| 1. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
50 years of ”Smoke on the Water” in Music Education
- 2022
-
Ingår i: Nordic Network for Research in Music Education 2022 Conference - Book of Abstracts. - Jyväskylä : University of Jyväskylä.
-
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.
|
|
| 2. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur vi i högre musikutbildning förhåller oss till likheter och skillnader mellan artister, musiker och musikproducenter
- 2018
-
Ingår i: NU2018. - Västerås : Mälardalens högskola, Örebro universitet & Linköpings universitet.
-
Konferensbidrag (refereegranskat)abstract
- Det ökande intresset för att studera populärmusik och musikproduktion i svensk högre utbildning ärbakgrunden till denna studie. Tidigare forskning visar att den framgångsrika svenska musikexportenär en bidragande orsak till detta. Men tidigare studier indikerar även att många av de studenter somär intresserade av musikutbildning främst siktar på en karriär som artist eller upphovsman inompopulärmusik. För universiteten och högskolorna är detta ett problem eftersom den utbildning somerbjuds, i de flesta fall, förväntas leda till arbete som yrkesmusiker inom konstmusikaliska genrereller som musiklärare. En konsekvens av detta är att det är högt söktryck till de utbildningar imusikproduktion som finns vid flera av våra lärosäten.Vår studie visar dock att förhållandevis lite av innehållet i den högre musikutbildningen är inriktad påatt utveckla talanger till fullfjädrade artister, inte ens i musikproduktionsutbildningarna. Det går alltsåatt alltså identifiera ett gap mellan vad som erbjuds och vad många studenter nog helst önskar. Ettannat problem är att många av lärarna i högre musikutbildning ofta har mycket begränsad erfarenhetsom artister, men däremot har en bra och lång erfarenhet som yrkesmusiker. Detta kan leda till attstudenter i högre musikutbildning snarare utvecklar färdigheter som yrkesmusiker än som artister.Ett liknande problematik har vi identifierat i musikproducentutbildning där många av dem somundervisar snarare har professionell erfarenhet som ljudtekniker än som musikproducent.För att skapa ny kunskap om dessa problem och med syfte att bidra till att utveckla den högreutbildningen i musik samlar vi i detta projekt in mångsidiga data genom intervjuer med nyckelaktörerinom den svenska musikbranschen: artister, musiker och musikproducenter. Ett viktigt syfte är attidentifiera kärnegenskaper och viktiga skillnader mellan dessa yrkesgrupper. Ävenobservationsstudier ingår i detta pågående projekt. Ett delsyfte är även att jämföra erfarenheter frånstudenters uppfattningar i högre musikutbildning med studenters syn på framtida karriärer i andrapopulära utbildningar som t ex journalistutbildning.Vår målsättning med att presentera valda delar av undersökningens resultat vid NU2018 är att bidratill samtalet om det akademiska lärarskapet och fokusera på några av de särskilda utmaningar som vihar identifierat i den högre musikutbildningen rörande den ovan beskrivna målkonflikten. Denhuvudsakliga målgruppen för vår presentation är de som är intresserade av utbildning som sker påkonstnärlig grund samt andra med intresse för problematiken att vi i högre utbildning kanske intealltid erbjuder vad studenterna helst önskar.
|
|
| 3. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Innovative communication by the music producers behind the hits?
- 2023
-
Ingår i: Innovation In Music Conference 2023 Abstracts book. - Edinburgh : Edinburgh Napier University & Innovation In Music.
