| 1. |
- 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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| 2. |
- 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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| 3. |
- 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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| 4. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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50 years of ”Smoke on the Water” in Music Education
- 2022
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Ingår i: Nordic Network for Research in Music Education 2022 Conference - Book of Abstracts. - Jyväskylä : University of Jyväskylä.
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Konferensbidrag (refereegranskat)abstract
- The song "Smoke on the Water" was recorded by the British rock group Deep Purple and first released in 1972. The song had a global reach and contributed to Deep Purple's success and fandom. Smoke on the Water is also relevant to music education. The basic guitar riff in the song is easy to learn and has attracted many, especially boys and young men, to play guitar. And even today, 50 years later, it is common for pupils to know this riff and gladly show it to their teachers when they start taking music lessons. The purpose of the research project is therefore to analyse, problematize, and describe how and why Smoke on the Water has been important and how the song has contributed to music education and to get young people interested in guitar playing. The study finds its theoretical ground in the American psychologist Jerome Bruner’s nine tenets, all highly relevant to research in music education, complemented by other theories in pedagogy, economics, sociology, musicology, and gender studies. The empirical design includes interviews with music teachers, music leaders, music students and musicians in different countries as well as interviews with some original members of Deep Purple. The analysis confirms that it is a very well-known riff and that students in higher music education, still today, in general know the song Smoke on the Water well. Many also state that they have played the song in ensembles of various kinds. Many have also sung it. But despite this, most of the participating students in higher music education were ignorant to the lyrics, also among the singers who stated that they had performed the song. These findings are empirically surprising and leads to new questions and in-depth analyses. Why are the lyrics, for the students, clearly subordinate to the musical content? This, despite that previous research clearly shows that the lyrics, for many average listeners, can be just as, or even more, important as the music itself. Is this an example of an unspoken hierarchical value system in higher music education? These results indicate a field of tension, regarding what is important in a musical performance and in a piece of music, like Smoke on the Water, between those who perform and those who listen. The example above shows how this study can be used to clear the smoke and visualize areas with development potential within higher music education.
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| 5. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A comparative study of professional music production methods in theage of streaming
- 2020
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Konferensbidrag (refereegranskat)abstract
- Although Sweden is a small country, the Swedish music exports have been successful for many years. In our ongoing research project: Searching for Sophia in music production, we study how various aspects linked to music production may have contributed to the Swedish music industry´s international achievements. In this sub-study we focus on production methods available today, including digital production tools for music, and compare those with the production methods that were used before the age of streaming, in the late 1990s. Several previous studies focus on the technological development of digital music production tools. However, surprisingly little attention has been directed towards how such tools can affect professional musical creativity and productivity. This sub-study includes a case study of the Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle had some unique music producer skills and also developed new innovative music production methods. Previous research has so far largely ignored his works despite his importance for the success of Swedish music exports. Denniz PoP is also remembered as mentor of Martin Sandberg [Max Martin] and therefore we analyze how the new tools and methods, that have been added over the years, may have affected the creative process of Sandberg and other successful Swedish music producers. The empirical material includes published sources of various kinds as well as interviews, conversations and written communication with some of Volle's closest associates who still are internationally active as music producers. The results indicate, firstly, that digital tools can help but also hinder creativity, and secondly, that several of the most important aspects of Volle's strategy as a music producer, for example to be driven by intrinsic motivation and by implementing music productions through collaborative processes, are still very relevant today - in the age of streaming.
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| 6. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Challenging Changes for Future Music Production
- 2020
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Konferensbidrag (refereegranskat)abstract
- In recent years, there have been major changes in society on many levels. Such changes are of course of great importance to many urban residents. The changes we are referring to in this paper, are how people listen to music. On the streets and walkways in e.g. Stockholm, the capital of Sweden, large hordes of young men and women nowadays travel on electric scooters and almost everyone wears headphones and listens to music. Also on commuter trains, subways and buses, most of the travelers also wear headphones and listen to music. Thus, music is constantly present in these people's lives. But at the same time, music clubs and other music establishments, are often finding it increasingly difficult to achieve profitability due to a declining audience interest. Also traditionally successful music arenas such as the opera houses have problems to attract audiences, despite extensive and often very costly marketing. However, the big arena concerts with international artists still attract large crowds. This means that listening to music has evolved into something that usually happens entirely individually or on occasions in very large contexts, like e.g. at arena concerts. In this paper we highlight some of the challenges that young music producers face, due to the changing society, as they develop their artistic activities. The Swedish music industry has for many years been internationally successful and we present some core explanations of the success and also reflect on how societal development may need changes for future urban music development.
