| 1. |
- 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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| 2. |
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| 3. |
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| 4. |
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| 5. |
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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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| 6. |
- 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.
-
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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| 7. |
- 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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| 8. |
- 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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| 9. |
- 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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| 10. |
- 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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| 11. |
- 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
-
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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| 12. |
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| 13. |
- 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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| 14. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Artists, Musicians and Music Producers : Similarities and Differences?
- 2019
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Konferensbidrag (refereegranskat)abstract
- For many years, the Swedish music export has been very successful. Previous research shows that the Swedish music export strongly has contributed to an increased interest among students to study popular music and musicproduction in Swedish higher education. In this study we have a hypothesis, built on observations made in higher education in music, that many of the students who apply to higher education in music often have ambitions to make it as artists rather than becoming musicians. Another assumption is that many of the students who apply to music producer programs in higher education mainly want to study music production in order to learn how record their own songs and create their own repertoire. Therefore they can show limited interest in producing others. Our ongoing study, moreover, clearly indicates that relatively little of the content in higher music education programs is focused on developing talents to full-fledged artists, very little of the musician programs and hardly at all in in the music production courses. It is thus possible to identify a gap between what is offered and what probably many students would need based on their overall aspirational goals. In order to create new knowledge about these issues and with the aim of contributing to the development of higher education in music, in this project we gather diverse data through interviews with key players in the Swedish music industry: artists, musicians and music producers. An important purpose is to identify core characteristics and important differences between these professions. Observation studies are also included in this project. In this paper we present selected results of the study focusing on some of the specific challenges that we have identified in the higher music education concerning the above-described goal conflict. We here especially focus on possible differences and similarities between music producers, musicians and artists regardless of whether it is about music performed live or produced for phonograms or the equivalent. Furthermore, we address and discuss the problem that programs and courses in higher education not always offer what the students want. In this paper we also present a model of music production. The model is based on results from the study andmay be useful in higher education for music producers as well as for musicians and future artists.
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| 15. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Artists, musicians and music producers: Same but different?
- 2017
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Ingår i: <em></em>. - Stockholm : KMH.
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Konferensbidrag (refereegranskat)abstract
- The purpose of this project is to analyse core characteristics of key players in the music industry: artists, musicians, music producers and others. The background of the project is the growing interest among students to study popular music and music production in Scandinavian higher education Their interest can partly be explained by the successful music exports from the Nordic countries. A clear problem for the universities is that many of the students who are interested in various kinds of music related education often much more would prefer an artist career than to become a trained musician or music teacher. At the same time, very little of the training offered, in higher education, is focused on developing talents into full-fledged artists. Therefore, there is a gap between what is offered and what many students desire. Another problem is that many of the teachers in higher music education often have very limited experience as artists, but often have a good and extensive experience as musicians. Therefore, students in higher music education perhaps develop musician skills to a far greater degree than artist skills. A similar problem can be found in music producer education, where many of those who teach may have extensive experience as sound engineers rather than as producers. In order to create knowledge about this problems and to develop the higher education in music, this project collects multifaceted data through interviews with key players in the music industry: artists, musicians, music producers and others as well as by and analyses of their activities. It is an on-going project and at the conference in December, our objective is to present selected results from the study.
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| 16. |
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| 17. |
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| 18. |
- Gullö, Jan-Olof, 1961-
(författare)
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Challenges and opportunities in research in and about music production
- 2021
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Ingår i: NAVET Week. - Stockholm.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Since the phonograph was invented in Thomas Edison's workshop 145 years ago, we can listen to recorded music. And over the years, methods, and techniques for producing, distributing, and consuming music have been developed. This development has had a great impact on how music in our society and the cultures we live in have developed. At the same time, our need for music has required and contributed to the development of new technology. In recent decades, Sweden has emerged as an important player on the international music market with many successful artists as well as songwriters and music producers. Previous studies show that Swedes generally show preferences for Secular-rational values and Self-expression values. And compared to the rest of the world, Sweden has become an outlier when it comes to self-expression values. There are certainly many underlying factors behind this development, but it is entirely reasonable to assume that societal development has contributed significantly to the successful Swedish music export. This development has led to both challenges and opportunities in research within and about music production. Our ongoing research at KMH clearly indicates that, primarily, individual initiatives but also institutional development and the general change in society can be important explanations for both international success for those active in Swedish music but also for the great interest among young people to create their own music and to become music producers.
