| 1. |
- Andersson, Ditte
(författare)
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Biomekanik och ergonomi i samband med spel på nyckelharpa : en inledande studie
- 2012
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- 1974 publicerades boken The Teaching of Action in String Playing av Paul Rolland. Boken re- dovisade ett forskningsprojekt där man visade att rörelseträning, skapad för att befria ele- ven från överdriven spänning, på lång sikt kommer att resultera i snabbare inlärning och bättre utförande i frågan om att spela fiol. I bokens teorikapitel redovisas principerna för effektiva och avspända rörelser i samband med fiolspel. I det forskningsprojekt som utgör grunden för föreliggande uppsats, var avsikten att göra förberedande undersökningar för att så småningom kunna studera hur man kan överföra dessa principer till spel på nyckelhar- pa.En stor del av arbetet ägnades åt att utveckla en bra metod för att, medelst videofilmning, studera hur nyckelharpsspelare rör sig, samt att strukturera och klassificera de olika rörelser spelaren utför. Detta utvecklingsarbete resulterade i en plan över vilka rörelser som ska studeras och från vilka vinklar dessa ska filmas, samt konkret material, i form av listor och protokoll, som ska användas vid vidare studier. En liten del av tiden äg- nades också att åt att fundera hur modern videoteknik kan användas för att manipulera de färdiga filmerna, t.ex. med användandet av ultrarapid och grafiklager, i syfte att åskådlig- göra de rörelser som studeras.Ett urval av rörelserna i den fullständiga planen filmades och studerades se- dan. Dessa är instrumenthållning (som kan betraktas som en rörelse på så vis att den inne- bär ett balanserande av instrumentet), helkroppsrörelse i stående samt sittande position, samt start- och avslutningsrörelser. Fem stycken professionella spelare filmades och stude- rades. Deras rörelsemönster kunde sedan, i viss mån, jämföras med ett privat material med inte lika skickliga spelare. Generellt kunde en klar koppling ses mellan spelskicklighet och rörelsemönster, på så vis att de skickliga spelarnas rörelser i högre grad ansluter sig till de principer som redogörs för i Paul Rollands bok.En specialist på biomekanik konsulterades också, för att diskutera de olika spelarnas rörelsebeteenden. Denna konsultation resulterade i att författarens iakttagelser bekräftades och underbyggdes med konkreta fakta om människans rörelseapparat.
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| 2. |
- 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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| 3. |
- 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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| 4. |
- 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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| 5. |
- Hedås, Kim
(författare)
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Linjer : Linjer: Musikens rörelser – komposition i förändring
- 2013
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Title: Linjer. Musikens rörelser – komposition i förändringEnglish title: Lines: Music Moving – Composition ChangingAuthor: Kim Hedås Language: Swedish, with an English SummaryUniversity: The Academy of Music and Drama at the Faculty of Fine, Applied and Performing Arts, the University of Gothenburg, Box 100, SE-405 30 Gothenburg, SwedenKeywords: music, composition, relationship, connection, motion, movement, identity, time, memory, space, change, transformation, reflexivity, voice, meaning.ISBN: 978-91-979993-6-6 This dissertation takes the shape of a DVD, comprising the music in sixteen compositions, and a book, comprising the dissertation text. Lines: Music Moving – Composition Changing is a dissertation that focuses on relationships in music. The main question posed in this dissertation is: How does music relate to what is not music? Through an artistic inquiry, where a reflexive movement between the different parts produces the method used, the dissertation addresses the act of composing with particular focus on how music moves and how relations in music change. Results are also in motion, and traces – lines – move, change direction, and connect the music with what is not music. This inquiry embraces the following five themes: movement, identity, time, memory and space – which all relate to each other, and which, through composition, change, transform and reshape meaning as well as expression. The aim of this study is to demonstrate the changes that arise as a result of the relationships that are activated between music and what is not music, since an understanding of how these relationships work enables opportunities for the composition of new music.
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| 8. |
- 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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| 9. |
- Leijonhufvud, Susanna, 1972-
(författare)
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Sångupplevelse - en klingade bekräftelse på min existens i världen : en fenomenologisk undersökning ur första-person-perspektiv
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis treats the phenomenon of Singing Experience. Its purpose is to reveal the content that constitutes the phenomenon of singing from the singers’ point of view. Singing should be understood as a unique vocal expression carried by tones in a form that is sonorous, alive and fluid. The singing is in the context of singing with others. In order to perform a study that aims to reveal content within a phenomenon, the study uses a phenomenological approach from a first-person perspective, which is also my own perspective as the singer as well as the researcher. The interest in the field has arisen from the experience of singing with people who do not seem to notice that they sing out of tune. This has led to the thoughts that the phenomenon of singing includes different contents for different people in different situations. The phenomenological methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience. In the thesis the result of this eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a description of the constitution of the phenomenon of singing. The description of the phenomenon is a description of the essences of the lived-body, as well as the immanence of emotion and cogito. The description also includes the surrounding world, which harbours the dimension of the real as well as inter-subjective transcendence concerning time and space, humanity, music and the divine. All of the essences have shown to be essential essences of the experience of singing. This, however, is dependent on how the phenomenon of existence is regarded: to exist in a wide or a narrow sense, including or excluding the transcendent aspects of the phenomenon of singing.
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| 10. |
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