?, Jan-Olof; Hepworth-Sawyer, Russ; Paterson, Justin; Toulson, Rob & Marrington, Mark (Red.), Innovation in Music: Cultures and Contexts. Routledge. ISSN 9781032611167.
• Oddekalv, Kjell Andreas (2022). Surrender to the Flow - Metre on Metre or Verse in Verses? Lineation through Rhyme in Rap Flows. I Syk?ri, Venla & Fabb, Nigel (Red.), Rhyme and Rhyming in Verbal Art, Language, and Song. Studia Fennica. ISSN 9789518585872. s. 229¨C245.
• Markussen, Bjarne; Diesen, Even Igland & Oddekalv, Kjell Andreas (2022). Introduksjon: Kva er rap og flow? I Diesen, Even Igland; Markussen, Bjarne & Oddekalv, Kjell Andreas (Red.), Flytsoner : Studiar i flow og rap-lyrikk. Scandinavian Academic Press. ISSN 9788230403433. s. 9¨C31. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Oddekalv, Kjell Andreas (2022). Side Brok - H?ge Brelle ¨C NABOK017 (Norske Albumklassikere). Falck Forlag. ISBN 9788293976172. 139 s.
• Diesen, Even Igland; Markussen, Bjarne & Oddekalv, Kjell Andreas (2022). Flytsoner : Studiar i flow og rap-lyrikk. Scandinavian Academic Press. ISBN 9788230403433. 393 s.

Se alle arbeider i NVA

• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Walderhaug, Bendik; Hole, Erik & S?rli, Anders Ruud (2025). Sinsenfist p? ROSA-konferansen 2025.
• Oddekalv, Kjell Andreas; Walderhaug, Bendik; Bj?rkheim, Terje; Ugstad, Magnus; S?rli, Anders Ruud & Hole, Erik (2025). Sinsenfist p? Bilkollektivets 30-?rs-jubileum.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Hole, Erik; Walderhaug, Bendik; S?rli, Anders Ruud & Ugstad, Magnus (2025). Sinsenfist p? Audunbakken 2025.
• Oddekalv, Kjell Andreas; Walderhaug, Bendik; Hole, Erik; Bj?rkheim, Terje; Ugstad, Magnus & S?rli, Anders Ruud (2025). Sinsenfist p? Festival Bohem 2025.
• Oddekalv, Kjell Andreas (2025). Manifesting the Rapping Chimera. Vis sammendrag

  In Albert Bregman¡¯s Auditory Scene Analysis, he describes ¡°chimeric percepts¡± ¨C auditory streams we hear as ¡°one¡±, which in reality originates from multiple different sound sources. In music, however, this apparent failure of our perceptual system is treated as a feature rather than a bug. In hip-hop music, there has been a tradition of emphasising key words and syllables either live ¨C via ¡°hypepersons¡± doubling the lead vocalist, or in the studio ¨C by stacking vocal tracks in various ways. These doublings ¨C the chimericity, or degree to which a stream is perceived as one or many ¨C can be transparent or opaque to the listener, and is yet another manipulable parameter for aesthetic effects in the modern producer¡¯s arsenal. In this presentation, different techniques and approaches of summoning and taming the rapping chimera will be showcased through an original track produced and recorded especially for AR@K. What is the truth of the chimera? Is it one beast or an amalgamation of multiple? Or is it really both, and is that the creature¡¯s very reason to exist?

• Oddekalv, Kjell Andreas (2025). Chimericity in the Orchestration of Rap Vocals. Vis sammendrag

  In hip-hop music, the layering and sequencing of vocal tracks is an integral part of the compositional process. Ranging from simple ¡°backtracks¡± adding subtle emphasis to key words and syllables to intricate interplay between emcees and/or effects-processed supernatural simulacra ¨C these techniques can be understood, differentiated between and recreated using the conceptual framework of chimericity. Albert Bregman describes chimeric percepts as an error in our auditory scene analysis ¨C a failing to identify that a sound originates with multiple sources rather than a singular one. He also notes that in music such chimeric passages are considered a feature rather than a bug. Nowhere is this as evident as in hip-hop music. This paper will introduce the concept of chimericity. How it can be more or less transparent or opaque. How it can be layered and/or sequential (vertical/horizontal). How it can be influenced via mode and voice. How it relates to central aspects of Black American aesthetics such as Tricia Rose¡¯s (via Artur Jafa) concept of flow, layering and rupture(s) in line, Olly Wilson¡¯s heterogeneous sound ideal and more broadly to Signifyin(g) as theorized by Henry Louis Gates, Jr. Eileen Southern urges us to perform and create Black music to understand and analyse it. As analysts we should take inspiration from practitioners¡¯ workflows. Using audio waveforms across multiple tracks in a DAW arrangement/timeline view is one intuitive visualization of chimericity (among others) this paper will showcase.

