| 1. |
|
|
| 2. |
- Leijonhufvud, Susanna, 1972-
(författare)
-
An Origin of Swedish Folk Music : A Case Study of the National Project Skansen 1896-1899
- 2023
-
Ingår i: Folk-Music Practices and Polyphonic Nationalisms in Europe, 25–29 Sep 2023. - Graz.
-
Konferensbidrag (refereegranskat)abstract
- The national project of Skansen was established at the end of the 19th century. Here, the Swedish is being created during a national romantic era by bringing folk culture from all provinces of the kingdom – to be displayed and brought to life at the capital’s open-air museum. The current research project focuses on the constitution of the Swedish when it comes to folk music. Skansen has, as an institution, become significant for knowledge production and the understanding of Swedish culture in several ways. Our contemporary understanding of Swedish folk music also originates from this time and the very event – the establishment of Skansen. Therefore, it is interesting to investigate how, and in what way, music becomes manifested and displayed at Skansen. One way to investigate this is to focus on a single fiddler – Johan Edlund from the Roslagen parish of Harg in Uppland, Sweden. Edlund, engaged as a fiddler 1896-1899, is portraited his first week at Skansen by the folk music collector Karl Peter Leffler. This book has, since its publication, been one of the oldest sources that later studies depart from. This research project, at hand, critically examines the origin of this manifestation of the Swedish. When it comes to Leffler’s transcribed music from Harg, it becomes clear that the music is not merely directly retrieved from the province to the capital. The presentation will show how national folk music is by far of a national origin but rather a conglomerate of international influences.
|
|
| 3. |
-
Elva studier om kreativitet i musikproduktion : Till invigningen av Kungl. Musikhögskolans nya campus 2017
- 2017
-
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.
|
|
| 4. |
- Backman Bister, Anna, 1976-, et al.
(författare)
-
A Prima Vista – Possibillities and Challenges with Practice-based Research in Music Education
- 2021
-
Konferensbidrag (refereegranskat)abstract
- In 2017 the Swedish Government commissioned four Universities to plan and execute a project aiming to develop and test different models for long-term collaboration between Universities and Colleges and heads of Schools concerning practice-based research (Utbildningsdepartementet, 2018). This should be seen in the light of the decree in the Swedish education act from 2010, that declares that the Swedish compulsory school shall be founded in scientific basis and proven experience (SFS 2010:800; Norrestam & Alfredson, 2018).These four Universities became the core of a practice-based test project between Higher Education and School, called ULF (Utbildning, Lärande, Forskning) [in English ELR, Education, Learning, Research]. The four Universities have collaborated with other Universities and Colleges and formed four hubs in the ULF project network. The Royal College of Music (RCM) in Stockholm has been a part of the project through the hub administrated by Uppsala University. The trial period ends in 2021, and throughout the period RCM has been conducting four practice-based research projects where music teachers in the compulsory school have worked together with researchers from the college in pairs and in one case in a trio, researching areas that have been identified by the music teachers as important for them in their daily work. These research areas have been: Leadership in the music-classroom; Interventions for musical knowledge development and participation; Music education and digitalization; and Norm-critical music education.Five music teachers and four researchers together have developed multifaceted knowledge concerning, of course, the research areas of interest, but also about matters concerning arrangements supporting practice-based research. This could be called incidental findings, but we argue that these areas of interest may, in fact be part of the main findings, of the study made by the RCM, as well as of the main project nationally. The results are presented in an anthology called “A Prima Vista” which will be completed in January 2021.In the symposia we would like to present results and further discuss:- How to define practice-based research? The definition of the term practice-based or practice-conducted research is not an easy on to make?- The ethical codex for conducting studies that include humans, is in Sweden not updated to adequately meet the special issues that arises when practicing teachers are partaking in research that their head of the school department is engaged in. This concerns i.e., the matter of anonymization and bias.- How do one practically take on the task of practice-based research? Little is written in Sweden on organizational matters. Our project has shown that issues like schedules, access to resources, and substitute teachers are just a few of many pressing organizational matters.- Findings from the collaborative part-studies. References Norrestam S. & Alfredsson, S. (2018). Skola på vetenskaplig grund. Hur LUnd gör BFL/BFFL. I Vetenskap och beprövad erfarenhet, (s 29–38) VBE- programmet, Lund.SFS 2010:800. Skollagen. Stockholm, Utbildningsdepartementet.Utbildningsdepartementet. (2017). Uppdrag om försöksverksamhet med praktiknära forskning. Utbildningsdepartementet. Diarienummer: U2015/03573/UH, U2017/01129/UH.
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Thyrén, David, 1967-, et al.
(författare)
-
The Denniz PoP Model : Core Leadership Skills in Music Production as Learning Outcomes in Higher Education
- 2021
-
Ingår i: Summit Proceedings - 2020 Academic Papers Presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 - Virtual Summit. - Nashville : Music & Entertainment Industry Educators Association. ; , s. 64-72
-
Konferensbidrag (refereegranskat)abstract
- Over the last two decades, many Swedish songwriters and music producers have been internationally successful. During this time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding, and reason. Previous research clearly shows a variety of competences that are demonstrated and needed among musicians, music producers, and others active in the art of music production. Leadership is a very important aspect of music production and that’s why we explore what we can learn from Denniz PoP’s (1963-1998) leadership when he collaborated with his closest colleagues, and multiple award-winning songwriter/producer Max Martin. The empirical source material includes interviews as well as radio and television programs, literature, and an extensive inventory of Swedish music industry and consumer magazines. The results include a seven-step model for music production but also indicate that Denniz PoP’s true expertise was his ability to make others in a team grow and perform well. That which best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.
|
|
| 8. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
-
Spotify as a case of musical Bildung
- 2021
-
Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
-
Tidskriftsartikel (refereegranskat)abstract
- This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
|
|
| 9. |
|
|
| 10. |
- Leijonhufvud, Susanna, 1972-, et al.
(författare)
-
Teaching and Learning with Nimbra Technology
- 2023
-
Ingår i: <em>Academic Freedom and Responsibility in Music Education and </em><em>Research</em>. - Örebro.
-
Konferensbidrag (refereegranskat)abstract
- Teaching and Learning with Nimbra TechnologyWhat do you do when you want to play a particular instrument and no teacher of that particular instrument can teach you where you live? This is the case for several music students at Ålands Musikinstitut (ÅMI) at Mariehamn. One way to solve the problem is to employ a teacher to travel to the school of music. However, the distance is always far – as Åland is situated in the middle of the sea between Sweden and Finland so such travel is not possible on a regular weekly basis. Another solution is to use digital communication technology that can enable such a music educational meeting. In this project, we analyse the educational and didactical affordances such long-distance communication technology provides. We will present the high-fidelity fibre technology of Nimbra with an extremely low latency of five milliseconds.Given that latency, playing music together in real-time is possible. For a couple of years, a cello teacher from Stockholms Musikpedagogiska Institut (SMI) has been teaching students at ÅMI via this technique an arrangement that we have started to follow. In the research project, we will look at crucial issues of music didactic communication – sonic attunement; sound and frequencies, rhythm and tightness; visual contact; mutual eye contact, instrument, score; and tactile contact. By employing a multimodal social semiotic theory, we will present how we examine how multimodal semiotics translate to the digital presence. Does all the semiotics translate? If so, to what extent? Does it communicate at all “levels” of music knowledge development – from the level of beginners to advanced level? These questions lead to a recapture of frame factor theory regarding physical frames and the qualification of the student and teacher. An overarching aim of the study is therefore to map out the future need for music educational reforms with regards to the entrance of such digital equipment and the digital literacy that follows.
|
|
