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- Thyrén, David, 1967-, et al.
(författare)
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Isbrytare och kluster inom det svenska musikundret
- 2021
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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). Resultat och slutsatser Vår analys visar tydligt att enskilda teorier inte kan förklara alla väsentliga delar i det svenska musikundret. Det behövs därför en kombination av flera teorier och förklaringsmodeller. I vår panel diskuteras kärnfrågor kring just detta.
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Elva studier om kreativitet i musikproduktion : Till invigningen av Kungl. Musikhögskolans nya campus 2017
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Musikproduktion har under de senaste decennierna utvecklats till en verksamhet som huvudsakligen syftar till att skapa medieburen musik, som till exempel skivinspelningar. Musikproduktion kan också handla om musikskapande för film- eller videoproduktion, interaktiv medieproduktion eller till exempel musik som ska användas i utställningsverksamhet. I musikproducenters arbete ingår många olika arbetsuppgifter. Det kan vara komposition, arrangering, inspelning, mixning och annan efterbearbetning av den inspelade musiken. För att vara verksam som musikproducent krävs alltså många olika kompetenser.Frågor om ansvar är viktiga för musikproducenter och mycket viktiga i musikproduktionsutbildning. En musikproducent är till exempel ansvarig för att en musikproduktion blir färdigställd, helst på utsatt tid och inom angiven budget. Men det kanske viktigaste ansvaret är det konstnärliga och det är alltså musikproducenten som har det övergripande konstnärliga ansvaret för en musikproduktion. När det gäller konstnärlig verksamhet har kreativitet en central betydelse. Därför har vi i det här projektet, Att fånga kreativiteten i musikproduktion – Capturing Creativity in Music Production, valt att särskilt studera hur kreativitet kan komma till uttryck i just musikproduktionsverksamhet.I denna publikation finns sju delstudier om kreativitet i musikproduktion av lärare som alla är verksamma i utbildningen i musik- och medieproduktion vid Kungl. Musikhögskolan i Stockholm. Även studenter, från vårt masterprogram i musikproduktion, bidrar med fyra delstudier. De medverkande är: Felix Brag, Josef Doukkali, Hans Gardemar, Jan-Olof Gullö, Claudia Jonas, Ludvig Klint, Hans Lindetorp, Erik Petersson, Mika Pohjola, Johan Ramström, Haukur Hannes Reynisson, Peter Schyborger, Simon Sjöstedt, David Thyrén, Nanno Veen, Sophie Verdonk, Mattias Viklund och Robert Åkerman.
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- 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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- 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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- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A comparative study of professional music production methods in theage of streaming
- 2020
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Konferensbidrag (refereegranskat)abstract
- Although Sweden is a small country, the Swedish music exports have been successful for many years. In our ongoing research project: Searching for Sophia in music production, we study how various aspects linked to music production may have contributed to the Swedish music industry´s international achievements. In this sub-study we focus on production methods available today, including digital production tools for music, and compare those with the production methods that were used before the age of streaming, in the late 1990s. Several previous studies focus on the technological development of digital music production tools. However, surprisingly little attention has been directed towards how such tools can affect professional musical creativity and productivity. This sub-study includes a case study of the Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle had some unique music producer skills and also developed new innovative music production methods. Previous research has so far largely ignored his works despite his importance for the success of Swedish music exports. Denniz PoP is also remembered as mentor of Martin Sandberg [Max Martin] and therefore we analyze how the new tools and methods, that have been added over the years, may have affected the creative process of Sandberg and other successful Swedish music producers. The empirical material includes published sources of various kinds as well as interviews, conversations and written communication with some of Volle's closest associates who still are internationally active as music producers. The results indicate, firstly, that digital tools can help but also hinder creativity, and secondly, that several of the most important aspects of Volle's strategy as a music producer, for example to be driven by intrinsic motivation and by implementing music productions through collaborative processes, are still very relevant today - in the age of streaming.
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- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A hundred years of pop music : similarities and differences between Irving Berlin and Max Martin
- 2020
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Konferensbidrag (populärvet., debatt m.m.)abstract
- As previous research clearly shows, a variety of competencies are used and needed among artists, musicians, music producers and others active in the art of popular music production. We chose to focus on two very successful persons in popular music: Irving Berlin (1888-1989) and Martin Sandberg (1971-), also known as Max Martin. In this study we present an analysis of core aspects of Irving Berlin and Martin Sandberg's songs and creative work. Although there are of course great differences in the surrounding culture in which they were and are active, it is still evident which similarities they both show. The analysis is based on a comprehensive interview with Irving Berlin by Frank Ward O'Malley (1875-1932), originally published in 'The American Magazine', Volume 90, October 1920, where he presented "Nine Rules for Writing Popular Songs" and on an interview we conducted ourselves with Martin Sandberg in November 2019. For the analysis we also used a music production and song writing model based on strategies that were used by the successful Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle lacked formal music education, but he had some unique music-producer skills and also developed new innovative music-production methods. Today Volle probably is most well-known as the mentor of Max Martin. This study is part of the research project Searching for Sophia in music production where we study how various aspects linked to music production have contributed to the Swedish music industry's international achievements. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. In the project a team of researchers study various formal and informal learning processes connected to education in music production in higher education.
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- 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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