| 1. |
- Hollestelle, Antoinette, et al.
(författare)
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No clinical utility of KRAS variant rs61764370 for ovarian or breast cancer
- 2016
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Ingår i: Gynecologic Oncology. - : Elsevier BV. - 0090-8258 .- 1095-6859. ; 141:2, s. 386-401
-
Tidskriftsartikel (refereegranskat)abstract
- Objective Clinical genetic testing is commercially available for rs61764370, an inherited variant residing in a KRAS 3′ UTR microRNA binding site, based on suggested associations with increased ovarian and breast cancer risk as well as with survival time. However, prior studies, emphasizing particular subgroups, were relatively small. Therefore, we comprehensively evaluated ovarian and breast cancer risks as well as clinical outcome associated with rs61764370. Methods Centralized genotyping and analysis were performed for 140,012 women enrolled in the Ovarian Cancer Association Consortium (15,357 ovarian cancer patients; 30,816 controls), the Breast Cancer Association Consortium (33,530 breast cancer patients; 37,640 controls), and the Consortium of Modifiers of BRCA1 and BRCA2 (14,765 BRCA1 and 7904 BRCA2 mutation carriers). Results We found no association with risk of ovarian cancer (OR = 0.99, 95% CI 0.94-1.04, p = 0.74) or breast cancer (OR = 0.98, 95% CI 0.94-1.01, p = 0.19) and results were consistent among mutation carriers (BRCA1, ovarian cancer HR = 1.09, 95% CI 0.97-1.23, p = 0.14, breast cancer HR = 1.04, 95% CI 0.97-1.12, p = 0.27; BRCA2, ovarian cancer HR = 0.89, 95% CI 0.71-1.13, p = 0.34, breast cancer HR = 1.06, 95% CI 0.94-1.19, p = 0.35). Null results were also obtained for associations with overall survival following ovarian cancer (HR = 0.94, 95% CI 0.83-1.07, p = 0.38), breast cancer (HR = 0.96, 95% CI 0.87-1.06, p = 0.38), and all other previously-reported associations. Conclusions rs61764370 is not associated with risk of ovarian or breast cancer nor with clinical outcome for patients with these cancers. Therefore, genotyping this variant has no clinical utility related to the prediction or management of these cancers.
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| 2. |
- Bohman, Karin, 1983-
(författare)
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What is music education? : discursive construction and legitimisation of theory and practice in a Swedish upper secondary school
- 2024
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall purpose of this thesis is to describe and discuss the discursive constructions and legitimisations of Music and Music theory in Swedish upper secondary school context. Thereby, this thesis is part of the construction and debate concerning theory vs practice in Music education. The study is based on classroom observations and interviews with teachers and students. The study is conducted during two consecutive autumn semesters, where the first autumn observations are conducted in the Music subject Ensemble, and the second semester in the Music theory subject Aural skills and music theory as well as Ensemble. The results and analysis show that Music and Music theory are predominantly differently constructed, through the discourses permeating the courses within the subjects. Ensemble, as a Music subject, is constructed through musical practice, and only activities that are not directly related to playing – as an activity – need legitimisation, whereas Music theory as a subject appear as continuously legitimised through its connotations to the Music subject. The Ensemble course is constructed as the nucleus around which other parts of the education pivots, including courses in Music theory. Through the analysis of events, event series, regularities and condition of possibility (Foucault, 1970), present thesis demonstrates that expressions of resistance and challenge for the regulatory discourses within the two subjects endure. However, discourse flexes and bends though continue to permeate the regular events and thus also the condition of possibility. External context and professional culture (Ball et al., 2012), is viewed as entailing discursive rooms and views that construct both theory and practice. External context, such as genres of music outside of ensemble education, and the teachers’ professional cultures as musicians permeates the discursive construction of the ensemble subject as well as teacher identity. In conclusion, Music and Music theory as subjects in upper secondary education, as they appear in the context of this study, can hence be viewed as two points on a balance-board, where the weight of discursive power vii shifts from one side to the other dependent on within which discursive (class)room they are taught.
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| 3. |
- Bryhn, Andreas, et al.
(författare)
-
Fisk- och skaldjursbestånd i hav och sötvatten 2020 : Resursöversikt
- 2021
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- I rapporten kan du ta del av bedömningen som görs av situationen för bestånd som regleras inom ramen för EU:s gemensamma fiskeripolitik (GFP). Bedömningarna baseras på det forskningssamarbete och den rådgivning som sker inom det Internationella Havsforskningsrådet (ICES). Totalt redovisas underlag och råd för 48 fisk- och skaldjursarter.De bestånd som förvaltas nationellt baseras på de biologiska underlagen, och rådgivningen i huvudsak på den forskning och övervakning samt analys som bedrivs av Institutionen för akvatiska resurser vid Sveriges lantbruksuniversitet (SLU Aqua) samt yrkesfiskets rapportering.