-
Konferensbidrag (refereegranskat)abstract
- Swedish pop and rock music producers have contributed to major international successes in recent decades. Despite this, only a few researchers have studied the professional knowledge of these producers and what they do in their work. What producers do and their knowledge is something of a black box. Understanding producers' professional knowledge is essential for future producers, decision-makers and educators to create the conditions for tomorrow's success. However, what are the core competencies and skills apart from technical expertise? What is in the black box? This study mainly focuses on how producers communicate with musicians, artists, and other producer colleagues. These are the research questions: What characterizes explicit communication verbally or in other ways? Is there implicit communication, and how does it differ from explicit communication? Which communication is necessary and which is superfluous? Is there communication that can hinder a fruitful process during a music production session? Are there innovative multimodal communication methods that are particularly useful in music production? How do different producers use different communication strategies? Theoretically, this research rests on several legs. First, Kurt Blaukopf's music sociology is an interdisciplinary approach rather than a discipline (Blaukopf, 2003; Blaukopf & Zembylas, 2012; Smudits, 2019). Blaukopf devoted most of his professional life to formulating and practising in various fields, focusing on music as music activity, the desire for music and musical autonomy in shaping and changing complex conditions of existence. This sociology of music is complemented by other theories and theorizations, such as Howard Becker's contributions to the understanding of art worlds (Becker, 2008), Robert K. Merton's theoretical theme on opportunity structures (Merton, 1996), Jennifer Lena's and Rickard Peterson's models on how music cultures and genres evolve (Lena & Peterson, 2008), Ronald F. Inglehart's work on people's values and behaviours (Inglehart, 2018). Since creativity is a concept often referred to as a quality marker or authenticity indicator in music production, Harrison C. White's work with careers and creativity in music and music creation and artistry (White, 2008, 2020) and theories of creativity in music production is developed by Paul Thompson (2016, 2019) and Phillip McIntyre (2011, 2012, 2018) as well as various theories of authenticity further essential starting points. This paper aims to report results from observational studies and interviews with active music producers included in the project. One observation from the data we collected is that there are apparent similarities between how producers give instructions and guidance to how teachers work in music education and the supervision of students in higher education. However, the knowledge music producers use in their daily practice regarding communication with others tends to be based on personal experience after trial and error or on imitating how important predecessors and leaders in music production have acted. As a result, there are considerable variations in how different producers react. However, the common thing is that few bases their work on previous research on feedback and supervision, but they may have a lot to gain by trying it.
|
|
| 4. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Towards a stronger focus on entrepreneurial skills in future higher education in music
- 2019
-
Ingår i: INTED2019 Proceedings. - Valencia : IATED. - 9788409086191 ; , s. 9639-9646
-
Konferensbidrag (refereegranskat)abstract
- The profound changes, in recent years, in Swedish design and cultural industries are the backdrop tothis research project. Such changes includes the music industry where digitalization and online musicdistribution as well as new music production methods has led to that production traditions as well asthe competences among the professionals in are challenged. Many Swedish design-intensivecompanies have been internationally successful for several years. And the international success of bigcompanies in the music industry, like Spotify, as well as smaller companies, like Cheiron andMaratone and individuals like Max Martin and Shellback, has resulted in a growing interest amongstudents in higher education to study music in combination with design and new media technology.Therefore, the aim of this study is to analyze the motives that exist among young people who chooseto study music in combination with design and new media technology and to compare such motiveswith perceptions among leading music industry professionals. The collected data are analyzed in atheoretical perspective including learning theories as well as entrepreneurial theory. The study isexpected to lead to new knowledge that is valuable in developing future education in music incombination with design and new media technology. The empirical data consists of qualitativeinterviews with industry professionals and focus group interviews with students in higher education inmusic. In addition, the collected data also include analyses of selected music industry magazines andjournals 1988-2018 as well as analyses of several curricula for higher education in music productionand music related to new media. The results firstly indicate that there is a clear discrepancy betweenthe content in the analyzed educational programs and what the students value as important. Secondly,there are also differences between what successful music industry representatives highlight asvaluable and what is offered in the courses and study programs included in the analysis. One clearsuch difference is that entrepreneurial skills are valued much higher by the interviewed music industryrepresentatives compared with what has been offered in the courses included in the analysis. A keyconclusion is that expanding entrepreneurial aspects in future curricula, in order to strengthen practicalas well as theoretical entrepreneurial skills, should reasonably lead to increased employability forfuture students.
|
|
