| 1. |
- 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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| 2. |
- Gullö, Jan-Olof, 1961-
(författare)
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‘50 years of “Smoke on the Water”: What can we learn?’
- 2023
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The song "Smoke on the Water", recorded by the British rock group Deep Purple in December 1971, had a global reach, and contributed much to Deep Purple's success and fandom. The song was recorded during a sound check when the band was jamming and trying out a location for a recording session and was initially not intended to be released. A turning point was a successful live album, "Made in Japan", in 1972, including the song. And over the years, the song has retained its popularity among many. But how can the success of Smoke on the Water be explained? The study includes interviews with music teachers, music directors, music students and musicians in different countries, as well as interviews with some original members of Deep Purple. The findings are empirically surprising and indicate tension regarding understanding what is most important in a specific musical performance and piece of music or recording, such as Smoke on the Water, between those who perform or produce and those who listen. In short, for many of those who study music and music production, the details of the music and various intrinsic aspects of musical content seem to be more important, compared to those who are more average listeners who seem to pay more attention to how the lyrics and music speak to them. Therefore, the results can help to highlight some possible areas of development. At least for those students who want to produce music and reach listeners who cannot analyse music and deeply understand various advanced musical aspects as well as they themselves can.
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| 3. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A Progress Assessment Model for Music Students
- 2024
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Ingår i: AEC PJP 2024. - Bryssel.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- AEC Pop and Jazz Platform 2024 (Odense, Denmark) We have observed that many students enrolled in higher music education programs lack the necessary skills to work independently, which often leads to difficulties in completing larger artistic projects. Moreover, they face challenges in assessing their own work and making independent, high-quality artistic choices. The objective of this project is to assist struggling students, enhancing their abilities and confidence. Degree projects in Swedish higher music education include independent artistic music projects that are designed following the same guidelines as any other higher education courses. These courses have clearly defined learning outcomes, which are developed with extensive work to ensure that both students and teachers can easily comprehend them. It is also crucial for examiners to understand the intended learning outcomes and how they will be evaluated. Therefore, the learning outcomes must be carefully selected to ensure they are relevant, clear, examinable, and realistic. This means that the set of learning outcomes must be achievable for the students. Moreover, these outcomes should serve as a basis for the planning, follow-up, and quality assurance of teaching. Our project approach is designed to prioritise the needs of students and provide them with clear and specific learning outcomes that empower them to evaluate their own progress confidently. We have developed a4-step model for students to assess their progress in independent projects. The model highlights the importance of effective communication, practical knowledge application, critical reflection, and performance evaluation as essential skills for student success. While we focus on music production education in our study, these methods can also be applied to other subjects in higher education. In our presentation, we will discuss this model and its implications for students completing their degree projects. We would like to invite you to join us in this conversation.
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| 4. |
- Gullö, Jan-Olof, 1961-
(författare)
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After fifty years of Smoke on the Water: What does it mean to make it? : Moreover, what can we in higher music education learn from that song?
- 2023
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Ingår i: What does it mean to make it? - Opening gateways to internationalization in Higher Music Education. ; , s. 14-14
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Konferensbidrag (refereegranskat)abstract
- The song "Smoke on the Water", recorded by the British rock group Deep Purple in December 1971, had a global reach and contributed much to Deep Purple's success and fandom. The song was recorded during a sound check when the band was jamming and trying out a location for a recording session and was initially not intended to be released. However, a turning point was a successful live album, "Made in Japan", in 1972, including the song, and in 1973, Smoke on the Water became a worldwide hit. Furthermore, the song has retained its popularity over the years. Therefore, it is interesting to ask: how can the success of Smoke on the Water be explained? The study presented here includes interviews with music teachers, music directors, music students and musicians in different countries, as well as interviews with some original members of Deep Purple. The findings are empirically surprising and indicate tension regarding understanding what is most important in a specific musical performance and piece of music or recording, such as Smoke on the Water, between those who perform or produce and those who listen.In short, for many of those who study music and music production, the details of the music and various intrinsic aspects of musical content seem to be more important, compared to those who are more average listeners who seem to pay more attention to how the lyrics and music speak to them. Therefore, the results highlight some possible areas of development. At least for those students who want to produce music and reach listeners who cannot analyse music and deeply understand various advanced musical aspects as well as they, as music students, can. Nevertheless, when we teach in higher music education, we can help our students develop their sensitivity and understanding of what is needed to reach the listeners. Then the students should have good conditions to open the gates to a great working life, acquire valuable international connections and build up fruitful artistry.