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| 4. |
- Brändström, Sture, et al.
(författare)
-
Musikfolkhögskolans utbildningsideologier
- 2012
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Ingår i: Resultatdialog 2012. - Stockholm : Vetenskapsrådet. - 9789173072137 ; , s. 63-79
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- I denna artikel redogörs för två delstudier i projektet Musikfolkhögskolans utbildningsideologier. Dels behandlas utbildningsideologier bland svenska folkmusiker under 1920-talet (von Wachenfeldt, Brändström & Liljas, 2012a) och dels ges en bild av hur undervisningen av folkmusiker kan gestalta sig i en samtidskontext (von Wachenfeldt, Brändström & Liljas, 2012b).I projektet som helhet anknyts till ett ideologibegrepp som utvecklats av Sven-Erik Liedman. Han menar att det för varje tid fnns två identiferbara grundformer av ideologi: manifesta och latenta (1997; 2006). Manifesta ide-ologier avser explicita och medvetet formulerade utsagor med ideologiskt innehåll som binder samman verklighetspåståenden, värderingar och nor-mer. Latenta eller frusna ideologier är sådant som fnns under ytan och som tas för givet av fältets aktörer.
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| 5. |
- Brändström, Sture, et al.
(författare)
-
Musikfolkhögskolans utbildningsideologier
- 2012
-
Ingår i: Resultatdialog 2012. - Stockholm : Vetenskapsrådet. - 9789173072137 ; , s. 63-79
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 6. |
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| 7. |
- Ferm Almqvist, Cecilia, et al.
(författare)
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Collaborative learning as common sense : structure, roles and participation amongst doctoral students and teachers in music education – beyond communities of practice
- 2017
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Ingår i: Visions of Research in Music Education. - New Jersey : The New Jersey Music Educators Association. - 1938-2065. ; 29:1
-
Tidskriftsartikel (refereegranskat)abstract
- The article communicates an investigation ofhow collaborative learning is constituted in a PhD-course, namely Collaborative learning in music educational settings. The course was organized and run in a way that wished to investigate, develop and encourage collaborative learning among students and teachers at postgraduate level. Material produced and analysed included logbooks, assignments, peer-response, after-thoughts, and a Facebook discussion-thread. The results are presented as descriptions of the constituent parts of collaborative learning occurring in the “rooms” of the course. The results show the importance of structure as well as awareness when it comes to roles and kinds of participation.
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| 8. |
- Ferm, Cecilia, et al.
(författare)
-
Collaborative learning as common sense: structure, roles and participation amongst doctoral students and teachers in music education : beyond communities of practice
- 2017
-
Ingår i: Visions of Research in Music Education. - : New Jersey Music Educators Association. - 1938-2065. ; 29
-
Tidskriftsartikel (refereegranskat)abstract
- The article communicates an investigation of how collaborative learning is constituted in a PhD-course, namely Collaborative learning in music educational settings. The course was organized and run in a way that aimed to investigate, develop and encourage collaborative learning among students and teachers in the third circle. Material produced and analysed included log-books, assignments, peer-response, after-thoughts, and a Facebook discussion-thread. The results are presented as descriptions of the constituent parts of collaborative learning occurring in the “rooms” of the course. The results show the importance of structure as well as awareness when it comes to roles and kinds of participation.
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| 9. |
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| 10. |
- Kimbung, Siker, et al.
