| 1. |
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| 2. |
- Öberg, Anna, et al.
(författare)
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To pass on as an artistic method
- 2022
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Konferensbidrag (refereegranskat)abstract
- To pass on as an artistic method is an ongoing research where Öberg explore passing on (Sw: tradera) as a concept and artistic practice, transfered from being an implicit pedagogical tool in the cosmology of folk traditions into a choreographic strategy for materials and composition in the contemporary choreography context. During this presentation Öberg and Misgeld will share some aspects of this ongoing research by using their artistic works: Solitude (Öberg, 2019), Living documents (Öberg, 2017) and Dancing Dots (Misgeld, 2022) as a backdrop.
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| 3. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Spotify as a case of musical Bildung
- 2021
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
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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.
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| 4. |
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Innovation in Music 2022 : Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 2022
- 2022. - 01
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music 2022FRIDAY 2022-06-17 Welcome to Innovation in music 2022! - 15:30 1C103 - Lilla salen 1Keynote 1: Armen Shaomian - 15:45 - 1C103 - Lilla salen 1Panel 1: Entrepreneurship, Copyright, & Innovation in Music: Linda Portnoff, Christian Råsmark, Thomas Arctaedius & Örjan Strandberg 15:30 - 1C103 - Lilla salen 1Seminar with online presenters 17:30 - Lilla salen Paul Novotny: How to Put Together a Premium DIY Dolby Atmos 'Tiny Studio' on a Budget Anders Lind: Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers 2Pedro Miguel Ferreira: Road(ies) To Nowhere? A Portuguese live music perspective, Eirik Askerøi: Sonic Markers in Popular Music: Innovation - Trend - Tradition, Ola Buan Øien: The Dialogue of Mr. Question Mark and Sylvia Massy: Challenging norms at the intersection of crafts and creativity in music recording contexts 3SATURDAY 2022-06-18 Welcome with music: Henry Mikkonen & Martin Åberg 08:45 - Lilla salen 4Seminar with online presenters 09:00 - Lilla salen 4Yuxiang Cai, Rui Liu and Xuefeng Zhou: An investigation of piano timbre preference based on employing equalizer to adjust the harmonic loudness, Martin Koszolko: Connecting across borders: communication tools, group structures and practices of remote music collaborators, Hussein Boon: Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship 5Yngvar Kjus, Ragnhild Brøvig-Hanssen & Solveig Wang: Encountering new technology: A study of how female creators explore DAWs, Scott Stickland, Nathan Scott & Rukshan Athauda: The DAW Collaboration Framework: Improving Creative Opportunities and Authenticity in Collaborative Online Audio Mixing 6Samuel Lynch & Helen English, Jon Drummond, Nathan Scott: Exploring Dynamic Music Methods to Extend Compositional Outcomes 7Session 1 A 10:20-12.00 - 1C103 (Lilla salen) Ingvild Koksvik: Staging Notions of Space: Developing a Practice-Based Model for Realizing Compositional Intention in 3D and Stereo Record Production 8Grzegorz Trela: The sound from behind the Iron Curtain: Record production in the Polish People's Republic 8Marc Estibeiro: An interactive chamber work for two classical guitars and electronics which uses the natural sound of the acoustic instruments as both source material for electronic processing and as a means of controlling the electronic part 9Stephen Bruel: Remastering Elton John's Goodbye Yellow Brick Road 9Session 1 B 10:20-12.00 (1D221) 9Claus Sohn Andersen: The space is the place - Interplay and interaction in an extreme location 9Matthew Lovett: Artificial creativity and tools for understanding: music, creative labour and AI 10Tony Dupé: Self Production as a Creative Practice 10Leigh Shields: Exploring the history of distortion in Drum and Bass 11Session 1 C 10:20-12.00 (1E207) 11Matthias Jung & Vegard Kummen: Hacking the concert experience - exploring co-creative audience interaction at a chiptune live performance 11Haoran