| 1. |
-
Explorativ bildning i strömmande medier : Spotify som ett case
- 2020
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Vilka bildningsprocesser kan urskiljas ur människors Spotifyanvändande? Det visar sig att ett sådant användande är tätt sammanflätat med musikalisk- såväl som digital kunskap. Med ett fokus på de bildningsprocesser som sker i samspelet mellan människa, teknik och musik utmanas förståelsen av vad en strömmande musiktjänst som Spotify kan erbjuda.”Evolving Bildung in the nexus of streaming services, art and users – Spotify as a case” är ett tvärdisciplinärt projekt som visar hur människans bildningsprocesser villkoras, utmanas och möjliggörs i och med den strömmande medieutvecklingen. Denna bok kan med fördel användas inom utbildningar i musikpedagogik, musikvetenskap, musikproduktion, ljudteknik, pedagogik, kulturstudier, sociologi, samt medie- och kommunikationsvetenskap.
|
|
| 2. |
- 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.
|
|
| 3. |
- Harlow, Randall, et al.
(författare)
-
Global Hyperorgan : a platform for telematic musicking and research
- 2021
-
Ingår i: NIME 2021. - : The International Conference on New Interfaces for Musical Expression (NIME).
-
Konferensbidrag (refereegranskat)abstract
- The Global Hyperorgan is an intercontinental, creative space for acoustic musicking. Existing pipe organs around the world are networked for real-time, geographicallydistant performance, with performers utilizing instruments and other input devices to collaborate musically through the voices of the pipes in each location. A pilot study was carried out in January 2021, connecting two large pipe organs in Piteå, Sweden, and Amsterdam, the Netherlands. A quartet of performers tested the Global Hyperorgan’s capacities for telematic musicking through a series of pieces. The concept of modularity is useful when considering the artistic challenges and possibilities of the Global Hyperorgan. We observe how the modular system utilized in the pilot study afforded multiple experiences of shared instrumentality from which new, synthetic voices emerge. As a long-term technological, artistic and social research project, the Global Hyperorgan offers a platform for exploring technology, agency, voice, and intersubjectivity in hyper-acoustic telematic musicking.
|
|
| 4. |
|
|
| 5. |
- Jaresand, Susanne, et al.
(författare)
-
Beauty/Schönheit/Skönhet : An Artistic Research Project in Music and Dance
- 2018
-
Ingår i: International Journal of Music and Performing Arts. - : American Research Institute for Policy Development. - 2374-2690 .- 2374-2704. ; 6:2, s. 1-7
-
Tidskriftsartikel (refereegranskat)abstract
- In an artistic project we investigated the points of contact between choreography and music composition in a listening stance, where the meeting between the artists was visible and audible. Collective creative processes arose from this attitude of listening. One way to bring forth the listening stance – and not only uni-directionally, as when a choreographer uses a through-composed piece of music – was to let a composer write music to a dance, choreographed in silence. The performance gave the opportunity to change rituals around listening that are predominantly current in an attempt to resuscitate the eyes, ears, inner and outer attention to a reflective listening; to take these thoughts where the body goes and break the patterns of embodied and cognitive ways of thinking. In a position of stillness, one can renew, breath, give and open up to new opportunities. The cognition/corporeality of the dance became a way to listen to music.
|
|
| 6. |
- Liljas, Juvas Marianne
(författare)
-
"Vad månde blifva af dessa barnen?" : En studie av David Björlings pedagogik och dess bakgrund i äldre sångundervisningstraditioner
- 2007
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation's title is: "What is to become of these children?", a study of David Björling's way of teaching and the background to it in older traditions of teaching singing.During the first decades of the 1900s, David Björling formed a singing school for children with his sons. Teaching started at a sensationally early age. David Björling's methods were controversial, and were questioned. David Björling himself asserted that his methods of teaching the children were serious and would give good results, and at the same time he emphasised that teaching singing was part of the musical upbringing he wanted to give his children.The aim of the dissertation is to deduce the methods David Björling applied to his sons. In the study, I investigate how David Björling taught, how it was recieved and which vocal pedagogical and didactic traditions David Björling can have been inspired by in his teaching of singing.The presentation is based on the tradition of hermeneutical interpretation and first and foremost on Paul Ricoeur's hermeneutics.The results show that the school was formed in accordance with the pedagogical model we understand today as the Suzuki method. Björling is also found to have been inspired by theories of teaching children singing that were proposed at the beginning of the last century. According to the analysis of the results, David Björling is found to have roots in an older Italian tradition. The results point to recurring similarities between David Björling's methods and the Lamperti school's didactic principles.