(författare)
-
Assessment of early response biomarkers in relation to long-term survival in patients with HER2-negative breast cancer receiving neoadjuvant chemotherapy plus bevacizumab : Results from the Phase II PROMIX trial
- 2018
-
Ingår i: International Journal of Cancer. - : Wiley. - 0020-7136 .- 1097-0215. ; 142:3, s. 618-628
-
Tidskriftsartikel (refereegranskat)abstract
- Pathologic complete response (pCR) is a predictor for favorable outcome after neoadjuvant treatment in early breast cancer. Modulation of gene expression may also provide early readouts of biological activity and prognosis, offering the possibility for timely response-guided treatment adjustment. The role of early transcriptional changes in predicting response to neoadjuvant chemotherapy plus bevacizumab was investigated. One-hundred-and-fifty patients with large, operable and locally advanced HER2-negative breast cancer received epirubicin and docetaxel, with the addition of bevacizumab. Patients underwent tumor biopsies at baseline, after Cycle 2 and at the time of surgery. The primary end point, pCR, and its relation with the secondary endpoints event-free survival (EFS), overall survival (OS) and gene expression profiles, are reported. The pCR rate was 13% (95% CI 8.6-20.2), with significantly more pCRs among triple-negative [28% (95% CI 14.8-45.4)] than among hormone receptor positive (HR+) tumors [9% (95% CI 4.6-16.3); (OR=3.9 [CI=1.5-10.3])]. pCR rates were not associated with EFS or OS. PAM50 subtypes significantly changed after Cycle 2 (p=0.03) and an index of absolute changes in PAM50 correlations between these time-points was associated with EFS [HR=0.62 (CI=0.3-1.1)]. In univariable analyses, signatures for angiogenesis, proliferation, estrogen receptor signaling, invasion and metastasis, and immune response, measured after Cycle 2, were associated with pCR in HR+ tumors. Evaluation of changes in molecular subtypes and other signatures early in the course of neoadjuvant treatment may be predictive of pCR and EFS. These factors may help guide further treatment and should be considered when designing neoadjuvant trials.
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| 11. |
- Morén, Sol, 1964-
(författare)
-
Relational creativity : what can participatory art do for higher education?
- 2019
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Why research creativity in higher education? Creativity is regarded as a key competence for future education by the European Union as well as by UNESCO, and my wish is to contribute to this contemporary global agenda of rethinking education. Creativity is central for complex problem- solving and we need to rethink education to facilitate for our future citizens to develop creativity, to be able to meet our interconnected world's urgent need for sustainable development. Based on these global demands for supporting creativity as a competence in future education, I propose that developing knowledge about design for creative learning environments is an important quest in educational research.The problem however, is that, there is not much previous research that can serve as a knowledge foundation for how to design for learning environments which support students' development of creativity. In this thesis I research creativity from a sociorelational perspective, with and through participatory artistic practices. I first came to think of the notion of relational creativity, while working as an artist, noticing how there seemed to be a connection between participants' increased creativity and engagement in participatory artistic practices.The aim of the thesis is to develop theory about relational creativity as a design concept for creative learning environments, grounded in practice. The study is based on my previous research and development work as an artist-in-residence in higher education. In the thesis the theory is presented along with four design concepts for relational creativity. The four design concepts are: design for creative transformation - as in taking advantage of art's openness for interpretation and emergence of unexpected new solutions; design for creative participation - as in trusting the participants with the responsibility of contributing to a common work of art and knowledge; design for creative comparative encounters - as in providing participants with supportive environments free from judgmental evaluation; design for creative networking - as in facilitating for participants to share, interact with and contribute to each other's processes of art and meaning making. In the thesis I present theory along with rich empirical examples reconnecting to the participatory artistic interventions which this study is based on. My ambition to contribute with new knowledge about relational creativity as a design concept for creative learning environments in higher education, which is useful for practitioners as well as for the research community.
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| 12. |
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| 13. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
-
Allt annat än tyst kunnande... : Vad är kunskap i Black metal?
- 2017
-
Ingår i: Book of Abstract. - Umeå : Umeå universitet. ; , s. 14-14
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Black metal är en extrem sub-genre såväl estetiskt som ideologiskt inom den större genren Heavy metal. Det som kännetecknar Black metal är fokus på förmedling av mänsklighetens mörkaste sidor. Artisterna inom genren förespråkar och företräder satanism och ockultism med en strävan efter att sprida känslor av obehag, rädsla, mörker och ondska. Estetiskt gör de detta genom ett paket av emotiva funktioner där disharmonisk musik samverkar med ett visuellt och berättande uttryck i något som kan betraktas som ett “Gesamtkunstwerk”. Musikaliskt skapas detta ofta genom growl-song i ett lite högre register där ovannämnda teman är centrala i texterna. Gitarr- och bassoundet kännetecknas av mer eller mindre kraftig distorsion och trummorna av högt tempo genom så kallade “blast beats” (väldigt snabbt spel som kan påminna om maskingevär). Harmoniskt komponeras musiken lika ofta horisontellt (polyfont), såsom var brukligt exempelvis under barocken, som vertikalt som i nästan all populärmusik. Ett horisontellt komponerande hjälper till i sökandet efter disharmoni. Det musikaliska uttrycket kan, förutom i texterna, påminna om andra sub-genrer såsom Death metal. Dock hörsammar en initierad lyssnare tydliga skiljelinjer som t.ex att vokalister inom Black metal-genren growlar i högre register och att Black metal-band sällan stämmer ner sina gitarrer.Norden är och har historiskt varit det starkaste fästet för Black metal och tusentals unga människor lär sig om musiken, livet och döden genom att insocialiseras i genren. I denna presentationen tar vi vårt primära utgångspunkt i empiri från fem intervjuer med unga Black metal-musiker som berättar om sitt syn på genren, vilken betydelse den har (haft) i deras liv och hur lärandet och socialiserandet har gått till. Kombinerat med detta har fanziner, tidskrifter inom genren samt böcker och forskning om genren ingått.Lärandet i Black metal är i allt väsentligt icke-institutionellt och följer dels en traditionell garagebandslogik, men även en bildningsliknande självförädlande process enligt deltagarna. Kunskapen är inte formellt beskriven som ett kanon, men kunskapsutvecklingen inom fältet rör sig i en spänning mellan tradition och nyskapande som deltagarna beaktar på olika sätt. Vad som anses vara värdefull kunskap ser därför olika ut. Men är det tyst?Det tysta kunnandet skriks ut i syfte att skrämma livet ur dig...
