| 1. |
- Arvidsson, Alf, 1954-
(författare)
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Inledning
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet, institutionen för kultu- och medievetenskaper. - 9789176011904 ; , s. 7-18
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Arvidsson, Alf, 1954-
(författare)
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Komponerande som social process
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet, inst för kultur- och medievetenskaper. - 9789176011904 ; , s. 39-62
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Arvidsson, Alf, 1954-
(författare)
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Musikskapandets frustrationer
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet, inst för kultur- och medievetenskaper. - 9789176011904 ; , s. 113-130
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Nordström, Marika, 1969-
(författare)
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Berättelser om livet som musiker inom populärmusikfältet
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet. - 9789176011904 ; , s. 131-163
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Stories about life as a musician in the popular music arenaThis chapter is based on two different kinds of material (four in depth interviews with semi-professional musicians, combined with a thorough review and analysis of printed interviews in the Swedish music magazine Sonic, published between the years 2000-2012). Life as a musician is portrayed in many varied ways in these texts and interviews. One common description is how the drawbacks are compensated by the joy and pleasure connected to music making, and the life style that it comes along with it. Quite many depict their music making as therapeutic and truly rewarding, and as an integral part of who they are. Many are in some way dissatisfied or feel that they are negatively impacted by the conditions of the music industry, for instance leading to economic difficulties and stress. Some feel anxieties of performing live, or discomfort in being publicly described and evaluated by music journalists/-writers. In the in-depth interviews it becomes clear that musicians develop strategies for their careers and lives. Quite many have shaped their lives to suit their dreams as musicians, for instance by having a separate professional identity where they earn their living. This means that they do not, in the same way, have to depend on the music industry – neither financially nor artistically. The "alternative" identity represented by Sonic, with its recurring scepticism towards the big music industry, is in several ways reflected in the printed interviews but is also clearly visible in the in-depth interviews. Artistic integrity is important for many and a great number become small business owners (for instance by starting their own record company). Still it can be strenuous to be a small entrepreneur, with a heavy workload and economic stress. However, for many there exists a dream to be able to freely create the music you want – independent of current market demands and trends.
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| 5. |
- Nordström, Marika, 1969-
(författare)
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Berättelser om skapandeprocesser inom populärmusiken
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet. - 9789176011904 ; , s. 63-89
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Stories about creative processes in popular musicThere are many threads in these stories about music making, of how musicians articulate the process behind the tunes. The chapter is based on two different kinds of material (four in depth interviews with semi professional musicians and an analysis of interviews in the Swedish music magazine Sonic). One frequent theme in these narratives is how the music business, in a multitude of ways, is considered as problematic as regards to artistic freedom and creativity. It is for instance considered being difficult to be truly creative whilst experiencing time pressure, or when dealing with expectations from record companies or music journalists. Different sources of inspiration are portrayed as essential in order to create new material: music, film and public debate are a frequently mentioned. It is regarded as important to have extended knowledge of music (history), but not be hindered by genre conventions. By analysing these stories, one emerging idea is that the best new music tends to exist in the perfect intersection between fragments and ideas found in other people's music and the unique, highly individual, impression. The importance or longing for authenticity is stressed time and time again. Many want their music, and not least their lyrical content, to be a reflection of their real, true selves: their personal history, experiences and emotions. The interviews of Sonic clearly resonate how authenticity, with its different manifestations, is perceived as something desirable, or as a matter of course. The texts often circulate around the background of the musician, for instance the place of birth – as if trying to find the roots of the lyrics and tunes. In this "alternative" context, authenticity is often seen as something that qualifies good, meaningful music. This discourse about authenticity, origin and artistic integrity is also clearly visible in the in-depth interviews, and musicians quite often say that they in their music want to contribute with something new and original.
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