|
|
| 7. |
- Nyberg, Johan
(författare)
-
Man kan aldrig kunna allt om musik - det känns verkligen stort : en pragmatisk studie om gymnasieungdomars begreppsliggörande av kunskap och lärande i musik
- 2011
-
Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In my profession as a music teacher in upper secondary school, I have often encountered students who express a dichotomy between their association of music in everyday life and music in school. This display of conflict can for instance surface when it becomes obvious to them that working with and learning music may comprise more than performative or aesthetic aspects. The purpose of this research project is to investigate into how students in Swedish Upper secondary school’s music programme conceptualize and communicate musical knowledge and learning, by using pragmatist philo- sophy and narrative inquiry and analysis. The reason for this is my belief of the need for understanding each other when it comes to learning as well as teaching. This is what constitutes the basis of a democratic society, where every voice has the right to be heard and listened to, but in which this right needs to be made possible. It is also my belief that when this is made possib- le, making your voice heard also includes a responsibility on behalf of both speaker and listener. This qualitative study has been conducted in parallel with scientific studies at the National School of Research in Education (NFS) and is based on the participation of 29 students attending 4 different schools with National and Specially designed Upper secondary school music programmes. The method for gathering of data consisted of two steps, the first being a questionnaire with open questions answered by the students on their own, which were then analyzed and used as a basis forming a interview template. In the second stage focus group interviews were conducted. The empirical data has then been analyzed using narrative analysis, and the re- sults are presented in two steps, the first being a narrative representation in the form of a dialogue between two voices: a researcher and a student. In the second step this dialogue was analyzed further in comparison with the prag- matist key concepts of experience, action and meaning, and the notion of resistance as a prerequisite for learning. Overall, the results show that re- gardless of school, form and type of programme, none of the informants state that, during their years as students in school/music education, they have been asked to reflect upon these matters before, what they regard as musical knowledge and how to learn – something they do not express any greater concern about. Furthermore, the results show that the students participating in this research conceptualize musical knowledge as a three-part combina- tion of theory, practice and expression/emotion that cannot be fully separab- le; knowledge that is manifested through action and valued differently de-pending on surroundings – hence contextualized. According to the students, musical learning in school is also dependent upon action, and is made pos- sible through the will to practice and thereby develop innate abilities. In this, curricula and teacher(s’) experience(s) are seen as key factors, while musical learning outside school is regarded as less regulated. My hope is that by gi- ving room for the students´voices to be heard, this research may be of avail to school practitioners, educators and researchers. If learning of music on a deep level is made possible through inclusion of those who are seen as lear- ners, those who are seen as teachers – as well as those who have the power to shape educational prerequisites – need to address this issue, and start ma- king it possible for music students’ voices to be heard in music education. This because – in accordance with what Deweyean pragmatism asserts – it is crucial that the teacher is the one who through his or her professionality ta- kes responsibility for making a dialogue with the students possible, and through this will be able to teach, guide and form the education in accordan- ce and balance with students’ experiences, interests and the demands of mu- sicianship as well as curricula.
|
|
| 8. |
- Petersson, Mattias
(författare)
-
Live Coding the Global Hyperorgan : The Paragraph environment in the indeterminate place
- 2023
-
Ingår i: Organised Sound. - : Cambridge University Press. - 1355-7718 .- 1469-8153. ; 28:2, s. 206-217
-
Tidskriftsartikel (refereegranskat)abstract
- This article presents several scenarios in which a live coding environment called Paragraph was utilised to telematically play networked and geographically distributed hyperorgans. Situated within the framework of the Global Hyperorgan project, the TCP/Indeterminate Place Quartet have explored the affordances of the organ network through the concept of Tele-Copresence. By outsourcing certain dimensions of the parameter space of the Paragraph language to other members of the quartet, a shared instrumentality is enabled, where the organs are collaboratively controlled by means of this system. Rooted in a personal composer-performer practice and studied from the perspective of the live coder, the Paragraph system, adapted to the TCP/Indeterminate Place environment, can be understood as a modular system of human and non-human agents, into which the other musicians are patched. The distributed parameter space utilised, thus resembles a shared cantus firmus, a foundational, but dynamically changing, ecology for the live coder to play within.
|
|
| 9. |
- Östersjö, Stefan, 1967-, et al.
(författare)
-
Shared Listenings : Methods for Transcultural Musicianship and Research
- 2023
-
Bok (refereegranskat)abstract
- This Element demonstrates how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led-research. The authors relate recently collected material from fieldwork in Vietnam to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which three authors are the founding members. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. The aim of this Element is to create a decolonized methodology—for both music performance and research—and it provides a detailed account of this method development starting in 2006. Furthermore, the authors discuss how this practice was successfully shared with three master performers in the south of Vietnam as part of a collaborative project in 2018–2019.
|
|