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| 14. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
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Becoming extreme : A media analysis of how music is constructed in three marginalised/outsider groups’ fanzines
- 2017
-
Ingår i: Abstracts NNMPF 2017. ; , s. 12-13
-
Konferensbidrag (refereegranskat)abstract
- Music and and art is often considered to help good people. On the internet and in newspapers we can find lots of debates and articles about how the world would be a better place if only the arts played a more prominent role in education. In this paper we will investigate the other side of the coin. Considering that Mussolini was an accomplished violinist, Hitler and Franco both were talented painters and Mao a recognized poet. We will not assume that art leads to what the society, in general, consider as good or decent, but rather ask what role music plays in constructions of subgroups who are, by choice or by exclusion, outsiders in society. In recent years in the afterglow of the economic regression and often connected to the increased migration, more extreme groups and politicians have gained ground. We have decided to study musical socialisation in three marginalised groups who could loosely be labelled: “the Salvation Christian Movement”, “the Black Metal Movement” and “the New/Alt Right movement”. These – in every respect highly idealistic – groups have been selected to represent different angles to understand how music, ideology/religion and society intersect. The three groups also share a scepticism towards representative democracy in various forms. The groups are however different in that some seek power and influence while others seek to be more exclusive. Also the kind of ideology or belief that is at the roots of the movements are very different, as are the level of “danger” associated with the groups. The empirical material for the paper is what we label “fanzines” online and offline since 2014 that Swedish youth are likely to read. A fanzine in this meaning could be a group on social media, a physical paper, an online forum, webpage or a podcast.
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| 15. |
- Thorgersen, Ketil, Docent, 1972-, et al.
(författare)
-
Black Metal Bildung
- 2022
-
Ingår i: Philosophy of Music Education Review. - 1063-5734 .- 1543-3412. ; 30:2, s. 183-201
-
Tidskriftsartikel (refereegranskat)abstract
- This article is based on results from research that addressed the ways young Black Metal musicians construct their musical learning and socialization. In this article we will focus on one of the strands in that study; a trace of a classic ideal from Bildung theory. Using Bildung theory, we explore similarities between the ideals and concepts in the expressed informal music education from Black Metal musicians and contemporary institutionalized music education. In this article the German and Nordic 18th century concept of Bildung will be interpreted as the component that binds and contextualizes knowledge by a dialectic process with already inherited or internalized knowledge. Exploring, identifying, and comparing links between the educative process found within Black Metal and Bildung might at first sight seem to be both a pointless task and potentially reifying of problematic elements found within Black Metal. However, as we will discuss, common features of Bildung and Black Metal, such as enlightenment through criticism of the taken-for-granted, a sublime Gesamtkunstwerk and a nihilist striving to become an image of God, help to reveal those ways Black Metal learning processes can be understood in the light of Bildung theories. We do so in order to present tools for furthering the critical discussion of hegemonic music educational discourses.