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| 19. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Challenging Changes for Future Music Production
- 2020
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Konferensbidrag (refereegranskat)abstract
- In recent years, there have been major changes in society on many levels. Such changes are of course of great importance to many urban residents. The changes we are referring to in this paper, are how people listen to music. On the streets and walkways in e.g. Stockholm, the capital of Sweden, large hordes of young men and women nowadays travel on electric scooters and almost everyone wears headphones and listens to music. Also on commuter trains, subways and buses, most of the travelers also wear headphones and listen to music. Thus, music is constantly present in these people's lives. But at the same time, music clubs and other music establishments, are often finding it increasingly difficult to achieve profitability due to a declining audience interest. Also traditionally successful music arenas such as the opera houses have problems to attract audiences, despite extensive and often very costly marketing. However, the big arena concerts with international artists still attract large crowds. This means that listening to music has evolved into something that usually happens entirely individually or on occasions in very large contexts, like e.g. at arena concerts. In this paper we highlight some of the challenges that young music producers face, due to the changing society, as they develop their artistic activities. The Swedish music industry has for many years been internationally successful and we present some core explanations of the success and also reflect on how societal development may need changes for future urban music development.
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| 20. |
- Gullö, Jan-Olof, 1961-
(författare)
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Content is King for Young Swedish Music Producers
- 2008
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Konferensbidrag (refereegranskat)abstract
- Music Production has in Sweden become a more and more important subject in school and higher education. The general aim of this paper is to outline some new demands that this puts on the training and work of music teachers as well as new tasks for suppliers of music production software and music technology. Recent research indicates that the young Swedish music production students of the millennials generation generally have a limited interest in questions concerning audio quality and technology. On the other hand they show some generic abilities that only highly skilled professionals had a generation back, such as understanding of rhythmical complexity, extensive repertoire knowledge and musical expression skills. The young producers hold the musical content as the most important in a production. For music production teachers the subject involves many technical problems as well as ethical issues. And even if some suppliers of music production software now show a growing interest in the educational market, more research as well as cooperation between educators, researchers and the industry are needed for future development.
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| 21. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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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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| 22. |
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| 23. |
- Gullö, Jan-Olof, 1961-
(författare)
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Don’t forget about MIDI! A case study of an innovative church organ recording
- 2019
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Konferensbidrag (refereegranskat)abstract
- What is the best way to record that big beast? This issue is central to many of uswho have faced the challenge of recording one of the perhaps most traditional of allmusical instruments: Church Organ. This text describes a recording project wheremodern music production technology innovatively was used to record a churchorgan. The primal purpose of the recordings was to make a documentation of howthe recorded church organ sounds after a major renovation. One problem was thatdisturbing road noise from traffic close to the church made it very difficult to recordin the daytime. Therefore the recordings were done in the night when thesurroundings were more silent. During the renovation, a new digitally controlledremote console was installed which is connected with the old pipe organ in thestands. MIDI is used for musical communication between the remote console andthe organ. MIDI technology was used during the production work in an innovativeway solving some of the production problems. Instead of playing the music liveduring the recording sessions, the music was first recorded digitally in musicproduction software using midi sequencer software. This was carried out in daytimeover a long time period. During the actual acoustic recordings the organist, insteadof playing live, started playing back the pre-recorded music live in the organ. And allthe music was recorded acoustically during one night. The recordings resulted in aCD-record that is a true documentation of how the organ sounds live, even thoughthe recordings actually were programmed over a long time. This technology opens up for innovative options for e.g. future compositional work or artistic performances.Experiences från this project also emphasizes the importance of developing futurework as well as education where art and technology can cooperate and strengtheneach other.
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| 24. |
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| 25. |
- Gullö, Jan-Olof, 1961-
(författare)
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Därför känner du igen Eurovisionlåtarna
- 2024
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Annan publikation (film/video) (populärvet., debatt m.m.)abstract
- Varje år anklagas flera av låtarna i Eurovision song contest för plagiat. I år talas det bland annat Sveriges bidrag.– Jag skulle bli förvånad om det blir en rättsprocess av det här, säger Jan-Olof Gullö, professor i musik- och medieproduktion på Kungliga Musikhögskolan.
