| 1. |
- Berg, Daniel, 1971-
(kompositör, creator_code:cre_t)
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Blue Memories : for solo marimba
- 2010
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Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- Some memories are easy to tell - others are more like a feeling, difficult to put into words. This piece is an attempt to describe this feeling in music.The harmonic tension between G major and F sharp minor, creates a melancholy mood - a kind of nostalgia - Blue Memories.
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| 2. |
- Berg, Daniel, 1971-
(arrangör, creator_code:cre_t)
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Five Swedish Marimba Pieces
- 2010
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Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- Five piece by: Heimer Sjöblom - Imagination (1977)Miklós Maros - Marimbacapriccio (1996)Sergei Dmitriev - Min barndoms snö... (2001)Ole Lützow-Holm - Rhyme and Pairs (2003)Staffan Storm - En viskning av intet (2007)
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| 3. |
- Berg, Daniel, 1971-
(kompositör, creator_code:cre_t)
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Impossible Etudes II : Even worse
- 2010
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Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- 1. Dragonfly: • Focuses on the development of precise interval changes, primarily with the outer mallets. Interval ranges include M2 up to an octave, but the shifts move mostly in stepwise motion. 2. The Dark Side of Marimba Playing • Intended to practice long jumps and fast interval shifts in a smooth and controlled manner. • Inner voices maintain a roll on dissonant cluster chords while outer voices jump for single notes. • Uses octave intervals. 3. Marimba Etude for Octaves • RH plays double verticals in larger intervals (up to a 10th), while LH outlines the harmony with arpeggios. • Works on developing the interval switch from 6th to octave 4. Hochzeitsmarsch • Arranged to help develop one-handed rolls in both hands. • May also help develop fast, relaxed motion on double verticals and quick shifting around the instrument.
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| 4. |
- Berg, Daniel, 1971-
(kompositör, creator_code:cre_t)
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Stella Polaris : Five pieces for Vibraphone
- 2010
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Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- This booklet is addressed primary to students who are beginning to learn the basic Vibraphone techniques. Each song focus on something that is characteristic for the vibraphone - e.g. dampening, pedaling. My wish is that these songs will create a continues interest for the Vibraphone and create a bridge to the other solo and chamber music literature for this instrument.Stella Polaris (also called the North or Pole Star), is the brightest star in the constellation Ursa Minor and located at a distance of approximately 430 light years from Earth. Polaris shows the north direction by its location only one degree from the north celestial pole.
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| 5. |
- 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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| 6. |
- Falthin, Peter, 1961-, et al.
(författare)
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Creative Structures or Structured Creativity? : Investigating algorithmic composition as a pedagogical tool
- 2010
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Ingår i: The 11nth International Conference on Music Perception and Cognition (ICMPC11). - Seattle : University of Washington Press. ; , s. 125-
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Konferensbidrag (refereegranskat)abstract
- CREATIVE STRUCTURES OR STRUCTURED CREATIVITY (Investigation algorithmic composition as a pedagogical tool) Peter Falthin, PalleDahlstedt Royal College of Music, Stockholm, Chalmers Technical University, Gothenburg peter.falthin@kmh.se palle@chalmers.seABSTRACTThis empirical study aims to depict how composers develop and structure creative resources, aided by algorithmic methods and other means of structuring material and processes. The project is not meant to be conclusive, but rather to form a point of departure and raise questions for further theoretical and empirical study in the field. Implications for teaching and learning composition and for designing interactive musical tools are expected. In specific, this paper concerns concept development within learning of music composition: if, how and to what extent this is comparable to that of language-based learning. The research project in progress sets out to study cognitive processes of composers working to integrate the outcome of composition algorithms, with the subjective compositional aim and modus operandi. However, in most cases the composer is also designer of the algorithm or at least of its specific application to the compositional problem. Consequently the strategies involved in designing and applying compositional algorithms need to be considered and discussed insofar that they too are part of the integration process. The study at hand draws from research conducted in cultural-historical psychology, cognitive psychology and linguistic theory, concerning internalization, development of concepts and syntactic and semantic aspects of musical structures.
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| 7. |
- 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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| 8. |
- 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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