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| 16. |
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| 17. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
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The becomings of satanist musicianship : a study of how black metal musicians describe their learning processes
- 2015
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The last twenty years the focus of music educational research has widened to involve more than institutional settings for learning music. In Europe, researchers such as Lucy Green, Even Ruud, Anna-Karin Gullberg and Göran Folkestad lead the way for a wave of research of “informal learning processes” in/of music. Musical learning has later been studied in as varied environments as Hip-Hop communities, Punk, online learning of Country and western and Opera and so forth. Studies have even been performed where learning processes inspired by these less institutionalised settings have informed traditional classroom pedagogies. The main body of this research has though been on music genres and practices that always had or lately have acquired a fairly high level of cultural capital in Western society and are accepted as fairly politically correct expressions. This study will instead focus on one of the more extreme styles – both sonically and in ideological terms – of music around today: Black metal.Some research has been made on Black metal mainly from a sociological perspective or/and religious perspective, but also with some musicological/philosophical streaks (Bogue 2004). Bossius (2003) and Kahn-Harris (2007) are two pioneering researchers with their studies on the extreme metal scene, with its equally extreme expressions relating to violence, Satanism and fascism. Granholm (2011) and Forsberg (2010) investigate the Black metal scene from a religious perspective and uses Partridge’s (2005) concept of Re-enchantment and Occulture. The concept of re-enchantment can briefly be understood as a description of the post-modern era as characterized by a spiritual rebirth that focuses on personal development and well-being rather than institutional worship. Partridge also argues that the perception of today's Western society is secular, to a great extent is incorrect – thus religious practice only have shifted expression. The other term, Occulture, can be considered as a mixture of Occult and Culture, where culture primarily should be interpreted and understood in terms of popular culture.This study departs from a wonder of how young people choose to play a genre that is considered bad on all levels by the majority of the society; Black metal, as well as how the young people who have chosen to play Black metal describe the learning processes musically as well as socially and intellectually that leads up to becoming a Black metal musician.The aim of is hence to analyse the musical learning stories of five young black metal musicians from a music educational perspective inspired by the sociological theories of Pierre Bourdieu and the educational theories of John Dewey.
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| 18. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
-
The Becomings of Satanist Musicianship : A study of how black metal musicians describe their learning processes
- 2017
-
Ingår i: Nordisk musikkpedagogisk forskning. - Oslo. - 1504-5021. ; 18, s. 179-198
-
Tidskriftsartikel (refereegranskat)abstract
- Research in music education has in the last decades become more attentive to musical learning through informal contexts. This article adds to the body of research by investigating the musical learning in a genre that is considered unacceptable and bad by most of society: Black metal. Through interviews with five young Black metal musicians from Sweden and Finland an interesting image was revealed of a musical practice that aims to fight evil by being evil, that worships enlightenment and the fulfilment of the individual potential and also detests religious organisations for suppressing people. The sonic is considered only a part of a gesamtkunstwerk where all parts of a performance are supposed to work together to create a feeling of fear or horror in the audience. The material opens up for interesting paths in music education when working with musical bildung and criticism of taken for granted truths, but at the same time presents a milieu where what is considered good by society is questioned.
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| 19. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
-
The Devil Has The Best Tunes... : A Place in Music Education for the Burkean Sublime?
- 2019
-
Konferensbidrag (refereegranskat)abstract
- Music has, through the ages and genres, seeked to touch us and be meaningful on the most existential levels – even the darkest realms of the human psyche. In this paper we show examples of how evil, darkness, fear and pain has been dealt with in so called classical music, Scandinavian folk music and in heavy metal; three genres that represents different kinds of cultural capital, popularity and historicity, but still have a lot in common. The examples show how certain musical parameters have been used to convey the sublime in all these genres. The sublime in this case, is the sublime as described by 18th century philosopher Edmund Burke. Burke distinguished between the beautiful and the sublime in works of art and in nature; claiming that they are substantially different: The beautiful is associated with pleasure, smoothness, tinyness and cuteness, while the sublime always is associated with fear and terror, vastness and the uncomfortable. Of the two, the sublime is the strongest and provides the most existential experiences. So if the sublime has been important throughout different genres and epoches, and the sublime has the greatest potential for existential musical experiences, how come that the sublime has such a limited place in music education? Should music education be changed into an existential subject dealing with the sublime, and in that case how? Or is it just wrong to scare our children?
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| 20. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
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When Hell Freezes Over : Black Metal—Emancipatory Cosmopolitanism or Egoistic Protectionism?
