| 31. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur vi i högre musikutbildning förhåller oss till likheter och skillnader mellan artister, musiker och musikproducenter
- 2018
-
Ingår i: NU2018. - Västerås : Mälardalens högskola, Örebro universitet & Linköpings universitet.
-
Konferensbidrag (refereegranskat)abstract
- Det ökande intresset för att studera populärmusik och musikproduktion i svensk högre utbildning ärbakgrunden till denna studie. Tidigare forskning visar att den framgångsrika svenska musikexportenär en bidragande orsak till detta. Men tidigare studier indikerar även att många av de studenter somär intresserade av musikutbildning främst siktar på en karriär som artist eller upphovsman inompopulärmusik. För universiteten och högskolorna är detta ett problem eftersom den utbildning somerbjuds, i de flesta fall, förväntas leda till arbete som yrkesmusiker inom konstmusikaliska genrereller som musiklärare. En konsekvens av detta är att det är högt söktryck till de utbildningar imusikproduktion som finns vid flera av våra lärosäten.Vår studie visar dock att förhållandevis lite av innehållet i den högre musikutbildningen är inriktad påatt utveckla talanger till fullfjädrade artister, inte ens i musikproduktionsutbildningarna. Det går alltsåatt alltså identifiera ett gap mellan vad som erbjuds och vad många studenter nog helst önskar. Ettannat problem är att många av lärarna i högre musikutbildning ofta har mycket begränsad erfarenhetsom artister, men däremot har en bra och lång erfarenhet som yrkesmusiker. Detta kan leda till attstudenter i högre musikutbildning snarare utvecklar färdigheter som yrkesmusiker än som artister.Ett liknande problematik har vi identifierat i musikproducentutbildning där många av dem somundervisar snarare har professionell erfarenhet som ljudtekniker än som musikproducent.För att skapa ny kunskap om dessa problem och med syfte att bidra till att utveckla den högreutbildningen i musik samlar vi i detta projekt in mångsidiga data genom intervjuer med nyckelaktörerinom den svenska musikbranschen: artister, musiker och musikproducenter. Ett viktigt syfte är attidentifiera kärnegenskaper och viktiga skillnader mellan dessa yrkesgrupper. Ävenobservationsstudier ingår i detta pågående projekt. Ett delsyfte är även att jämföra erfarenheter frånstudenters uppfattningar i högre musikutbildning med studenters syn på framtida karriärer i andrapopulära utbildningar som t ex journalistutbildning.Vår målsättning med att presentera valda delar av undersökningens resultat vid NU2018 är att bidratill samtalet om det akademiska lärarskapet och fokusera på några av de särskilda utmaningar som vihar identifierat i den högre musikutbildningen rörande den ovan beskrivna målkonflikten. Denhuvudsakliga målgruppen för vår presentation är de som är intresserade av utbildning som sker påkonstnärlig grund samt andra med intresse för problematiken att vi i högre utbildning kanske intealltid erbjuder vad studenterna helst önskar.
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| 32. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Icebreakers and clusters within the Swedish music wonder
- 2022
-
Ingår i: Innovation in Music 2022 - Book of Abstracts. - Stockholm.
-
Konferensbidrag (refereegranskat)abstract
- In our ongoing project Searching for Sophia in Music Production, we explore factors that have been of great significance for the Swedish music wonder. In this paper, the aim is to identify important individuals in various genres that have paved the way for Sweden’s international success in music. One hypothesis we are working with is that a few innovative individuals who acted as "icebreakers" created smaller "clusters" centered around record companies that were highly influential. We present a selection of musical icebreakers and clusters that have successfully contributed to the Swedish music wonder: Stig "Stikkan" Anderson and Polar Music International AB, Bert Karlsson and Mariann Records, Ola H.kansson with Sonet and Ten Music Group, Robert von Bahr with BIS Records, Per-Olof "Pelle" Karlsson with Prim Records and Dag Volle "Denniz PoP" with Cheiron Studios. The study is methodologically based on literature studies and an inventory of source material as well as interviews with key people in Swedish music life. Theoretical perspectives include Jennifer Lena’s and Richard Peterson's (2008) model for the life cycles of genres, with stages of creation, development, conservation and stagnation, Paul Thompson's model for creativity in record production (2019) and Mats Trondman's theories of folk musical expression (1999). In addition, the analysis also uses theories in motivational research (Deci & Ryan, 2000) and entrepreneurial research with relevance to music and music industry development (Tschmuck, 2006; Östman 2018). Our analysis clearly shows that single theories cannot explain all essential parts of the Swedish music wonder. A combination of several theories and explanatory models is therefore needed. In our presentation, core issues around this are discussed.
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| 33. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Innovative communication by the music producers behind the hits?