• Swarbrick, Dana & Oddekalv, Kjell Andreas (2024). LAB.prat: RITMO x Popsenteret Live & Livestreamed Concert with Dana & The Monsters and Conversation with Dr. Dana Swarbrick.
• Oddekalv, Kjell Andreas (2024). ¡°I¡¯m sorry y¡¯all, I often drift ¨C I¡¯m talking gift¡± Microrhythmic analysis of rap ¨C categorization, malleability and structural bothness.
• Oddekalv, Kjell Andreas (2024). Dr. Kjell: Hiphop 40 ?r i Norge.
• Oddekalv, Kjell Andreas (2024). Panelsamtale: Fra mainstream til oppr?r til mainstream igjen ¨C Hiphop 40 ?r i Norge.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2024). Sinsenfist julekonsert 2024.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2024). Sinsenfist p? Carls.
• Oddekalv, Kjell Andreas (2024). Humaniorafestivalen 2024, Inn i historien: Dr. Kjell presenterer: 40 ?r med norsk hiphop | Stovner.
• Oddekalv, Kjell Andreas & Laeng, Bruno (2024). LAB.prat #2: Professor Bruno Laeng - Vi lytter med ?ynene.
• Oddekalv, Kjell Andreas & Swarbrick, Dana (2024). LAB.prat #1: Dr. Dana Swarbrick || Dana & The Monsters.
• Oddekalv, Kjell Andreas & Jensenius, Alexander Refsum (2024). LAB.prat #3 og "NM i stillstand": Kan man st? stille til musikk?
• Oddekalv, Kjell Andreas (2024). Vi skriv p? tog, og vi skriv p? tog - pitch.
• Oddekalv, Kjell Andreas (2024). The Sound of the crew in rap: Rapping chimeras, illusory posses and other fantastical creatures summoned in the studio and cipher.
• Oddekalv, Kjell Andreas (2024). Humaniorafestivalen 2024, Inn i historien: Dr. Kjell presenterer: 40 ?r med norsk hiphop | Bj?rnholt.
• Upham, Finn & Oddekalv, Kjell Andreas (2023). Fingers and Tongues: Appreciating Rap Flows through Proprioceptive Interaction in Rhythm Hive. Vis sammendrag

  Rhythm games have been studied for their potential to develop interest in music making (Cassidy and Paisley, 2013) and transferable musicianship skills (Richardson and Kim, 2011), but how might they influence players appreciation for specific musical works? Proprioceptive interaction, a concept by game designer Matt Bloch (Miller, 2017), refers to changes in a game player's perception of music as they practice specific movements to it. By drawing attention to coincidental sounds, players can develop their hearing and appreciation for nuances of production and performance. Many fans of rap enjoy performances in languages they do not speak themselves. Without specific language skills, expertise in rap performance, and/or time to learn lyrics phonetically, their experience of a rap flow is hampered by an inability to imitate and imagine the generative action of performance. Rhythm Hive is a mobile rhythm game based on the music of BTS, Enhyphen, and TXT, Kpop groups with substantial followings outside of Korea. Game play presents players with finger choreographies to these groups¡¯ hit songs, tapping sequences to the vocal performances across four to seven positions in a line. For these groups¡¯ many non-rapping and non- Korean-speaking fans, playing Rhythm Hive may offer deeper understanding of performances by rappers like RM, Suga, and J-Hope. Through expert analysis of rap performance, transcriptions of game play, and reflections on the experience of playing Rhythm Hive, we consider shared structure between the prescribed finger choreographies and the rap flows they accompany. We studied rap verses from four BTS songs along side their Easy and Hard level tapping sequences (vocal versions only) to identify parallels in rhythm, segmentation, repetition, and accents. Easy mode choreographies tend to mark their relationship to rap vocals by hitting the start of lines and then articulating structure with repeated contours tapped on quarter and eighth notes. Hard mode choreographies tend to hit every rapped syllable and incorporate more gestural flourishes to mark pitch changes, ending and internal rhymes, and interesting breaks from a steady 16th note flow. Both Easy and Hard tappings sequences consistently follow the rap track when it deviates from a quantized beat. The finger choreographies of Rhythm Hive illuminate rap performances by directing and rewarding players¡¯ attention to details of flows that may otherwise be missed. Game feedback pushes players to replicate delivery microtiming, while spatial patterns underline linguistic and rhythmic structure. Hard mode tapping sequences articulate distinguishing characteristics of specific rap styles, given players tangible sensitivity to degrees of technicality and nuances of genre. While fans may be motivated to play rhythm games like Rhythm Hive out of a preexisting love of the music and bands, tapping along offers them a chance to attend to, appreciate, and even rehearse key aspects of these rappers¡¯ expert performance choices, regardless of how well they might follow by ear.

