| 1. |
- 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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| 2. |
- 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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| 3. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Core leadership skills in music production as learning outcomes in higher education
- 2020
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Ingår i: MEIEA 2020 Summit. - Washington : MEIEA.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT During the last two decades, many Swedish songwriters and music producers have been internationally successful. At the same time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project Searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding and reason. Previous research clearly shows a variety of competences that are used and needed among musicians, music producers and others active in the art of music production. Leadership is a very important aspect of music production and that's why we explore what we can learn from Denniz PoP's (1963-1998) leadership when he collaborated with his closest colleagues, including multiple award-winning songwriter/producer Max Martin. The empirical source material includes interviews as well as radio and television programs, literature and an extensive inventory of Swedish music industry and consumer magazines. The results include a 7-step model for music production but also indicate that Denniz PoP's true expertise was his ability to make others in a team grow and perform well. And what best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.
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| 4. |
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| 5. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Nobel Creations : Producing infinite music for an exhibition
- 2015
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Ingår i: Dansk Musikforskning Online. - Aalborg : Danish Musicology Online - DMO. - 1904-237X. ; :Special ed., s. 63-80
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Tidskriftsartikel (refereegranskat)abstract
- In 2014 a collaborative artistic music production project gave rise to the development and use of new methods for composition and music production. With a specially de- signed software engine the music productions responded interactively to actions of the visitors at the Nobel Museum in Stockholm. The music was distributed by multi- ple loudspeakers in the museum hall, week after week without interruption through the four months the exhibition lasted. The results of the project show clear evidence, that the romantic ideal, that creativity and creative capacity primarily is individual, in- born and inherent, is not valid. Instead, by combining different art forms, using struc- tured project planning, aiming to develop creative actions, people can create artwork in collaboration, that far exceeds what they individually can achieve.
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| 6. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Pop(ulär)musik nu och för hundra år sedan : likheter och skillnader mellan Max Martin och Irving Berlin
- 2020
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Konferensbidrag (refereegranskat)abstract
- Denna studie fokuserar på kärnegenskaper hos två mycket framgångsrika upphovspersoner inom populärmusik: Irving Berlin (1888-1989) och Martin Sandberg (1971-), också känd som Max Martin. Även om det naturligtvis finns stora skillnader i det omgivande samhället och den kultur där Berlin var och Sandberg är aktiv, finns ändå uppenbara likheter mellan de båda. I denna delstudie, som ingår i projektet Searching for Sophia in Music Production, presenterar vi en kunskapskritisk analys av två intervjuer; en med Irving Berlin och en med Martin Sandberg. Intervjun med Berlin genomfördes av Frank Ward O'Malley (1875-1932) och var ursprungligen publicerad i "The American Magazine", Volym 90, oktober 1920, där Berlin presenterade "Nine Rules for Writing Popular Songs". Intervjun med Martin Sandberg genomförde vi själva i november 2019 där vi, bland annat, bad honom bedöma en musikproduktions- och låtskrivarmodell som vi själva tagit fram baserad på strategier som användes av Dag Volle (1963– 1998), även känd som Denniz PoP. Vi har i tidigare delstudier utvecklat denna modell och Volle är mycket intressant som studieobjekt eftersom han, trots att han saknade formell musikutbildning, var en mycket framgångsrik svensk musikproducent och även lade grunden till att utveckla nya innovativa musikproduktionsmetoder som flera av hans medarbetare, där ibland Martin Sandberg, har fortsatt att använda och utveckla vidare. I analysen jämförs Berlins reflektioner kring sin egen modell ”Nine Rules for Writing Popular Songs” och Sandbergs reflektioner över vår egen Denniz PoP-modell. Undersökningsresultaten visar på stora likheter, men också vissa tydliga skillnader, mellan vilka aspekter som Berlin och Sandberg betonar som viktiga för hur upphovspersoner kan eller bör agera för att kunna skapa musik som lever upp till egna konstnärliga mål och även når stor popularitet. Erfarenheter från denna studie bör därför kunna bidra med värdefull kunskap till artister, musiker, musikproducenter och andra verksamma, som till exempel studenter, inom pop(ulär)musikproduktion.
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| 7. |
- Thyrén, David, 1967-, et al.
(författare)
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The Denniz PoP Model : Core Leadership Skills in Music Production as Learning Outcomes in Higher Education
- 2021
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Ingår i: Summit Proceedings - 2020 Academic Papers Presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 - Virtual Summit. - Nashville : Music & Entertainment Industry Educators Association. ; , s. 64-72
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Konferensbidrag (refereegranskat)abstract
- Over the last two decades, many Swedish songwriters and music producers have been internationally successful. During this time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding, and reason. Previous research clearly shows a variety of competences that are demonstrated and needed among musicians, music producers, and others active in the art of music production. Leadership is a very important aspect of music production and that’s why we explore what we can learn from Denniz PoP’s (1963-1998) leadership when he collaborated with his closest colleagues, and multiple award-winning songwriter/producer Max Martin. The empirical source material includes interviews as well as radio and television programs, literature, and an extensive inventory of Swedish music industry and consumer magazines. The results include a seven-step model for music production but also indicate that Denniz PoP’s true expertise was his ability to make others in a team grow and perform well. That which best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.
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