| 1. |
- Akselsson, Cecilia, et al.
(författare)
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Acidification trends in south Swedish forest soils 1986-2008 : Slow recovery and high sensitivity to sea-salt episodes.
- 2013
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Ingår i: Science of the Total Environment. - : Elsevier BV. - 1879-1026 .- 0048-9697. ; 444, s. 271-287
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Tidskriftsartikel (refereegranskat)abstract
- Soil water chemistry in forest soils over 20years was studied at nine sites in southern Sweden. The aim was to investigate the recovery from acidification and the influence of strong sea salt episodes that occur in the region. All sites but one showed signs of recovery from acidification along with the reduced sulphur deposition, but the recovery progress was slow and the soil water was in most cases still highly acidic at the end of the period. In several cases the recovery was delayed by episodes of sea salt deposition, leading to transient acidification. The less marked decrease of sulphur concentrations in soil water than of sulphur deposition, highlighted the importance of sulphur adsorption/desorption in the acidification and recovery process. Nitrogen retention capacity was exceeded on one site, leading to nitrate leaching and extremely low pH. Storm fellings on two sites in the end of the period led to effects similar to those of regeneration fellings. It was concluded that the soils in the region are in an early stage of recovery. The future progress of recovery strongly depends on future nitrogen retention of forest soils and the frequency of sea salt episodes.
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| 2. |
- Gullö, Jan-Olof, 1961-
(författare)
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Musikproduktion med föränderliga verktyg - en pedagogisk utmaning
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.
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| 3. |
- Holgersson, Per-Henrik, 1964-
(författare)
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Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.
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| 4. |
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| 5. |
- Karlsson, Per Erik, et al.
(författare)
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Totaldeposition av baskatjoner till skog
- 2013
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- Det atmosfäriska nedfallet av baskatjoner mäts dels i nederbörden på öppet fält och dels som krondropp inne i skogen. Krondroppet skall i teorin ge en uppskattning av det samlade nedfallet till skogen, eftersom krondroppet i princip inkluderar både våt- och torrdeposition. För ämnen som t. ex. kväve och de flesta baskatjoner (kalium, magnesium och calcium) kompliceras uppskattningen av en interncirkulation inom trädkronorna, vilket involverar både upptag och läckage. Torrdepositionen av olika ämnen kan uppskattas genom användandet av surrogatytor, t ex strängprovtagare av teflon, placerade under tak. Natrium används som en biologiskt inert markör för depositionen till skogen. Torrdepositionen av ett specifikt ämne beräknas som koncentrationen av ämnet i provet från strängprovtagaren dividerat med koncentrationen av natrium i strängprovet och multiplicerat med nettokrondroppet för natrium till skogen vid provplatsen. Nettokrondroppet beräknas som nedfallet i krondropp subtraherat med nedfallet på öppet fält, korrigerat för en viss torrdeposition till provtagningstrattarna. Med hjälp av strängprovtagare samt nedfallsmätningar på öppet fält och i krondropp beräknades den partikelbundna torrdepositionen av baskatjoner för 12 platser i landet under en period av 8 år. Parallellt beräknades våtdepositionen av dessa ämnen med hjälp av öppet fält mätningar. Det samlade nedfallet av baskatjoner (exkl. natrium) beräknades till 400-900 ekv/ha/år för sydvästra delarna av Götaland, 200-300 ekv/ha/år för mellersta och östra Götaland samt för Svealand och 80-130 ekv/ha/år för Norrland. Andelen torrdeposition av totala depositionen av baskatjoner varierade mellan 30-70 % för sydvästra Götaland, 15-50 % för övriga Götaland och Svealand samt 5-25 % för Norrland.
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| 6. |
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| 7. |
- Karlsson, Per Erik, et al.
(författare)
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Totaldeposition av kväve till skog
- 2011
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- Nedfallet av kväve från luften mäts dels i nederbörden på öppet fält och dels som krondropp inne i skogen. Krondroppet skall i teorin ge en bättre uppskattning av det samlade kvävenedfallet till skogen, eftersom krondroppet i princip inkluderar både våt- och torrdeposition. För ämnen som t. ex. kväve och baskatjoner (kalium, magnesium och calcium) kompliceras uppskattningen av en interncirkulation inom trädkronorna, vilket inkluderar både upptag och läckage. I dagsläget finns därför ingen bra metod för att beräkna den samlade depositionen av kväve till skogen i Sverige utifrån empiriska mätningar.Torrdepositionen av olika ämnen kan uppskattas genom användandet av surrogatytor, t ex strängprovtagare av teflon, placerade under tak. Natrium används som en biologiskt inert markör för depositionen till skogen. Torrdepositionen av ett specifikt ämne beräknas som kvoten av koncentrationen av ämnet i provet från strängprovtagaren, dividerat med koncentrationen av natrium i strängprovet och multiplicerat med nettokrondroppet för natrium till skogen vid provplatsen. Nettokrondroppet beräknas som nedfallet i krondropp subtraherat med nedfallet på öppet fält. Med hjälp av strängprovtagare samt nedfallsmätningar på öppet fält och i krondropp beräknades den partikelbundna torrdepositionen av sulfat, nitrat och ammonium för 12 platser i landet för perioder om 4-7 år. Parallellt beräknades våtdepositionen av dessa ämnen med hjälp av öppet fält mätningar. Det samlade nedfallet av oorganiskt kväve beräknades till mellan 10 och16 kgN/ha/år för de västra delarna av Götaland, 5- 7 kgN/ha/år för mellersta och östra Götaland samt för Svealand och 1- 2 kgN/ha/år för Norrland. Andelen torrdeposition av totala depositionen av oorganiskt kväve varierade mellan 15 och 33 % för Götaland, 8-19 % för Svealand och 2 till 13 % för Norrland.
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| 8. |
- Paulander, Ann-Sofie, 1958-
(författare)
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Meningen med att gå i musikterapi : En fenomenologisk studie om deltagares upplevelser
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations. The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.
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| 9. |
- Uddholm, Mats, 1955-
(författare)
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Om professionella aktörers musikpedagogiska definitionsmakt : En kulturhistorisk studie av samband mellan musikpedagogisk teori och definitionsmakt
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to illuminate which role theories of music education can have in the dialectic between discourse and competence in the practice of music pedagogy. The thesis stems from a problem-oriented project that resulted in the formulation of the following research question: how can the connection between music education theory and the power of definition be described and problematized from a cultural-historical perspective using Vygotsky's thesis of Semiotic Thinking? In his research on the dual function of language Vygotsky makes a distinction between the usage of concepts and conceptualization. In this study this distinction has been crucial to determining the relationship between music education theory and the power of definition as practised in music pedagogy. The research project comprised a background study and three sub-studies. The focus of the background-study was the conditions for musical learning and development in persons with severe cognitive dysfunctions. The first sub-study dealt with how social workers in this area of special education conceptualise their view of music in relation to their understanding of music activities in their own practice. The second sub-study aimed to explore which concepts music-therapists use in their meta-reflections on musical situations in this area of special education. The purpose of the third sub-study was to formulate a theoretical perspective on the relationship between music education theory and the power of definition using Vygotsky's hypothesis of semiotic thinking. The main conclusions are: first, that music education theory can be understood as a structural coupling between the power of definition that is embedded in music-pedagogical discourse as a whole, and the power of definition possessed by music pedagogues; second, that the development of the power of definition in the practice of music pedagogy is a creative process that in turn entails a critical questioning of music education theory.
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