| 1. |
- 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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| 2. |
- Huovinen, Erkki, et al.
(författare)
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Eye movements in sight singing: A study with experts.
- 2021
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 31:3-4, s. 134-148
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Tidskriftsartikel (refereegranskat)abstract
- In comparison with instrumental sight reading of musical notation, sight singing is typically characterized by the presence of lyrics. The purpose of this study was to explore how skilled sight singers divide their visual attention between written music and lyrics and how their eye-movement behavior is influenced by musical stimulus complexity. Fourteen competent musicians performed 10 newly composed songs in a restricted temporal condition (60 bpm). Eye movements and vocal performances were recorded and complemented with posttask complexity ratings and interviews. In the interviews, the singers emphasized the priority of focusing on the melody instead of the lyrics. Accordingly, eye-movement analyses indicated not only more total fixation time on music than lyrics but also longer fixation durations, longer durations of visits (i.e., sequences of fixations), and a larger number of fixations per visit on music than on lyrics. The singers also more typically arrived at a bar by glancing first at the music instead of lyrics. Generalized linear mixed-model analyses showed that the number of notes and accidentals in a bar influenced the fixation time and that pupil dilation was increased by a larger number of accidentals. Measurements of eye–voice span, that is, the temporal distance between fixating and singing a note, were best predicted by phrase structure and the note density of previous melodic material. According to the interviews, the best sight singers’ approaches were characterized by a flexibility of moving between different sight-singing strategies. The study offers a comprehensive overview regarding the bottom-up and top-down aspects affecting sight-singing performance.
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| 3. |
- 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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| 4. |
- 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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| 5. |
- Backman Bister, Anna, 1976-, et al.
(författare)
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A Prima Vista – Possibillities and Challenges with Practice-based Research in Music Education
- 2021
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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.
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| 6. |
- 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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| 7. |
- Bojner Horwitz, Eva, et al.
(författare)
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Can Dance and Music Make the Transition to a Sustainable Society More Feasible?
- 2022
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Ingår i: Behavioral Sciences. - : MDPI AG. - 2076-328X. ; 12:1, s. 11-11
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Tidskriftsartikel (refereegranskat)abstract
- AbstractTransition to sustainability is a process that requires change on all levels of society from the physical to the psychological. This review takes an interdisciplinary view of the landscapes of research that contribute to the development of pro-social behaviors that align with sustainability goals, or what we call ‘inner sustainability’. Engaging in musical and dance activities can make people feel trust and connectedness, promote prosocial behavior within a group, and also reduce prejudices between groups. Sustained engagement in these art forms brings change in a matter of seconds (such as hormonal changes and associated stress relief), months (such as improved emotional wellbeing and learning outcomes), and decades (such as structural changes to the brains of musicians and dancers and superior skills in expressing and understanding emotion). In this review, we bridge the often-separate domains of the arts and sciences by presenting evidence that suggests music and dance promote self-awareness, learning, care for others and wellbeing at individual and group levels. In doing so, we argue that artistic practices have a key role to play in leading the transformations necessary for a sustainable society. We require a movement of action that provides dance and music within a constructive framework for stimulating social sustainability.
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| 8. |
- Ahlbäck, Sven, 1960-
(författare)
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”We hear what we know” - On the power of concepts : how traditional fiddle music in contemporary society can benefit fromfolk music theory
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ”We hear what we know” - On the power of conceptsand how traditional fiddle music in contemporary society can benefit fromfolk music theorySwedish fiddle music, just as many other fiddle traditions, has a strong connection to dance. Making people want to move their feet is one of the chief tasks ofthe fiddler, and this connection still influences the music today, even thoughthe music might be played on concert stages or be digitally streamed.So what constitutes this knowledge of the fiddler? What is important when playing a certain local styleof Swedish polska so people actually can dance to it? If you live in an isolated community with no contact with the outside world you might not have to reflect on what is the stylistic features of your tradition but today folk music generally lives in a multi-stylistic world where different value systemsthat originates from other music traditions than fiddle music dominates. Today’s fiddlers will have to relate to today’s world of music, whether we want it or not.In Sweden, since the 19th century, there has been a tradition of mystifying the knowledge of the fiddler, making the competence of playing a matter of socio-cultural background, geography and ancestry.The perils of this view is that the qualities of art of fiddling might be obscuredand actually might be lost when music transforms - as music always do.In this talk Sven Ahlbäck, who is a traditional fiddler deeply rooted in traditional Swedish FolkMusic and very involved in development of new ensemble playing and teaching, will talkabout how conceptualising stylistic qualities of Swedish fiddle music such as e.g.asymmetrical beats, swing, bowing and intonation have influenced the developmentof today’s Swedish folk music, even beyond the fiddle.
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| 9. |
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Explorativ bildning i strömmande medier : Spotify som ett case
- 2020
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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.
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| 10. |
- 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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