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| 27. |
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| 28. |
- Gullö, Jan-Olof, 1961-
(författare)
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Exploring the Complex Relationship Between Art and Technology: Challenging Myths in Music Production
- 2024
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Konferensbidrag (refereegranskat)abstract
- When recording music, the choice of microphones can significantly affect the artistic performance and the final result. Different microphone options are available, often with unique features and in different price ranges. Experts in audio engineering and music recording have long developed preferences and practices for which microphones and microphone types best suit different recording situations. In addition, a wealth of knowledge and insights is available on the optimal placement and handling of microphones in various manuals on audio engineering, sound recording, and music production. Therefore, many beliefs and potential misconceptions about the conditions required to create great recorded music exist. While such ideas may come from experienced producers and sound engineers, they are rarely supported by evidence other than anecdotal stories. Consequently, what started as a well-informed observation can quickly turn into a widely accepted myth. Therefore, more research is needed. This study aims to test the validity of such perceptions or myths and examine the importance of different microphone choices for the artistic design of music recording and how listeners experience the music. This paper presents experiences from completed studies, including examples of innovative use and misuse of technology in performing arts.
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| 29. |
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| 30. |
- Gullö, Jan-Olof, 1961-
(författare)
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From Studio to Global Stage : How Sweden became a Music Powerhouse
- 2024
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Konferensbidrag (populärvet., debatt m.m.)abstract
- The music industry has undergone significant changes in recent years, particularly in Sweden, where music production, exports, and consumption have evolved with the advancement of technology and digitization. The digitization of the music industry has revolutionized music production, making it more accessible and enabling remote collaboration. With today's digital technology, music producers can collaborate with performers, musicians, and co-producers from anywhere in the world, leading to a wider global audience for music exports. The availability of IT and media technologies has also increased access to audio equipment and music production software, resulting in a significant increase in the number of individuals producing music. Furthermore, the way people listen to music has transformed with the advent of streaming services and algorithm-controlled systems. Platforms like Spotify have provided listeners with access to music from all over the world, contributing to changes in music consumption patterns. The development of media technology has not only improved music production tools but has also brought new challenges for music creators in reaching their audiences amidst the abundance of new music worldwide. In Sweden, the music export industry has a rich history of successful artists and producers making a global impact. From Jenny Lind, The Nightingale, who achieved success in America in the 1850s, to modern-day artists such as Avicii, Zara Larsson, and Max Martin, Swedish music exports have made a mark on the international music scene. The breakthrough of ABBA in the mid-1970s and the international success of Björn Skifs’ “Hooked on a Feeling” in 1974 are notable examples of Swedish music reaching global audiences. The roles and responsibilities of music producers have also evolved significantly. Today's music producers take on various roles, such as songwriters, musicians, arrangers, and entrepreneurs. They play a crucial role in overseeing all aspects of the production process, from selecting songs and performers to mixing and mastering tracks, with the goal of delivering high-quality products that meet client expectations. The terms “topliner” and “producer” are used to describe distinct roles, with the topliner providing the melody and the producer creating the backing track. However, given the dynamic nature of the music industry, the scope of a producer’s responsibilities is expected to continue evolving. In conclusion, the evolution of music production in Sweden has been shaped by digitization, technological advancements, and changes in music consumption patterns. The country's rich history of successful music exports, combined with the impact of modern artists and producers, has contributed to Sweden's prominent position in the global music industry. As technology continues to advance and consumer behaviors evolve, the music industry in Sweden and worldwide will likely continue to undergo further transformations in the years to come.
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| 31. |
- Gullö, Jan-Olof, 1961-
(författare)
-
Hemligheten bakom Max Martins rekord på Billboard
- 2024
-
Annan publikation (populärvet., debatt m.m.)abstract
- I veckan blev den svenske superproducenten Max Martin historisk: flest ettor på Billboardlistan någonsin. Vad är det han gör? P1 Kultur reder ut framgångsreceptet. Musikprofessor Jan-Olof Gullö har studerat Max Martin verk.
