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- Kjellander, Eva, 1965-
(författare)
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Jag och mitt fanskap : vad musik kan betyda för människor
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives.Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important.
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- Tivenius, Olle, 1956-
(författare)
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Musiklärartyper : en typologisk studie av musiklärare vid kommunal musikskola
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity. I address the following concrete questions. • From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them? • How can different types of music teachers be described? • How do the attitudes and valuations differ between different types? • How are the attitudes and valuations of the different types reflected in their respective work? In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools. The population is about 5 000 individuals, represented by 834 informants. The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects. The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned. Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group. Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.
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- Tägil, Ingela, 1970-
(författare)
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Jenny Lind : röstens betydelse för hennes mediala identitet, en studie av hennes konstnärsskap 1838-49
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Jenny Lind was an opera singer in the years 1838–49. During this time she was given the status f an icon mainly due to her image. She was almost sanctified by the press. Her “private personality” was assigned a saintly purity, and she became a stereotype symbol of femininity. This dissertation investigates what factors interacted that made this possible, and highlight the importance of Lind’s voice for her image. Jenny Lind’s voice was a high soprano, but not very powerful. By positioning herself in a singing tradition that corresponded to her voice’s advantages, she managed to develop an equilibrium, which she used well. Lind’s voice was often perceived as unusual; she had a particular voice timbre. She also had a vocal defect. Her tones from f’–a’ are described as “husky”, and sometimes hoarse. This means that her voice let through more air than her vocal cords could use. My argument is that it was the voice damage that created unique timbre that the contemporary critics perceived as particularly “feminine”. Lind’s weak and damaged voice corresponds to the nineteenth century’s female ideal: fragile and weak. Moreover, Lind needed to adept her roles to her damage voice and the consequence was that also her interpretations were perceived “feminine”. In other words, Lind exerted a gender performative voice processing. All of Jenny Lind’s roles became representatives of femininity, regardless of whether it was the role’s purpose or not. Lind adapted all her interpretations to her weak voce, it's strength being high notes, pianissimo dynamics and equilibrism, and gave all her roles a genderstereotyped voice.
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