8. Bibliografi

Borgdorff, H (2011). The Production of Knowledge in Artistic Research. I Biggs, M & 

             Karlson, H. (Red.), The Routledge Companion to Research in the Arts. (s. 44-63).

             Routledge.  https://doi.org/10.4324/9780203841327-4

Butler, D. & Brown, H. (1984). Tonal Structure versus Function: Studies of the Recognition 

                of Harmonic Motion. Music Perception, 2(1), 6-24. https://doi.org/10.2307/40285279

Eurostat. (u.å.). Glossary: Applied research. Statistic Explained. 

              https://ec.europa.eu/eurostat/statistics-explained/index.php?title=Glossary:Applied_research

Furnes, O. (2024). The musical object in deep learning. I H. J. Minors, S. Östersjö, G. 

                 Dalagna, J. S. Correia (Red.), Teaching Music Performance in Higher Education.

                 Open Book Publishers. 

                 https://doi.org/10.11647/OBP.0398

Frayling, C. (1994). Research in Art and Design. Royal College of Art Research Papers, 1(1).

Haraldsen, F. (2025). intersubjektiv. Store Norske Leksikon. https://snl.no/intersubjektiv

Holleran, S., Jones, M.R., & Butler, D.M. (1995). Perceiving implied harmony: the influence 

                 of melodic and harmonic context. Journal of experimental psychology. Learning,

                 memory, and cognition, 21(3), 737-53 .

Holter, S. W. (2023). modus-musikk. Store Norske Leksikon. https://snl.no/modus_-_musikk

Jordheim, H., Rønning, A.B., Sandmo, E., Skoie, M. (2011). Humaniora: en innføring.

              Universitetsforlaget.

Karlsson, B., Soggiu, A-S. & Villje, L. (2021). Hva er autoenografi? Cappelen Damm 

              Akademisk

Krumhansl, C. L. & Cuddy, L. L. (2010). A Theory of Tonal Hierarchies in Music. I M. Riess 

               Jones, R. R. Fay & A. N. Popper (Red.), Music Perception. Springer Handbook of

               Auditory Research, 36 (s. 51-87). Springer New York.

                  https://doi.org/10.1007/978-1-4419-6114-3_3

Malterud, N. (2012) Kunstnerisk utviklingsarbeid- nødvendig og utfordrende.

              InFormation,1(1), 58-59. https://doi.org/10.7577/information.v1i1.217

Piston, W. (1987). Harmony (5. utg.). Norton & Company.

Postholm,  M. B. (2010). Kvalitativ metode: en innføring med fokus på fenomenologi, 

              etnografi og kasusstudier (2. utg.). Universitetsforlaget.

Rosenthal, Matthew & Hannon, Erin. (2016). Cues to Perceiving Tonal Stability in Music: 

               The Role of Temporal Structure. Music Perception: An Interdisciplinary Journal, 33.

               601-612. https://doi.org/10.1525/mp.2016.33.5.601 

Rubin, R. (2023). The Creative Act: A Way of Being. Canongate Books Ltd.

Rothstein, W. (1991). On implied tones. Music analysis, 10(3), 289 - 328.

Stravinsky, I. (1949). Musikalsk poetikk. J.W. Cappelens Forlag.

UHR (2007). Vekt på kunstnerisk utviklingsarbeid (KU). Universitets- og høgskolerådet. 

                 https://www.uhr.no/_f/p1/ia142b8ca-1a99-4d01-8b2a-15209ae9080f/vekt_paa_kunst.pdf 

Östersjö, S. (2019). Art Worlds, Voice and Knowledge: thoughts on quality assessment of 

               artistic research outcomes. IMPAR: Online Journal for Artistic Research, 3(2), 60-89,

               https://doi.org/10.34624/impar.v3i2.14152