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| 32. |
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| 33. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur Bolognaprocessen påverkat den högre musikutbildningen i Sverige: med särskilt fokus på studenternas självständiga arbeten
- 2023
-
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.
-
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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| 34. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur kan kärlek till musik, entreprenörskap, samarbetsförmåga och inre motivation förklara det svenska musikundret?
- 2019
-
Konferensbidrag (refereegranskat)abstract
- Hur kan kärlek till musik, entreprenörskap, samarbetsförmåga och inre motivation förklara det svenska musikundret? Även om Sverige är ett litet land är den svenska musikexporten mycket framgångsrik och den svenska musikbranschen har fortsatt växa under många år. Det finns flera faktorer som bidragit till denna utveckling och vi har i detta forskningsprojekt studerat hur olika aspekter kopplade till musikproduktion kan ha betydelse för den svenska musikens internationella framgångar. Utvecklingen och spridningen av avancerad informations- och kommunikationsteknologi har bidragit till förändrade arbetsmetoder för musikproduktion och ofta sker arbetet i samarbeten av olika slag. Men den tekniska utvecklingen kan också ses som en demokratiseringsprocess eftersom många numera har tillgång till avancerade verktyg för musikproduktion och ljudinspelning, t ex i persondatorer. Trots denna utveckling, som lett till att fler än någonsin erhåller upphovsrättslig ersättning från Stim, är det ändå fortfarande få musikproducenter och andra upphovsrättstagare, jämfört med andra musikyrken, som är professionellt verksamma i en omfattning som motsvarar heltidsarbete. Under de senaste decennierna har musikproduktion också blivit en allt viktigare del av den högre musikutbildningen i Sverige. Därför har vi denna studie undersökt uppfattningar om innehåll i högre utbildning i musikproduktion. Undersökningsdeltagarna utgörs dels av framgångsrika yrkesverksamma och dels av studenter i musikproduktionsutbildning. Data har samlats in genom enkäter och intervjuer. Vi har dessutom genomfört en omfattande analys av musiktidskrifter med relevans för musikproduktion samt en analys av kursplaner i musikproduktion. Undersökningens resultat visar på stora skillnader, rörande uppfattningar och förhållningssätt, mellan vad de yrkesverksamma visar och lyfter fram som viktigt och vad studenterna tycker och vad som återfinns i de analyserade kursplanerna. Men det finns också likheter. Några av de aspekter som framför allt de yrkesverksamma lyfter fram är vikten av att utveckla entreprenöriella färdigheter, vikten av att ha en kärlek till musik, att det är viktigt att vilja och kunna samarbeta med andra och vikten av att drivas av inre motivation. Jan-Olof Gullö, professor musik- och mediaproduktion, Kungl. Musikhögskolan i Stockholm jan-olof.gullo@kmh.seDavid Thyrén, lektor musik och samhälle, Kungl. Musikhögskolan i Stockholm david.thyren@kmh.se
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| 35. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur självständiga är studenter när de genomför sina självständiga arbeten? : En jämförelse mellan journalist- och lärarutbildning i Ryssland och Sverige
- 2016
-
Ingår i: NU2016 Högskolan i samhället - samhället i högskolan. - Malmö.