Jiang: A History of Taiwan's Recording Industry: Production and Promotion Strategies of Campus Song Records by Synco Corporation 12Mat Dalgleish: Unconventional Inputs: The Modular Synthesizer as One-Handed Instrument 12Shib Shankar Chowdhury: Autoethnography and composition for Innovative music creation about Pandemic with reference to "I Am Virus" 13Keynote 2: Susanne Rosenberg 13:00-13:50 - 1C103 (Lilla salen) 13Session 2 A 14:00-15:40 - 1C103 (Lilla salen) 14Håkan Lindberg: Innovation solving problems with vocal recordings 14Emil Kraugerud: Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy 14Bjørnar Sandvik: Sample, Slice, and Stretch! Four Innovative Moments in the History of Waveform Representation 14Antti Sakari Saario: “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the design of a new ‘classic’ microphone (Nordic Audio Labs NU-100K) 15Session 2 B 14:00-15:40 (1D221) 16Florian Hollerweger: Audio beyond Demand: Creative Reinventions of the Broadcast Listening Experience 16Sven Ubik, Jakub Halak, Martin Kolbe & Jiri Melnikov: Comfortable playing together over distance 16Mattias Petersson: A new morphology – Strategies for innovation in live electronics performance 16Zachary Diaz: Signifyin(g) Producers: The Roland SP-404 and The Evolution of Live Instrumental Hip-Hop Performance 17Session 2 C 14:00-15:40 (1E207) 17Kirsten Hermes: Levelling up chiptune: nostalgic retro games console sounds for the ROLI Seaboard 17Ambrose Field & Ling Ding: Innovation and music business: a new approach for international partnership in music 18Egor Poliakov & Martin Pfleiderer and Christon-Ragavan Nadar: Analyze! Development and integration of software-based tools for musicological and music theoretical needs 18Christos Moralis: The ‘Performable Recordings’ model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance 19Session 3 A 16:00-17:15 (1C103 Lilla salen) 19Scott L. Miller & Carla Rees: Telematic Performance and Recording of Interactive Electroacoustic Chamber Music 19Henrik Langemyr: Music(al) Production: To Compose and Produce Musical for Recorded Medium: Based on the Perspective of Music, and Media Production 20Session 3 B 16:00-17:15 (1D221) 20Phil Harding: Transforming A Pop Song: The Journey of the Extended Club Remix 20M. Nyssim Lefford & Gary Bromham and David Moffat: From Intelligent Digital Assistant to Intelligent Digital Collaborator 21Brendan Williams: Creative Potentials for Dolby Atmos: Presenting the self-balancing acoustic ensemble 21Session 3 C 16:00-17:15 (1E207) 22Henrique Portovedo & Ângelo Martingo: Transforming Performance with HASGS: research-led artistic practice in augmented instruments 22Ambrose Field: Rethinking the relationships between space, performance and composition in notated acoustic composition: Quantaform Series 22Hans Lindetorp: Gesture-controlled synths with WebAudioXML 22Panel 2: How to get published? And Book releases Chair: Rob Toulson 23Keynote 3: Sven Ahlbäck, Christian Råsmark & Rob Toulson 23SUNDAY 2022-06-19 Welcome with music: Henry Mikkonen & Martin Åberg - 08:45 Lilla salen 23Panel 3: Exploring Dolby Atmos: Past Present and Future Chair: Daniel Pratt 23Session 4 A 10:20-12:00 - 1C103 (Lilla salen) 23Enric Guaus & Alex Barrachina, Gabriel Saber, Víctor Sanahuja, Josep Comajuncosas: Exploring a network setup for music experimentation 23Paul Thompson, Mcnally Kirk & Toby Seay: Multiple Takes: Multitrack Audio as a Musical, Cultural, and Historical Resource 24Jo Lord & Michail Exarchos: Dynamic meta-spatialisation: Narrative and recontextualisation implications of spatial stage stacking 24Stefan Östersjö, Thanh Thuy Nguyen & Matthew Wright: Yellow music in diaspora: Re-inventing the sound of pre-1975 record production in Sài Gòn 25Session 4 B 10:20-12:00 (1D221) 25Hans Lindetorp: Towards a standard for interactive music 25Jessica Edlom, Jenny Karlsson & Linda Ryan Bengtsson: Innovating music experiences – Creativity in pandemic times 25Alicja Sulkowska: Before Our Spring – towards the concept of intermedial authenticity in a curated K-pop industry. On the example of Kim Jonghyun’s “Blue Night Radio” 26Dave Fortune: Composing Without Keys: The LFO as a Composition Tool 27Session 4 C 10:20-12:00 (1E207) 27Mads Walther-Hansen & Anders Eskildsen: Forceful Action and Interaction in