- 2019
-
Ingår i: Music, Education, and Religion. - Bloomington : Indiana University Press. - 9780253043740 ; , s. 208-220
-
Bokkapitel (refereegranskat)abstract
- In the early 1990s, churches burned in Norway and fellow musicians killed each other in the name of Satan. Revolting against Christianity and praising the Antichrist, a new (anti)liturgical satanic music genre was defined: black metal.This chapter aims to investigate and discuss Black Metal as music education and (anti)religious enculturation. This will be done in relation to philosophies where art and education are discussed as cosmopolitan in order to understand how Black Metal constructs itself as elitist and protectionist, and at the same time open and explorative. Black metal is an extreme branch of the heavy metal genre that propagates evil and celebrates Satan. Black metal can be understood as Satanist liturgic music that is in opposition to society. The chapters builds on interviews with young musicians within the genre and discusses these in relation to existing research on Satanism, Black Metal and religion. Satan symbolizes freedom and opportunities within the genre as the fallen angel who dared to oppose God. The ideals of the genre are individual growth, hate towards organized religion, and the possibility to access and develop the complete self through sublime and serious play with evil, hatred and fear. To achieve this they experiment with complex sets of expressions with the ideal of a “gesamtkunstwerk” where, the sonic, the visual and the theatrical all work together to achieve an unpleasant feeling in the audience. Black Metal challenges norms and taken for granted values and tries to deconstruct (or destroy) the fake, idyllic image of a well functioning society of free people by exposing and developing what is less pleasant in human nature and societies. Cosmopolitan education is here understood as promoting openness towards the unknown and a critical and reconstructive view of personal cultural heritage; an education that actively works to explore, share, scrutinize, respect and celebrate difference. While Black Metal is not overtly open towards other cultures, they actively explore the unknown and seek to interact with other cultural mediations. Black Metal pedagogy could inspire formal music education through its binary focus on existential aesthetic communication and artistic excellence. A celebration of the free will, creativity, critical thinking and ultimately a quest to reach one’s own full potential. At the same time Black Metal represents some of the more destructive, protective, anti-democratic and selfish ideas in present popular culture; simultaneously both cosmopolitan and anti-cosmopolitan.
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| 21. |
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| 22. |
- Thorgersen, Ketil, 1972-, et al.
(författare)
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'You Who Hate God' : Investing in Love and Hate through the Sound of Satan
- 2020
-
Ingår i: Difference and Division in Music Education. - New York : Routledge, 2020. | Series: ISME global perspectives in music education : Routledge. - 9780367231590 - 9780429278525
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Bokkapitel (refereegranskat)abstract
- Ketil Thorgersen and Thomas von Wachenfeldt explore the complex relations between music and social ordering that Kertz-Welzel raises, through a musical culture often attributed with the power to lead young people astray: black metal. They explore the role of hate in socialising musicians into the genre and gaining membership into the black metal milieu, as part of a broader political economy that invests in meaning and value construction. Locating contemporary school education within Zygmunt Bauman’s Liquid Modernity, the authors argue that school music education might better attend to the fear and uncertainty that often accompanies diversity through engaging with hate as catharsis, and as an invitation to the sublime.
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| 23. |
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| 24. |
- Tranvik, Lars J., et al.
(författare)
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Lakes and reservoirs as regulators of carbon cycling and climate
- 2009
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Ingår i: Limnology and Oceanography. - : Wiley. - 0024-3590 .- 1939-5590. ; 54:6:2, s. 2298-2314
-
Forskningsöversikt (refereegranskat)abstract
- We explore the role of lakes in carbon cycling and global climate, examine the mechanisms influencing carbon pools and transformations in lakes, and discuss how the metabolism of carbon in the inland waters is likely to change in response to climate. Furthermore, we project changes as global climate change in the abundance and spatial distribution of lakes in the biosphere, and we revise the estimate for the global extent of carbon transformation in inland waters. This synthesis demonstrates that the global annual emissions of carbon dioxide from inland waters to the atmosphere are similar in magnitude to the carbon dioxide uptake by the oceans and that the global burial of organic carbon in inland water sediments exceeds organic carbon sequestration on the ocean floor. The role of inland waters in global carbon cycling and climate forcing may be changed by human activities, including construction of impoundments, which accumulate large amounts of carbon in sediments and emit large amounts of methane to the atmosphere. Methane emissions are also expected from lakes on melting permafrost. The synthesis presented here indicates that (1) inland waters constitute a significant component of the global carbon cycle, (2) their contribution to this cycle has significantly changed as a result of human activities, and (3) they will continue to change in response to future climate change causing decreased as well as increased abundance of lakes as well as increases in the number of aquatic impoundments.