- 2023
-
Ingår i: Innovation In Music Conference 2023 Abstracts book. - Edinburgh : Edinburgh Napier University & Innovation In Music.
-
Konferensbidrag (refereegranskat)abstract
- Swedish pop and rock music producers have contributed to major international successes in recent decades. Despite this, only a few researchers have studied the professional knowledge of these producers and what they do in their work. What producers do and their knowledge is something of a black box. Understanding producers' professional knowledge is essential for future producers, decision-makers and educators to create the conditions for tomorrow's success. However, what are the core competencies and skills apart from technical expertise? What is in the black box? This study mainly focuses on how producers communicate with musicians, artists, and other producer colleagues. These are the research questions: What characterizes explicit communication verbally or in other ways? Is there implicit communication, and how does it differ from explicit communication? Which communication is necessary and which is superfluous? Is there communication that can hinder a fruitful process during a music production session? Are there innovative multimodal communication methods that are particularly useful in music production? How do different producers use different communication strategies? Theoretically, this research rests on several legs. First, Kurt Blaukopf's music sociology is an interdisciplinary approach rather than a discipline (Blaukopf, 2003; Blaukopf & Zembylas, 2012; Smudits, 2019). Blaukopf devoted most of his professional life to formulating and practising in various fields, focusing on music as music activity, the desire for music and musical autonomy in shaping and changing complex conditions of existence. This sociology of music is complemented by other theories and theorizations, such as Howard Becker's contributions to the understanding of art worlds (Becker, 2008), Robert K. Merton's theoretical theme on opportunity structures (Merton, 1996), Jennifer Lena's and Rickard Peterson's models on how music cultures and genres evolve (Lena & Peterson, 2008), Ronald F. Inglehart's work on people's values and behaviours (Inglehart, 2018). Since creativity is a concept often referred to as a quality marker or authenticity indicator in music production, Harrison C. White's work with careers and creativity in music and music creation and artistry (White, 2008, 2020) and theories of creativity in music production is developed by Paul Thompson (2016, 2019) and Phillip McIntyre (2011, 2012, 2018) as well as various theories of authenticity further essential starting points. This paper aims to report results from observational studies and interviews with active music producers included in the project. One observation from the data we collected is that there are apparent similarities between how producers give instructions and guidance to how teachers work in music education and the supervision of students in higher education. However, the knowledge music producers use in their daily practice regarding communication with others tends to be based on personal experience after trial and error or on imitating how important predecessors and leaders in music production have acted. As a result, there are considerable variations in how different producers react. However, the common thing is that few bases their work on previous research on feedback and supervision, but they may have a lot to gain by trying it.
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| 34. |
- Gullö, Jan-Olof, 1961-
(författare)
-
Let´s Clear the Smoke: Fifty Years of Smoke on the Water in Music Education
- 2023
-
Ingår i: MEIEA Summit Proceedings - 2023. - Nashville : Belmont University & MEIEA. ; , s. 23-26
-
Konferensbidrag (refereegranskat)abstract
- In December 1971, the British rock band Deep Purple recorded Smoke on the Water, which became a global hit and significantly contributed to the band’s popularity. This study aims to investigate the reasons behind the song’s success, such as its inherent values, composition, lyrics, or music production design, as well as other potential explanations. We also study Smoke on the Water’s impact on music education. We interviewed music teachers, producers, students, and musicians from different countries to accomplish this. The study also relies on insights from interviews with Deep Purple members, observations made during concerts and study visits, and external sources. The study finds its theoretical basis in cultural psychology, education, economics, sociology, and musicology theories. The findings highlight the significance of understanding the fundamental elements of a song, which aspiring artists, musicians, and music producers should consider if they want to reach a broader audience.
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| 35. |
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| 36. |
- Gullö, Jan-Olof, 1961-
(författare)
-
Musikproduktion med föränderliga verktyg - en pedagogisk utmaning
- 2010
-
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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| 37. |
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| 38. |
- Gullö, Jan-Olof, 1961-
(författare)
-
The Understanding of Independence in Swedish Higher Education before and after Bologna
- 2018
-
Ingår i: ISSOTL18. - Bergen : ISSOTL & University of Bergen.