Non-Haptic User Interfaces for Music Production 27Charles Norton, Justin Paterson & Daniel Pratt: Musical connections and enhanced performance control, a strategy to reduce complexity 28Kjell Andreas Oddekalv: Rap as composite auditory streams: Techniques and approaches for layered vocal production in hip-hop and their aesthetic and philosophical implications 28Liucija Fosseli: Music Business Present and Future Innovations. Perspectives of international songwriters and producers working towards Chinas´market 29Keynote 4: Håkan Lidbo 13:00-13:50 - 1C103 (Lilla salen) 29Session 5 A 14:00-15:40 - 1C103 (Lilla salen) 29Stefan Östersjö & Jan Berg, Anders Hultqvist: A Deepened ‘Sense of Place’: ecologies of sound and vibration in urban settings and domesticated landscapes 29Andy Visser & Justin Paterson: HAPPIE: The Haptic Audio-Production Pipeline – A novel method for accomplishing audio-production tasks using haptic feedback within a Mixed Reality [MR] environment 30Jon Marius Aareskjold-Drecker & Ragnhild Brøvig-Hanssen: Vocal Chops: Balancing the Uncanny Valley 30Jacob Westberg: Ludonarrative Harmony: Music production through the lens of game design 31Session 5 B 14:00-15:40 (1D221)Thomas Bårdsen: Improving the republishing process of legacy music productions through documented source selection and reformatting 31Toivo Burlin: Mobile Classical Music – Recording, Innovation and Mediatization. Three Swedish case studies from the 1940’s to 2021 31David Thyrén, Jan-Olof Gullö, Per-Henrik Holgersson & Thomas Florén: Icebreakers and clusters within the Swedish music wonder 32Russ Hepworth-Sawyer, Rob Toulson & John-Paul Braddock: UDPi Mastering Protocol 32Session 5 C 14:00-15:40 (1E207) 33Mads Walther-Hansen: Music Production Entrepreneurship – Between Art and Business 33Thomas Arctaedius, Martin Q Larsson, Emilie Lidgard & Madeleine Jonsson Gill: Experiences from a Learning Lab – Cross Innovation in Music/Arts 33Daniel Pratt & Toby Seay: Time, place, and reflexivity: the recording space as an instrument 34Samantha Talbot: Song Worlds: Spontaneity, Intimacy, and Immersion. Music Video from Glencoe 34Concert & Paper presentation Henrik Frisk: Literate programming and documentation of artistic processes . Lilla salen 16:00 34Panel 4: Final reflections & Future perspectives 16:40 35
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| 5. |
- Thyrén, David, 1967-, et al.
(författare)
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Kluster och isbrytare inom det svenska musikundret
- 2021
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Ingår i: Musikforskning idag 2021 15–16 juni 2021. - Huddinge. ; , s. 21-
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Konferensbidrag (refereegranskat)abstract
- Inom vårt pågående projekt Searching for Sophia in Music Production utforskas faktorer som varit av stor betydelse för det svenska musikundret. I detta sammanhang åsyftas att identifiera viktiga aktörer inom olika genrer som banat väg för svenska internationella musikframgångar. En hypotes vi arbetat med är att ett fåtal mindre ”kluster” centrerade kring skivbolag med några enstaka personer som agerat som ”isbrytare” varit av stor betydelse. Här presenteras analyser av klustren Polar Music International AB, Mariann Records, Prim Records och Cheiron med isbrytare som Stig ”Stikkan” Anderson (1931–1997), Bert Karlsson (f. 1945), Svante Bengtsson (f. 1944) och Dag Volle ”Denniz PoP” (1963–1998).Studien bygger metodologiskt på litteraturstudier och inventering av källmaterial samt intervjuer med nyckelpersoner inom svenskt musikliv. Teoretiska perspektiv inkluderar Jennifer Lena och Richard Petersons (2008) modell för genrers livscykler med skapelse, utveckling, konservering och stagnation, Paul Thompsons modell för kreativitet vid skivproduktion (2019) och Mats Trondmans teorier om folkliga musikaliska uttryck (1999). Dessutom används i analysen även teorier inom motivationsforskning (Deci & Ryan, 2000) och entreprenörsforskning med relevans för musik och musikbranschutveckling (Tschmuck, 2006; Östman 2018).Vår analys visar tydligt att enskilda teorier inte kan förklara alla väsentliga delar i det svenska musikundret. Det behövs därför en kombination av flera teorier och förklaringsmodeller. I vår panel diskuteras kärnfrågor kring just detta.