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| 25. |
- von Wachenfeldt, Thomas, Lektor
(creator_code:cre_t)
-
Brudlåtar
- 2018
-
Konstnärligt arbeteabstract
- CD-albumet är en del av ett forskningsprojekt där von Wachenfeldt undersöker vilka gemensamheter som föreligger rörande musikalisk form, melodik och interpretation mellan äldre tiders konstmusik och norrhälsingsk spelmansmusik. Därför har låtarna satts i sviter och enligt barockens mönster försetts med generalbasarrangemang.
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| 26. |
- von Wachenfeldt, Thomas
(arrangör, creator_code:cre_t)
-
Classic metal crunch
- 2014
-
Konstnärligt arbete (refereegranskat)abstract
- Tonsättning, arrangering och orkestrering av musik till hårdrocksbanden Entombed, Sorcery, Faustus och Apocalypse orchestra. Musiken framfördes av Gävle Symfoniorkester vid en konsert i Gävle konserthus 1 februari 2014.Konserten framfördes av:Gävle SymfoniorkesterEntombed (med de ursprungliga medlemmarna Alex Hellid, Uffe Cederlund samt tidigare medlemmen Orvar Säfström)SorceryApocalypse OrchestraFaustusForsbacka KammarkörDirigent: Josef Rhedin
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| 27. |
- von Wachenfeldt, Thomas
(författare)
-
Folkmusikalisk utbildning, förbildning och inbillning : En studie över tradering och lärande av svensk spelmansmusik under 1900- och 2000-talen, samt dess ideologier
- 2015
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Den svenska folkmusiken har alltsedan den ”upptäcktes” av akademiker under början av 1800-talet varit behäftad med ett tankegods som genom historien nyttjats för sina syften av såväl höger- som vänsterorienterade politiska rörelser. Då detta av många forskare i flertalet studier redan redovisats, är denna musikpedagogiska avhandlings främsta syfte att undersöka huruvida ideologier med rötter i tysk nyromantik och svensk nygöticism rönt inflytande på hur lärande och tradering över tid gestaltats.Studien, som är en sammanläggningsavhandling bestående av fyra artiklar och en historisk studie, har berört synen på lärande i den tidiga spelmansrörelsen under 1920-talet, folkmusikutbildning i nutid på Framnäs folkhögskola, samt lärande och tradering i ett spelmanslag. Metoderna som använts i de olika artiklarna har beroende på respektive undersöknings syfte varit av både kvantitativ och kvalitativ art. De teorier som använts har i huvudsak varit Bourdieus fältteori och Ricœurs Mimesisteori; Liedmanns begreppspar Manifesta och Latenta ideologier, samt Lave & Wengers teorier om situerat lärande och praxisgemenskap.I resultaten har det framkommit att spelmännen under 1920-talet i flera avseenden anammade ett under 1800-talet framarbetat tankegods som uppmuntrade ett autodidakt och gehörsbaserat lärande, samt en förändrad syn på repertoar som premierade äldre låttyper som polska och vallåt, framför nyare låtar som schottis och polka. Det framkommer även i studien att en betydande del av synen på folkmusikens tradering lever än idag såväl inom det institutionaliserade som icke-institutionella folkmusikfältet.
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| 28. |
- von Wachenfeldt, Thomas, 1979-
(författare)
-
Folkmusikfältets uppkomst och autonomisering tolkat genom tre kulturfurstars strategier
- 2018
-
Ingår i: Puls. - Stockholm. - 2002-2972. ; 3, s. 37-59
-
Tidskriftsartikel (refereegranskat)abstract
- The purpose of this article is to discuss the rules and prerequisites of an early 20th century Swedish folk music field that was dominated by fiddlers and instrumental music. Inspired by Pierre Bourdieu’s The Rules of the Art (1996), this study focuses on three members of the “culture nobility” (Broady 2000) of this area, Jon-Erik Hall, Jon-Erik Öst and Hjort Anders Olsson. I investigate how these three musicians cultivated their artistic activities in dialogue with the rules of the field. Furthermore, my aim is to highlight their roles as mediators of an emerging folk music field that finally became constituted and autonomised during the 1920s. The article is a continuation of earlier research by the author on the Swedish folk music field and its specific rules. The theoretical basis for the study is Bourdieu’s field theory, which is applied on the biographical narratives of the aforementioned fiddlers. The results reveal that all the three fiddlers, with slightly differing strategies, corresponded to the rules within the field to gain symbolic capital and an advantageous positioning within the field. Other findings concern the time around 1920 when the culture producers themselves take power over their own field from the bourgeoisie.
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| 29. |
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| 30. |
- von Wachenfeldt, Thomas, et al.