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| 5. |
- Gullö, Jan-Olof, 1961-
(författare)
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Anteckningar från några dagar i St Petersburg
- 2020. - 1
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Ingår i: Mellan det hyperlokala och globala. - Huddinge : Södertörns högskola. - 9789188663962 - 9789188663979 ; , s. 169-175
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Gunnar Nygren, Östersjöprofessor i journalistik vid Södertörns högskola, gick i februari 2020 i pension. Gunnar är en person som skapar engagemang kring viktiga frågor, driver på journalistisk förändring, och lyfter människor både i den akademiska världen och i mediebranschen. Ett signum för Gunnars forskning är attden uppmärksammar journalistikens samhällsroller på fleraolika nivåer, från det hyperlokala till det globala. I denna vänbok beskriver kollegor till Gunnar hur de på olika sätt inspirerats av detta engagemang för journalistikens utveckling. Bokens 21 kapitel är författade av kollegor inom olika delar av akademin, samt av verksamma journalister som Gunnar samverkat med genom åren. Kapitlen kretsar kring fyra teman: Mediepolitik och demokrati; Kris, medieskugga och möjligheter; Gunnar som inspiratör; och Framtidens journalister och fortbildning. Kapitelförfattarna belyser centrala frågor för medieutvecklingen, men också hur Gunnar‒ både som lärare och forskare ‒ har bidragit till en kritisk och konstruktiv diskussion om journalistikens roll i samhället.
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| 6. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur Bolognaprocessen påverkat den högre musikutbildningen i Sverige: med särskilt fokus på studenternas självständiga arbeten
- 2023
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Ingår i: Swedish Society for Music Research together with The Royal College of Music & The Royal Swedish Academy of Music Rendezvous Music Research – KMH week 24 Musikforskning idag 2023 June 13-15, 2023 Program and abstracts.
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Konferensbidrag (refereegranskat)abstract
- Genom högskolereformen 2007 förändrades förutsättningarna för svensk högre utbildning på flera olika sätt. En viktig förändring var att lärandemål infördes som svar på frågan vad en student förväntas kunna efter sina studier. Nu drygt 15 år senare genomför vi denna studie i syfte att undersöka hur lärandemål för studenternas självständiga arbeten i högre musikutbildning har utvecklats och tillämpas. I undersökningen ingår analys av utbildnings- och kursplaner från samtliga svenska lärosäten som ger utbildning i musik, insamlade uppfattningar från lärare vid flera nationella konferenser om studenters självständiga arbeten samt olika erfarenheter vi samlat på oss när vi undervisat i högskolepedagogisk utbildning. Studenternas självständiga arbeten examineras vanligtvis genom konserter eller andra uppspelningar där klingade material redovisas samt vid seminarier där skriftliga delar ventileras. Även om de lärare som undervisar är ålagda att följa uppställa lärandemål visar denna undersökning att det hos många finns en stor osäkerhet kring framför allt bedömningen av studenternas arbeten men också hur målen ska tillämpas i undervisningen. När det gäller den klingande delen av ett självständigt arbete i musik är det mindre vanligt att studenter blir underkända. Däremot är det vanligt att den skriftliga delen måste omarbetas, ibland flera gånger, för att godkännas. Undersökningen visar att studenter ofta har svårt att skriva med organisation och inte kan skilja på vad som ska vara i olika delar av texten men också att de ofta har bristande kunskap om vilken funktion tidigare forskning har, inte förstår vilken effekt olika tempus har, blandar talspråk och akademiskt språk och ofta brister i etiska överväganden. Undersökningen visar också att studenter sällan på djupet har läst kurslitteratur, som handböcker, kursmanualer eller andra anvisningar och ofta inte heller tillämpar det som de har lärt sig i teori- och metodundervisning. En möjlig lösning, som också har starkt stöd i tidigare forskning, är att tidigt i utbildningen introducera disciplinbaserad forskning som gynnar studenternas lärande och kunskapsutveckling i allmänhet, men som också ger dem kompetens att genomföra alla delar av sina självständiga arbeten.
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| 7. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Hur vi i högre musikutbildning förhåller oss till likheter och skillnader mellan artister, musiker och musikproducenter
- 2018
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Ingår i: NU2018. - Västerås : Mälardalens högskola, Örebro universitet & Linköpings universitet.
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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.
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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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Innovative communication by the music producers behind the hits?
- 2023
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Ingår i: Innovation In Music Conference 2023 Abstracts book. - Edinburgh : Edinburgh Napier University & Innovation In Music.
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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.
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| 10. |
- Gullö, Jan-Olof, 1961-
(författare)
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Let´s Clear the Smoke: Fifty Years of Smoke on the Water in Music Education
- 2023
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Ingår i: MEIEA Summit Proceedings - 2023. - Nashville : Belmont University & MEIEA. ; , s. 23-26
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Konferensbidrag (refereegranskat)abstract
- In December 1971, the British rock band Deep Purple recorded Smoke on the Water, which became a global hit and significantly contributed to the band’s popularity. This study aims to investigate the reasons behind the song’s success, such as its inherent values, composition, lyrics, or music production design, as well as other potential explanations. We also study Smoke on the Water’s impact on music education. We interviewed music teachers, producers, students, and musicians from different countries to accomplish this. The study also relies on insights from interviews with Deep Purple members, observations made during concerts and study visits, and external sources. The study finds its theoretical basis in cultural psychology, education, economics, sociology, and musicology theories. The findings highlight the significance of understanding the fundamental elements of a song, which aspiring artists, musicians, and music producers should consider if they want to reach a broader audience.
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