-
Konferensbidrag (refereegranskat)abstract
- Within the Bologna cooperation, an overall European framework has been developed with general learning outcomes and competences for different examination levels. In the Swedish interpretation of this framework, independence is a central concept. Student’s ten-week (15 ECTS credits) bachelor essays or degree projects are, for example, called independent projects in the Swedish system of higher education. Independence is however a concept that can be understood in different ways in different contexts. Ambiguities in how independence is understood and used in practice can lead to uncertainty and may even be a barrier to student exchange and hamper international comparability in accordance with the intentions of the Bologna Declaration. The aim of this study is therefore to explore how the concept of independence is understood in national and local steering documents in Sweden and how the understanding of independence has changed over time, before and after the Bologna Declaration in 1999. This study is a part of a research project where we gather data from Russia and Sweden from two different educational programs, journalist and teacher education. The collected data includes interviews with students and supervisors and analyses of supervision sessions. The analysed material in this study also includes national as well as local steering documents that form the legal basis for the practice of producing independent projects (bachelor essays). The steering documents consist of learning outcomes, assessment criteria, instructions and descriptions concerning the educational programs, including the independent project. Such documents may be important for how a culture for learning is developed within and across courses, programs, departments and institutions. The results show that the use of independence as central concept has changed over time in Swedish higher education. This is partly a result of the Bologna Declaration, but also and probably even more a result of changes in the surrounding society where independence over the years has gained importance in different ways. On the other hand, the results show fewer differences than expected between how teachers, as supervisors, relate to their students’ independence when comparing gathered data from Sweden and Russia, despite that the steering documents in these countries differ significantly. This clearly indicates that the teachers who participated in the study, irrespective of the steering documents being used, first and foremost, strive to create good conditions for their students’ learning and development.
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| 39. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Towards a stronger focus on entrepreneurial skills in future higher education in music
- 2019
-
Ingår i: INTED2019 Proceedings. - Valencia : IATED. - 9788409086191 ; , s. 9639-9646
-
Konferensbidrag (refereegranskat)abstract
- The profound changes, in recent years, in Swedish design and cultural industries are the backdrop tothis research project. Such changes includes the music industry where digitalization and online musicdistribution as well as new music production methods has led to that production traditions as well asthe competences among the professionals in are challenged. Many Swedish design-intensivecompanies have been internationally successful for several years. And the international success of bigcompanies in the music industry, like Spotify, as well as smaller companies, like Cheiron andMaratone and individuals like Max Martin and Shellback, has resulted in a growing interest amongstudents in higher education to study music in combination with design and new media technology.Therefore, the aim of this study is to analyze the motives that exist among young people who chooseto study music in combination with design and new media technology and to compare such motiveswith perceptions among leading music industry professionals. The collected data are analyzed in atheoretical perspective including learning theories as well as entrepreneurial theory. The study isexpected to lead to new knowledge that is valuable in developing future education in music incombination with design and new media technology. The empirical data consists of qualitativeinterviews with industry professionals and focus group interviews with students in higher education inmusic. In addition, the collected data also include analyses of selected music industry magazines andjournals 1988-2018 as well as analyses of several curricula for higher education in music productionand music related to new media. The results firstly indicate that there is a clear discrepancy betweenthe content in the analyzed educational programs and what the students value as important. Secondly,there are also differences between what successful music industry representatives highlight asvaluable and what is offered in the courses and study programs included in the analysis. One clearsuch difference is that entrepreneurial skills are valued much higher by the interviewed music industryrepresentatives compared with what has been offered in the courses included in the analysis. A keyconclusion is that expanding entrepreneurial aspects in future curricula, in order to strengthen practicalas well as theoretical entrepreneurial skills, should reasonably lead to increased employability forfuture students.
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| 40. |
- Hagerman, Frans
(författare)
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”Det är ur görandet tankarna föds” – från idé till komposition : En studie av kompositionsprocesser i högre musikutbildning.
- 2016
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- “Doing gives birth to ideas”. From ideas to composition: a study of composition processes in higher music education. Recent technological developments have challenged the historical methods of composing music for acoustical instruments using traditional scores. However, composers in the Western art music traditionstill continue to use them when they explore the realm of sounds intraditional instruments and possible ways to communicate their intentions. The aim of the present study is to describe the development process in the composition of score-based music intended to be performed by a mixed ensemble of wind, string and percussion instruments. Three composer students from an undergraduate program in Western art music composition each participated during two semesters in the data collection. The data consists of a series of composition sketches, qualitative interviews, voice logs, music recordings and observations of rehearsals and concerts. The analysis focused on shedding light on the participants’ ways of developing the content as the processes of composition unfold. The main methods of analysis were to compare different versions of the same composition and, on the basis of this comparison, to ask analytical questions of the participants. A result common to the three participants, is the conclusion that they start with rudimentary structures and gradually elaborate them so that they become more detailed and sophisticated, for example, more varied in instrumentation. This elaboration is supported by the use of written notes – scaffolds – that guide the development of the structure in different directions. Seven types of scaffolds, that represent different strategies to formulate and solve compositional problems, were found in the empirical data. The study contributes to wider understanding of the importance of making handwritten sketches throughout the process of developing musical ideas. Despite recent technological developments, there is evidence that hand-sketching still serves as an intuitive tool for meaningmaking, in combination with other tools such as acoustical instruments and new music technology.
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