-
Konferensbidrag (refereegranskat)abstract
- Syftet med denna konferenspresentation är att redovisa erfarenheter från ett pågående forskningsprojekt som undersöker hur begreppet självständighet förstås och användas på olika nivåer, i olika utbildningsprogram i högre utbildning. Undersökningen är fokuserad till två utbildningsprogram: journalist- och lärarutbildning, i två olika länder: Ryssland och Sverige. Sedan Bolognadeklarationen 1999 har begreppet självständighet fått stor betydelse inom den högre utbildningen. Detta inte minst när det gäller det självständiga arbete som alla studenter på kandidat- och masterutbildningar måste genomföra för att kunna ta ut in examen. Självständighet är dock ett begrepp som kan tolkas på olika sätt i olika sammanhang. Eftersom självständighet är ett centralt begrepp i många styrdokument på olika nivåer är det rimligt att utbildningens praxis, alltså hur undervisningen genomförs, påverkas av hur självständighet som begrepp förstås och används. Tveksamheter i hur självständighet kan förstås och används i praktiken kan leda till osäkerhet och kan till och med vara ett hinder för studentutbyte och även försvåra internationell jämförbarhet i enlighet med intentionerna i Bolognadeklarationen. I projekts studeras hur studenters självständighet kommer till uttryck när de genomför sina självständiga arbeten. Projektet genomförs i tre delstudier: för det första genom att studera lokala styrdokument, för det andra genom att undersöka interaktionen mellan lärare och studenter i samband med handledning och för det tredje genom att undersöka tillsynsmyndigheters och studenter åsikter och uppfattningar om självständighet. Den teoretiska ramen för studien är sociokulturell, där sammanhanget för att skriva ett självständigt arbete är av särskild betydelse. Projektet studerar både makroperspektiv genom analys av styrdokument, och mikroperspektiv genom analys av interaktionen vid faktisk handledning. Dessutom har projektet en jämförande ansats, med fokus på skillnader i ideologiska eller värdebaserade perspektiv mellan de två länderna. En uttalad målsättning är att projektet ska bidra till att fylla kunskapsluckor och utveckla teoretiska ramar om just studenters självständighet i samband med handledning av självständiga arbeten. En annan målsättning är att projektet också ska bidra till att ge verksamma lärare i högre utbildning en teoretisk grund och ett meta-språk för att diskutera och lyfta iakttagelser från sin egen praxis i samband med handledning av självständiga arbeten, vilket i sin tur bör leda till pedagogisk utveckling. Ytterligare en målsättning är att projektet ska bidra med ny kunskap till forskningsområdet högre utbildning och internationalisering. Projektet är beräknat att pågå fram till 2018.
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| 36. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Hur vi i högre musikutbildning förhåller oss till likheter och skillnader mellan artister, musiker och musikproducenter
- 2018
-
Ingår i: NU2018. - Västerås : Mälardalens högskola, Örebro universitet & Linköpings universitet.
-
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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| 37. |
- Gullö, Jan-Olof, 1961-
(författare)
-
I en snårskog av traditioner : musikproduktion och musikteknik i den högre musikutbildningen utifrån ett svenskt perspektiv
- 2020. - 1
-
Ingår i: Music Technology in Education. - Oslo : Cappelen Damm Akademisk. - 9788202652258 ; , s. 23-50
-
Bokkapitel (refereegranskat)abstract
- The purpose of this study is to identify traditions that can be valued as important in Swedish higher education in music production and music technology, to explore what characterizes such traditions and how they can be important for students in music production education. The research material consists of a selec- tion of previous research and other literature that concerns music production and traditions in higher education. A knowledge-critical analysis method and a peda- gogical model for higher education with a focus on what the students do and how they relate to teaching and education have been used to analyse the research mate- rial. The analysis shows that there are many different traditions in higher music education. Some traditions are very old, and some are also difficult to interpret and therefore the understanding of such traditions can be challenging for both students and teachers in higher education in music production and music technology.
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| 38. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Icebreakers and clusters within the Swedish music wonder
- 2022
-
Ingår i: Innovation in Music 2022 - Book of Abstracts. - Stockholm.
-
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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| 39. |
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| 40. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Independence: Different Understandings and Meanings in Steering Documents in Higher Education in Sweden and Russia
- 2016
-
Ingår i: ECER 2016 Leading Education.
