| 21. |
- Einarsson, Anna
(författare)
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Singing the body electric : Understanding the role of embodiment in performing and composing interactive music
- 2017
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Almost since the birth of electronic music, composers have been fascinated by the prospect of integrating the human voice with its expressiveness and complexity into electronic musical works. This thesis addresses how performing with responsive technologies in mixed works, i.e. works that combine an acoustic sound source with a digital one, is experienced by participating singers, adopting an approach of seamlessness, of zero – or invisible – interface, between singer and computer technology. It demonstrates how the practice of composing and the practice of singing both are embodied activities, where the many-layered situation in all its complexity is of great importance for a deepened understanding. The overall perspective put forward in this thesis is that of music as a sounding body to resonate with, where the resonance, a process of embodying, of feeling and emotion, guides the decision-making. The core of the investigation is the lived experiences through the process of composing and performing three musical works. One result emerging from this process is the suggested method of calibration, according to which a bodily rooted attention forms a kind of joint attention towards the work in the making. Experiences from these three musical works arrive in the formulation of an over-arching framework entailing a view of musical composition as a process of construction – and embodied mental simulation – of situations, whose dynamics unfold to engage musicians and audience through shifting fields of affordances, based on a shared landscape of affordances.
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| 22. |
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Elva studier om kreativitet i musikproduktion : Till invigningen av Kungl. Musikhögskolans nya campus 2017
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Musikproduktion har under de senaste decennierna utvecklats till en verksamhet som huvudsakligen syftar till att skapa medieburen musik, som till exempel skivinspelningar. Musikproduktion kan också handla om musikskapande för film- eller videoproduktion, interaktiv medieproduktion eller till exempel musik som ska användas i utställningsverksamhet. I musikproducenters arbete ingår många olika arbetsuppgifter. Det kan vara komposition, arrangering, inspelning, mixning och annan efterbearbetning av den inspelade musiken. För att vara verksam som musikproducent krävs alltså många olika kompetenser.Frågor om ansvar är viktiga för musikproducenter och mycket viktiga i musikproduktionsutbildning. En musikproducent är till exempel ansvarig för att en musikproduktion blir färdigställd, helst på utsatt tid och inom angiven budget. Men det kanske viktigaste ansvaret är det konstnärliga och det är alltså musikproducenten som har det övergripande konstnärliga ansvaret för en musikproduktion. När det gäller konstnärlig verksamhet har kreativitet en central betydelse. Därför har vi i det här projektet, Att fånga kreativiteten i musikproduktion – Capturing Creativity in Music Production, valt att särskilt studera hur kreativitet kan komma till uttryck i just musikproduktionsverksamhet.I denna publikation finns sju delstudier om kreativitet i musikproduktion av lärare som alla är verksamma i utbildningen i musik- och medieproduktion vid Kungl. Musikhögskolan i Stockholm. Även studenter, från vårt masterprogram i musikproduktion, bidrar med fyra delstudier. De medverkande är: Felix Brag, Josef Doukkali, Hans Gardemar, Jan-Olof Gullö, Claudia Jonas, Ludvig Klint, Hans Lindetorp, Erik Petersson, Mika Pohjola, Johan Ramström, Haukur Hannes Reynisson, Peter Schyborger, Simon Sjöstedt, David Thyrén, Nanno Veen, Sophie Verdonk, Mattias Viklund och Robert Åkerman.