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| 6. |
- Thyrén, David, 1967-, et al.
(författare)
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Musikindustri i förvandling : Isbrytare och kluster inom det svenska musikundret
- 2021
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Ingår i: <em>Press play:</em><em>efter den stora pausen</em>. - Stockholm. ; , s. 6-
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Konferensbidrag (refereegranskat)abstract
- Inom vårt pågående projekt Searching for Sophia in Music Production utforskas faktorer som varit av stor betydelse för det svenska musikundret. I detta sammanhang åsyftas att identifiera viktiga aktörer inom olika genrer som banat väg för svenska internationella musikframgångar. En hypotes vi arbetar med är att ett fåtal mindre ”kluster” centrerade kring skivbolag med några enstaka personer som agerat som ”isbrytare” varit av stor betydelse. Här exemplifieras ett urval musikaliska isbrytare och kluster som framgångsrikt men på olika sätt bidragit till det svenska musikundret: Stig ”Stikkan” Anderson och Polar Music International AB, Bert Karlsson och Mariann Records, Ola Håkansson med Sonet och Ten Music Group, Robert von Bahr med BIS Records, Per-Olof ”Pelle” Karlsson och Prim Records samt Dag Volle ”Denniz PoP” med Cheiron Studios. Studien bygger metodologiskt på litteraturstudier och inventering av källmaterial samt intervjuer med nyckelpersoner inom svenskt musikliv. Teoretiska perspektiv inkluderar Jennifer Lena och Richard Petersons (2008) modell för genrers livscykler med skapelse, utveckling, konservering och stagnation, Paul Thompsons modell för kreativitet vid skivproduktion (2019) och Mats Trondmans teorier om folkliga musikaliska uttryck (1999). Dessutom används i analysen även teorier inom motivationsforskning (Deci & Ryan, 2000) och entreprenörsforskning med relevans för musik och musikbranschutveckling (Tschmuck, 2006; Östman 2018).
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| 7. |
- Thyrén, David, 1967-, et al.
(författare)
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The Denniz PoP Model : Core Leadership Skills in Music Production as Learning Outcomes in Higher Education
- 2021
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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
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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.
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| 8. |
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| 9. |
- Jaresand, Susanne, et al.
(författare)
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Beauty/Schönheit/Skönhet : An Artistic Research Project in Music and Dance
- 2018
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Ingår i: International Journal of Music and Performing Arts. - : American Research Institute for Policy Development. - 2374-2690 .- 2374-2704. ; 6:2, s. 1-7
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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.
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| 10. |
- Nyberg Ljungqvist, Lina, 1970-
(författare)
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Kroppen som instrument : Metoder, utmaningar och möjligheter
- 2021
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Annan publikation (populärvet., debatt m.m.)abstract
- Denna text är ett självständigt arbete som genomfördes inom ramen för den högskolepedagogiska kursen på Kungliga Musikhögskolan (KMH) läsåret 2020/2021. Syftet med arbetet är att, med ett högskolepedagogiskt perspektiv, belysa ämnet jazzsång med utgångspunkt i såväl mina egna som andras uppfattningar om ämnet. Inledningsvis redovisas kortfattat hur instrumentet sång såväl grundläggande som mer specifikt i jazz- och improvisationsgenrerna. Några exempel ges på tekniker som tillämpas för att utveckla improvisationen inklusive några metoder jag själv har använt och jag förklarar även varför jag valt att använda dessa och refererar även till studenters reaktioner på dessa metoder. Vidare identifieras och diskuteras olika för- och nackdelar som kan finnas med att ha sång som instrument när det handlar om improvisation, dels utifrån aktuell forskning om hjärnan och dels ur ett psykologiskt perspektiv. För att samla uppfattningar om just jazzsång hos professionella sångare och dansare samt hos studenter genomfördes en enkätundersökning. Deltagarna fick svara på frågor om vad de tycker att sångstudenter inom improvisation och jazzgenren behöver lära sig för att förberedas för ett professionellt yrkesliv och om deras uppfattningar om hur högskoleutbildning i jazzsång bör gå till. Mot bakgrund av de erfarenheter som enkätundersökningen gav presenteras avslutningsvis konkreta utvecklingsförslag som skulle kunna leda till en bättre undervisning och utbildning för de musiker som studerar med sång som instrument i högre musikutbildning.
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