-
Konferensbidrag (refereegranskat)abstract
- Since the Bologna Declaration in 1999, independence is a concept that has gained much importance in higher education. Within the Bologna cooperation, an overall European framework has been developed with general learning outcomes and competences for different examination levels. In this framework, independence is a central concept to describe progression. Concerning independence, the independent project on the undergraduate level, also called bachelor essay or degree project, has a special role in ensuring and maintaining the relevant learning outcomes (e.g. Prop. 2004/05, Prosser & Webb 1994), partly due to its pre-dominance as a means of assessing student performance (cf. Lillis 1999, Scott 1999, Turner 1999), and is therefore of special relevance here.Consequently, independence has become increasingly important in higher education in Europe, in steering documents as well as assessment criteria. Due to different epistemologies in, as well as between, countries (e.g. Fox 1994, Cadman 1997), the different understandings of independence are both varying and complex and needs to be further examined. The complexities and variations also stem from a general problem of implicitness rather than explicitness in higher education (e.g. Lillis 1999, Scott 1999, Turner 1999), for instance regarding independence.Independence is however a concept which could be understood in different ways in different contexts. Since independence appears to be a central concept in many steering documents on different levels it is reasonable that the higher education practice is influenced by how independence, as a concept, is understood and used. Ambiguities in how independence is understood and used in practice can lead to uncertainty and may even be a barrier to student exchange and hamper international comparability in accordance with the intentions of the Bologna Declaration. The aim of this paper is therefore to explore how the concept of independence is used in steering documents in different countries, Sweden and Russia more specifically, and by that capture different perspectives and meanings of the concept of independence.In this study, a substudy of a three-year research project, we focus on steering documents since the national and local steering documents form the legal basis for the practice of producing independent projects. The steering documents consist of learning outcomes, assessment criteria, instructions and descriptions concerning the independent project. All national and local steering documents relating to the independent project are collected in a corpus, and then analyzed and compared.The framework for our study is based on a socio-cultural and dialogical perspective (Bachtin 1981; Vygotskij 2001, Lea & Stierer 2000; Lillis 1997; 2003, Linell 2011), which proposes that learning and understanding develop in context, and that the role of language is important when it comes to constructing epistemologies and academic knowledge.Bachtin, M. (1981). The dialogic imagination: four essays. Austin: Univ. of Texas P.Cadman, K. (1997). Thesis writing for international students: A question of identity?. English for Specific Purposes, 16(1), 3-14.Fox, H. (1994). Listening to the World: Cultural Issues in Academic Writing. National Council of Teachers of English: Urbana, IL.Lea, M. R., & Stierer, B. (2000). Student writing in higher education: New contexts. Open University Press/Society for Research into Higher Education.Lillis, T. (1997). New Voices in Academia? The Regulative Nature of Academic Writing Conventions. Language and Education, 11(3), 192-207.Lillis, T. (1999). Whose common sense. I C. Jones, J. Turner. & BV Street (Eds.), Students writing in the university: Cultural and epistemological issues, 127-47.Lillis, T. (2003). Student Writing as 'Academic Literacies': Drawing on Bakhtin to Move from Critique to Design. Language and Education, 17(3), 182–199. Lillis, T. (1999). Whose common sense. I C. Jones, J. Turner. & BV Street (Eds.), Students writing in the university: Cultural and epistemological issues, 127-47. Linell, P. (2011). Samtalskulturer: Kommunikativa verksamhetstyper i samhället. Institutionen för kultur och kommunikation, Linköpings universitet.Prosser, M., & Webb, C. (1994). Relating the process of undergraduate essay writing to the finished product. Studies in Higher Education, 19(2), 125-138.Regeringens proposition 2004/05:162 (2005). Ny värld – ny högskola. Prop. 2004/05:162.Scott, M. (1999). Agency and subjectivity in student writing. In: Jones, Carys, Turner, Joan & Street, (Eds.). Students writing in the university: Cultural and epistemological issues (Vol. 8). John Benjamins Publishing.Turner, J. (1999). Academic literacy and the discourse of transparency. Students writing in the university: Cultural and epistemological issues. Amsterdam: John Benjamins, 149-160.Vygotskij, L. S. (2001). Tänkande och språk. Göteborg: Daidalos.
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| 41. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Innovative communication by the music producers behind the hits?
- 2023
-
Ingår i: Innovation In Music Conference 2023 Abstracts book. - Edinburgh : Edinburgh Napier University & Innovation In Music.