• Oddekalv, Kjell Andreas (2023). En unders?kelse av flowen som kunstnerisk uttrykk (Tidens ?nd). [Internet]. Tidens ?nd.
• Oddekalv, Kjell Andreas; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Nova nedstrippa - Sinsenfist. [Radio]. Radio Nova.
• Oddekalv, Kjell Andreas (2023). Project: Chimera Postdoctoral project ¨C overview, examples, loose thoughts. HHRIG meeting presentation.
• Oddekalv, Kjell Andreas (2023). On Analysing Hip-Hop/Rap : Doing Hip-Hop Scholarship in a hip-hop way.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist p? St?dt.
• Oddekalv, Kjell Andreas (2023). A Norwegian emcee/scholar ¨C Theorizing rap flow from the outside and inside.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik [Vis alle 8 forfattere av denne artikkelen] (2023). Sommeren for ti ?r sia : "Strekker meg, "Hvite sneakers", "Storeslem".
• Oddekalv, Kjell Andreas (2023). Weak Alternatives ¡­and their presence making shit dope.
• C?mara, Guilherme Schmidt; Danielsen, Anne & Oddekalv, Kjell Andreas (2023). Funky rhythms ¨C broken beats!?Kulturelle og estetiske perspektiver p? groove-basert musikk.
• Oddekalv, Kjell Andreas (2023). Flow, layering and rupture in composite auditory streams.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist p? Parkteateret - med Horny Horns og Fister Sisters - Support louilexus & ?se.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; S?rli, Anders Ruud; Ugstad, Magnus; Hole, Erik & Walderhaug, Bendik (2023). Sinsenfist p? Strynefestivalen.
• Oddekalv, Kjell Andreas (2023). Sounding Same/Sounding Other: Creative, practical and aesthetic aspects of ad libs and ¡®backtracks¡¯ in rap.
• Oddekalv, Kjell Andreas (2023). 'Them bars really ain't hittin' like a play fight' : Analysing weak alternative lineations and ambiguous lineation in relation to metrical structure in rap flows.
• Upham, Finn & Oddekalv, Kjell Andreas (2022). Tapping into the flow: Proprioceptive interaction with rap in Rhythm Hive. Vis sammendrag

  Rhythm Hive is a mobile rhythm game released that features music by the Hybe bands BTS, Enhyphen, and TXT. With examples of gameplay, we describe how this app gives fans access to new levels of appreciation for rap verses, particularly for non-korean speakers and non-rappers. Interactive proprioception, a concept by game designer Matt Bloch (Miller, 2017), refers to changes in a player's perception of music as they learn movements to it. Choreography draws attention to coincidental elements of a track, allowing players to intimately and viscerally act with a recorded performance. Players¡¯ actions in Rhythm Hive principally parallel the voiced tracks, the members¡¯ contributions, through dense combinations of finger taps, holds, and slides. Taps to sung phrases often follow melodic pitch but the gestures for rap verses must negotiate different criteria for choosing which syllables to tap to and what shape to give mostly-monotone 16th note runs. In a rap flow - here defined as the rhythm of the words and rhymes in a piece of rap music - the rhythmic structure is created by the placement of the rapped syllables, the stress patterns of said syllables, rhymes and phrase boundaries within a music-rhythmic context. Flow, together with delivery (the way the rhythms are performed) and lyrical content constitute the rap¡¯s expression. In Rhythm Hive, players kinesthetically experience structural features of rap flows: how rhythmic patterns are repeated with slight but significant differences, how long phrases cross music-metrical boundaries to build up tension towards an eventual release, and how phrase-endings with rhymes and punchlines are significant gestures. Comparing Easy and Hard mode sequences to select excerpts of the BTS discography, we show how gameplay illuminates the artistry in these verses by tapping along with and therefore into the flow.

• Oddekalv, Kjell Andreas; Gudnason, Runar & Opsvik, Olav (2022). H?ge Brelle ¨C Runar Gudnason, Kjell Andreas Oddekalv og louilexus.
• Pileberg, Silje & Oddekalv, Kjell Andreas (2022). Rap-artist og forskar: Kvifor er rap-musikk s? popul?rt? [Internet]. °ÄÃŻʹÚÌåÓý,»Ê¹Ú×ãÇò±È·Ö.no.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik (2022). Bilkollektivbil.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik [Vis alle 7 forfattere av denne artikkelen] (2022). Self-made man - musikkvideo.
• Oddekalv, Kjell Andreas (2022). Neste Planet - how two artists stand firmly in two separate worlds simultaneously.
• Oddekalv, Kjell Andreas (2022). Trenger vi filmer og b?ker om gjengkriminelle? [Radio]. NRK P2 - Arena.
• Oddekalv, Kjell Andreas; Bj?rkheim, Terje; Ugstad, Magnus; Hole, Erik; S?rli, Anders Ruud & Walderhaug, Bendik (2022). Self-made man.
• Oddekalv, Kjell Andreas (2022). Forskar p? feite flows: Volding vert doktor i rap. [Journal]. M?re.

Se alle arbeider i NVA