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| 7. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Core leadership skills in music production as learning outcomes in higher education
- 2020
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Ingår i: MEIEA 2020 Summit. - Washington : MEIEA.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT During the last two decades, many Swedish songwriters and music producers have been internationally successful. At the same 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 used 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, including 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 7-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. And what 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. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Icebreakers and clusters within the Swedish music wonder
- 2022
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Ingår i: Innovation in Music 2022 - Book of Abstracts. - Stockholm.
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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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| 9. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Music production in Swedish higher education : History and future challenges
- 2019
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816 .- 2002-021X. ; 101, s. 185-199
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Tidskriftsartikel (refereegranskat)abstract
- Although there is a growing interest for music production in Swedish higher education, where many students today study the subject, we argue that music production may in many ways still be noticed as a blind spot in research. This paper explores how research and education in music production has emerged, in Sweden but also internationally, against the background of the ongoing research project Searching for Sophia in music production. This project investigates how various aspects linked to music production and music education have contributed to the Swedish music industry’s international achieve- ments. First, the development of music production courses and programmes in higher education is described, from the pioneering years in the 1980s until present. Next, we discuss key concepts in music production including the different phases of a music pro- duction and the role of the music producer. Thereafter we focus on four selected aspects of music production: creativity, innovation, motivation, and entrepreneurship. Further, future implications are discussed concerning the changes in how music is composed and produced, marketed, distributed, and how music is consumed today.
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| 10. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Pop(ulär)musik nu och för hundra år sedan : likheter och skillnader mellan Max Martin och Irving Berlin
- 2020
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Konferensbidrag (refereegranskat)abstract
- Denna studie fokuserar på kärnegenskaper hos två mycket framgångsrika upphovspersoner inom populärmusik: Irving Berlin (1888-1989) och Martin Sandberg (1971-), också känd som Max Martin. Även om det naturligtvis finns stora skillnader i det omgivande samhället och den kultur där Berlin var och Sandberg är aktiv, finns ändå uppenbara likheter mellan de båda. I denna delstudie, som ingår i projektet Searching for Sophia in Music Production, presenterar vi en kunskapskritisk analys av två intervjuer; en med Irving Berlin och en med Martin Sandberg. Intervjun med Berlin genomfördes av Frank Ward O'Malley (1875-1932) och var ursprungligen publicerad i "The American Magazine", Volym 90, oktober 1920, där Berlin presenterade "Nine Rules for Writing Popular Songs". Intervjun med Martin Sandberg genomförde vi själva i november 2019 där vi, bland annat, bad honom bedöma en musikproduktions- och låtskrivarmodell som vi själva tagit fram baserad på strategier som användes av Dag Volle (1963– 1998), även känd som Denniz PoP. Vi har i tidigare delstudier utvecklat denna modell och Volle är mycket intressant som studieobjekt eftersom han, trots att han saknade formell musikutbildning, var en mycket framgångsrik svensk musikproducent och även lade grunden till att utveckla nya innovativa musikproduktionsmetoder som flera av hans medarbetare, där ibland Martin Sandberg, har fortsatt att använda och utveckla vidare. I analysen jämförs Berlins reflektioner kring sin egen modell ”Nine Rules for Writing Popular Songs” och Sandbergs reflektioner över vår egen Denniz PoP-modell. Undersökningsresultaten visar på stora likheter, men också vissa tydliga skillnader, mellan vilka aspekter som Berlin och Sandberg betonar som viktiga för hur upphovspersoner kan eller bör agera för att kunna skapa musik som lever upp till egna konstnärliga mål och även når stor popularitet. Erfarenheter från denna studie bör därför kunna bidra med värdefull kunskap till artister, musiker, musikproducenter och andra verksamma, som till exempel studenter, inom pop(ulär)musikproduktion.
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