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| 23. |
- Falthin, Annika
(författare)
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Meningserbjudanden och val : en studie om musicerande i musikundervisning på högstadiet
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- AbstractAffordance and choice: performing music in lower secondary schoolThe purpose of this study is to elucidate affordances and meaning-making processes where students in Compulsory lower secondary education learn to play music together in music class. The data consists of a series of observed music lessons, performances and stimulated recall interviews in two 8th form classes, video recorded in the course of one term.The analysis focuses on students’ and their teacher’s musical interaction and sign making during music class. In order to explore multimodal aspects of sign making in teaching and learning, the study rests on a theoretical framework of social-semiotic multimodality and design theory of learning. Nine students, strategically selected, were observed more frequently than the rest. Excerpts of their singing and playing music on different occasions were transcribed into scores in which musical notation together with other graphic signs and written descriptions represent the events. The scores visualise mul- timodal aspects of musical interaction, which made a 'fine grained' analysis of meaning-making processes possible. Further, an analysis was made of how the students and their teacher expressed themselves about the playing and learning and how this related to their observed actions.The result reveals how the teacher’s physical and verbal communicative sign combinations and choice of repertoire conveyed several layers of mean- ing by means of instructions for playing and by references to different dis- courses and genres. During lessons the principle of recognition was present in all of the teacher's sign making but it might be expressed in different modes including expected actions that surprised, amused and helped students to link different musical parameters together. Through transmodal transla- tions of the teacher’s signs, students, linked short fragments of their parts together, and taking turns with the teacher, made longer musical lines. It was found that students’ activities and utterances indicated that a shared sense of meaning and acceptance took precedence over personal musical wishes and preferences.The study contributes to a close insight and understanding of how young people's meaning-making processes may be manifested in music 'teaching- and-learning' in heterogeneous classes, as well as of the significance of teachers’ sign-making in that process. The results of the study warrant a discussion of how musical learning is made possible and is restricted de- pending on how music teaching in schools is designed.Keywords: music teaching, musical interaction, meaning making, semiotic resources, re-design, transmodality, dialogue
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| 24. |
- Falthin, Annika
(författare)
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Musik som nav i skolredovisningar
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Music as a hub in school presentationsThe aim of the study is to elucidate how making meaning is constituted when lower secondary pupils play music when giving accounts of other school subjects than music. The empirical material consists of four presenta- tions in the subjects of physics, religion and Swedish, which were filmed during ordinary lessons in a lower secondary school. In addition the data consists of nine filmed stimulated recall interviews with the pupils and their teachers, which were also filmed.Social semiotic multimodality constitutes the study’s theoretical and methodological point of departure. The perspective enables investigation of the pupils’ playing of music and music in its multimodal context, and of how different dimensions of meaning are constructed. The filmed presentations were transcribed into music scores in order to visualise the multimodal events of the presentations. Three different categories of meaning were used, ideational, interpersonal and textual meaning, to analyse how music relates to other modes of communication.The results show how the temporal functions of music serve as frame- work and motor, what the music narrates in relation to the subject content and what interpersonal relations the music communicates. The young peo- ple’s knowledge of music manifests itself in the different accounts as an ability to use and adapt musical knowledge to a context where another sub- ject than music is in focus. The presentations of Swedish are travesties of well-known songs and the pupils stick to the given form. In the other presen- tations the pupils themselves had compiled the music and the result was a form of musical works where the music does not follow any model or certain genre. The informants think that this working method implies that the work is experienced as meaningful both to themselves and to the audience.
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| 25. |
- Falthin, Peter
(författare)
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Goodbye Reason Hello Rhyme : a study of meaning making and the concept development process in music composition
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis comprises two articles based on qualitative empirical studies and a theoretical introduction. All three texts deal with the same problem area concerning musical meaning making and the concept development process in the course of composition learning. Each text could be read separately. The composition tasks in the empirical studies are both in electroacoustic music but the research problems and findings concern a broader sense of composition learning and even musical learning in general. The corpus of music education research on composition, rarely takes the body of artistic research and development literature into account, which means that contem- porary techniques and aesthetic discussions commonplace in composition education practice are not considered in music education research. This the- sis contributes to the research field of music education by acknowledging some of the fundamental research on composition, and discussing it from an education perspective. As a consequence, a contribution salient in the arti- cles is to begin to develop research methodology accordingly. The introduc- tion takes on a quest to map out the field in a new way by bringing together research in music education with artistic research on composition, writings on music philosophy, semiotics and cognitive psychology. The boundaries and interplay between semantic significance and syntactic meaning are ex- amined and discussed, as is the relation between aesthetic meaning making and learning. The articles deal with these issues in the context of composi- tion learning at a music program in upper secondary school. The one entitled Synthetic Activity is about fundamental aspects of soundgeneration and hence directed towards semiotics in the form of phonology and significance in connection to musical gesture and spectral content. The learning and meaning making processes of two composition students are studied as they engage in additive synthesis to build sounds, musical phrases and eventually a short musical composition. One of the most striking results is that the pro- ject came to be as much a listening experience as one of creative music mak- ing, and that the concept development process included rehearing and reas- sessing familiar sounds and music. The article Creative Structures or Struc- tured Creativity deals with form and syntactic structure, as the students learn to develop and apply composition algorithms to further their creative think- ing. The results show that there are several different layers to the concept development processes in this project. One layer concerns to be able to struc-7ture musical parameters on an aggregate level; to learn to plan musical de- velopments as space of possibility rather than as a determined linear se- quence of musical events. Another layer comprises problems of learning the programming environment and how to embody the musical algorithms in working computer-code. A third layer concerns letting the algorithmically generated materials influence your creative thinking. Tokens of the concept development process as described by Vygotskij (1987, 1999) in language- based learning were prominent also in the music composition learning of these studies. Implications for further research include formalizing criteria for the developmental phases of the concept development process in musical contexts.
