1. Introduction

1.1. research question 

2. Theory

2.1. Flow

2.1.1. Delivery

2.1.2. Vocal timbre

2.1.3. Style

2.1.4. Rythm

2.1.5. Rhyme

2.1.6. Groove

2.1.7. Articulation

2.2. Authenticity

2.2.1. First person authenticity

2.2.2. Second person authenticity

2.2.3. Third person authenticity

Why not do it in Norwegian?

3. Method

3.1. Artistic research

3.2. Tacit knowledge

3.3. Journaling

3.4. Critical Response Process

3.4.1. Roles

3.4.2. Steps

3.4.3. Implementation of CRP

3.5. Tools and resources

4. Method in practice

4.1. Three phases

4.2. Critical response

4.3. Producer terminology

Preface

I wish to thank everyone who has contributed

to my master's thesis, providing good feedback,

necessary motivation, and daily inspiration.

 

Thank you to all my fellow peers, and classmates;

thank you to the responders who were willing to listen and give

crucial feedback on my songs; thank you to Jango for leading

the way through my master's; thank you to my music

teachers for knowledge and insight they have provided

me with over the past five years; and thank you to

Lene and Pål Buhl-Mortensen for providing

support and insight on my thesis.

Table of contents

Supervisor

Jan Inge Nilsen

University of Agder, 2025

Faculty of Arts

Department of Popular Music

Alf Buhl-Mortensen

5. Mixtape

5.1. Speed Plug

5.1.1. Creation phase

5.1.2. Writing phase

5.1.3. Rewriting phase

5.2. Guitar Jerk

5.2.1. Creation phase

5.2.2. Writing phase

5.2.3. Rewriting phase

5.3. Do Something

5.3.1. Creation phase

5.3.2. Writing phase

5.3.3. Rewriting phase

5.4. Noe

5.4.1. Creation phase

5.4.2. Writing phase

5.4.3. Rewriting phase

7. Conclusion

7.1. Further research

6. Reflection

8. Bibliography