-
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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| 42. |
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| 43. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Journalism students, vocational training and the professional ethics of mass media
- 2018
-
Ingår i: <em>Journalism students, vocational training and the professional ethics of mass media</em>. - Valencia : IATED. - 9788469794807
-
Konferensbidrag (refereegranskat)abstract
- How are journalism students' basic perceptions of their future occupation influenced and changed during their education?This research question is the starting point for a survey based on current internship reports at Sodertorn University, the largest University journalist education Center in Sweden.At the heart of the Anglo-Saxon mass media tradition is the common normative concept of journalism as first and foremost a third estate; an independent professional reviewer of society's power groups and central institutions.As a pilot project we have chosen to focus on reflections on this basic value and how it is perceived during the first period of education in relation to the internship semester at the end of three years of education. Two research hypotheses are tested;H1: Students are influenced by a strong normative perception of the role of journalism prior to long-term practiceH2: Most of the students revise the perception of journalism's emphasis on critical inquiries during the three-year program foremost in connection to their internship during the last semester The survey is based on reading of student’s internship reports from 2012 and 2013. In their reports nearly all pointed out that they were strongly influenced by an normative image of the profession as relatively free and focused on investigative journalism. Which suggests that hypothesis H1 is correct.During their courses and in connection to their internship during the last semester, the reports show that images of the profession have changed. In their reports students says that freedom within the profession is more limited, the financial framework tight and the scope for investigative work limited. The observations indicate that the hypothesis H2 is correct.As the observations are based on a limited number of reports, the project will continue with interviews of the students who got their degree five years ago, as well as interviews with teachers and supervisors.
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| 44. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
-
Journalism Students, Vocational Training And The Professional Ethics Of Mass Media
- 2018
-
Ingår i: 12Th International Technology, Education And Development Conference (Inted). - Valencia : International Association for Technology, Education and Development. - 9788469794807 ; , s. 5030-5035
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Konferensbidrag (refereegranskat)abstract
- How are journalism students' basic perceptions of their future occupation influenced and changed during their education? This research question is the starting point for a survey based on current internship reports at Sodertorn University, the largest University journalist education Center in Sweden. At the heart of the Anglo-Saxon mass media tradition is the common normative concept of journalism as first and foremost a third estate; an independent professional reviewer of society's power groups and central institutions. As a pilot project we have chosen to focus on reflections on this basic value and how it is perceived during the first period of education in relation to the internship semester at the end of three years of education. Two research hypotheses are tested; H1: Students are influenced by a strong normative perception of the role of journalism prior to long-term practice. H2: Most of the students revise the perception of journalism's emphasis on critical inquiries during the three-year program foremost in connection to their internship during the last semester The survey is based on reading of student's internship reports from 2012 and 2013. In their reports nearly all pointed out that they were strongly influenced by an normative image of the profession as relatively free and focused on investigative journalism. Which suggests that hypothesis H1 is correct. During their courses and in connection to their internship during the last semester, the reports show that images of the profession have changed. In their reports students says that freedom within the profession is more limited, the financial framework tight and the scope for investigative work limited. The observations indicate that the hypothesis H2 is correct. As the observations are based on a limited number of reports, the project will continue with interviews of the students who got their degree five years ago, as well as interviews with teachers and supervisors.
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- Gullö, Jan Olof, 1961-, et al.
(författare)
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Learning from the past: The Denniz PoP Model on Madonna's Future
- 2019
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Konferensbidrag (refereegranskat)abstract
- Mirac 2019Musikkonferens på DAVA vid Högskolan Dalarna i Falun 20–21 november 2019Vad är livemusik idag och vart är den på väg?Learning from the past: The Denniz PoP Model on Madonna’s Future J-O Gullö, David Thyrén & Hans GardemarI projektet Searching for Sophia in Music Production Education forskar ett team vid Kungl. Musikhögskolan i Stockholm kring formella och informella lärandeprocesser i musikproduktion inom högre musikutbildning. I en delstudie (Gullö & Thyrén, 2019) har en teoretisk modell baserad på musikproducenten Denniz PoP utarbetats i kontextualisering med relevanta teoretiska begrepp som kreativitet, innovation, motivation och entreprenörskap i kombination med ett omfattande empiriskt källmaterial. I föreliggande studie testas och utvärderas modellen genom att appliceras på Madonnas poplåt Future, som under stor uppståndelse framfördes live under Eurovision Song Contest i Tel Aviv i Israel i maj 2019. Låten som skapat viss kontrovers bland annat beroende på liveproduktionen släpptes 2019 inom ramen för projektet Madame X. Studiens resultat påvisar att Madonnas Future involverar arbetsmetoder och stildrag influerade av Denniz PoP:s musikproduktion och låten uppfyller flera av modellens sju steg.
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- 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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