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| 26. |
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| 27. |
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| 28. |
- Frisk, Henrik, 1969-
(författare)
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Ett utvidgat musikaliskt fält
- 2020
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816 .- 2002-021X. ; 102
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Marina Pereira Cyrinos avhandling An inexplicable hunger: flutist)body(flute (dis)encounters lades fram vid Göteborgs universitet den 3 april 2019. Opponent var Catherine Laws, pianist och musikvetare vid University of York. Avhandlingen består av en bok och hela tio videor som på olika sätt dokumenterar de fem verk som avhandlingen innefattar. Boken är uppdelad i två delar varav den första fungerar som ett slags kappa, en på ett sätt fristående essä, som inte desto mindre ringar in forskningen. Den andra delen diskuterar de konstnärliga verken under rubrikerna Nocttuidae, Noctuoidea, Is she?, An aeroelastic flutter, Inside-out pastoral, Check out my w/holes.
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| 29. |
- Frisk, Henrik, 1969-
(författare)
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Intercultural Collaboration through Networked Performance
- 2020
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- As the Covid-19 pandemic continues to affect individual musicians, ensembles and concert institutions, streaming technology has become a central vehicle through which musicians and audiences can meet. But this forced move to digital presence also suggests new possibilities, beyond the ongoing coronavirus pandemic. This paper discusses how networked performance, a format which has engaged artists for decades as an artform in its own right, may also contribute to the sustaining of cultural heritage among migrant/minority communities as well as to the development of innovative intercultural artistic practices. Building on the experience of our group, The Six Tones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, we wish to develop a more robust understanding of the possibilities, and the limitations, that networked technology affords. The central source of our own work is drawn from Musical Transformations, an ongoing project which studies the intersection between traditional and experimental music in globalized society. We address the role of social interaction in the practice for intercultural collaboration, developed by The Six Tones since 2006, and discuss how such interactions are made difficult when collaborating through mediation of digital technology. In this context we believe that it is possible to also study what the limitations that the technologies impose and what the nature of these limitations amount to. Such a study may be useful also in other areas of digital interaction. Qualitative analysis of video documentation from rehearsals and performances constitute the foundation for the study. In the presentations we further discuss the projected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, with reference to the first networked performance carried out live on a scene in Hanoi on July 12, 2020, curated by The Six Tones at Manzi. This project situates the discussion even more immediately in the current developments of music culture at the time of the pandemic. The presentation, by the four authors, is supplemented with video from networked performances, as well as interviews with the group and guest performers documented on video.
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| 30. |
- Frisk, Henrik, 1969-
(författare)
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On the intuition of a machine
- 2020
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Ingår i: Research Catalogue. - Oslo : Research Catalogue.
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Forskningsöversikt (övrigt vetenskapligt/konstnärligt)abstract
- One of the great challenges of any research project that spans over several years is to keep the project contained and avoid it from going off in directions less useful for answering the questions posed. Yet, it has to be open enough to allow for unexpected findings in the fringes of the practice. This is especially true of artistic research projects, as they have a tendency to be interdisciplinary and sometimes broad-brushed, which in fact may be seen as one of the qualities of the field. Furthermore, the artistic practice and its contexts, which may sometimes itself be difficult to delimit, are at least at the outset the original bounds of an artistic research project. The difficulties, however, remains to know when a trajectory should be given up or stayed with: When is this particular issue exhausted in the context of the project? It is through method development that a field of research practice can evolve, and we, as artists and researchers, can learn to become better at making those decisions.
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