(författare)
-
Folkmusikundervisning på fiol och gitarr och dess bakgrund i den tidiga svenska spelmansrörelsen och andra folkmusikaliska traditioner
- 2012
-
Ingår i: Nordisk musikkpedagogisk forskning. - 1504-5021. ; 14, s. 73-89
-
Tidskriftsartikel (refereegranskat)abstract
- Folk music teaching on violin and guitar in relation to the early Swedish fiddler movement and other folk music traditionsHow folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.
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| 31. |
- von Wachenfeldt, Thomas, et al.
(författare)
-
Folkmusikundervisningen på fiol och gitarr och dess historiska rötter
- 2013
-
Ingår i: Nordic Research in Music Education: yearbook. - Oslo : NMH-Publikasjoner. - 1504-5021. ; 14, s. 73-89
-
Tidskriftsartikel (refereegranskat)abstract
- How folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.
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| 32. |
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| 33. |
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| 34. |
- von Wachenfeldt, Thomas, et al.
(författare)
-
Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse på 1920-talet
- 2011
-
Ingår i: Nordisk musikkpedagogisk forskning. - 1504-5021. ; 13, s. 115-130
-
Tidskriftsartikel (refereegranskat)abstract
- The purpose of this article was to illuminate aspects of learning in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This was a period characterized by the organization and to some extent institutionalization of Swedish folk music. The empirical data is taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study is based on a concept of ideology developed by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects of learning among the fiddlers (33 articles). The following themes were generated: Fiddlers’ repertoire, Fiddlers’ masters, Rooms for learning, Learning formation. The writers in Hembygden often emphasized autodidactic aspect of learning and especially the importance of learning by ear. This manifest ideology came into an interesting tension in relation to the fiddlers themselves, who in many cases were more positive to notes and formal training.
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| 35. |
- von Wachenfeldt, Thomas, et al.
(författare)
-
Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse under 1920-talet
- 2012
-
Ingår i: Nordic Research in Music Education Yearbook. - Oslo : Norwegian Academy of Music. - 0333-3760. ; 13:9, s. 115-130
-
Tidskriftsartikel (refereegranskat)abstract
- The purpose of this article was to illuminate existing educational ideologies in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This period was characterized by the organization and to some extent institutionalization of Swedish folk music. Furthermore, the purpose was to discuss the results in relation to the folk music education of today. The empirical data was taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study was based on a concept of ideology developed by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects of learning among the fiddlers (33 articles). After content analysis the following themes were generated: Fiddlers’ repertoire, Fiddlers’ masters, Rooms for learning, Learning formation. The writers in Hembygden often emphasized the autodidactic aspects of learning and especially the importance of learning by ear. This manifest ideology of authenticity presumed that learning directly from another fiddler by playing together was to prefer to formal schooling. In spite of a tendency towards more ensemble playing, the folk music education of today in Sweden is characterized by a similar retrospective ideology as in the 1920s.
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| 36. |
- von Wachenfeldt, Thomas
(kompositör, creator_code:cre_t)
-
Mysteriekantaten
- 2013
-
Konstnärligt arbete (refereegranskat)abstract
- En kantat, Mysteriekantaten, med libretto av Eric Hellman som behandlar Johannes Buréus apokalyptiska visioner i Dalarna 1613. Mysteriekantaten är beställd av Musik Gävleborg med stöd av Statens KulturrådKantaten är skriven för sopran, alt- och sopranblockflöjt, violin, viola och generalbas.Medverkande:Ann-Marie Backlund: sopranKristine West: alt- och sopranblockflöjtThomas von Wachenfeldt: barockviolinIsak Björklund: barockviolaJonas Bleckman: barockcelloJohan Jonsson: theorb/barockgitarrVerket uruppfördes vid kammarmusikfestivalen Musik mellan fjärdarna i Hudiksvall 7 februari 2013. Festivalen stöds av Statens kulturråd.
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| 37. |
- von Wachenfeldt, Thomas
(arrangör, creator_code:cre_t)
-
Nordfest II : Entombed - Clandestine
- 2013
-
Konstnärligt arbete (refereegranskat)abstract
- Tonsättning av Preludium och Interludium, samt arrangering och orkestrering av Entombeds andra album Clandestine. Konserten ägde rum på Tonhallen i Sundsvall och musiken framfördes tillsammans av Entombed och Nordiska Kammarorkestern. Josef Rhedin dirigerade.
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| 38. |
- von Wachenfeldt, Thomas
(producent, creator_code:cre_t)
-
Pledge: Five holy heroes
- 2011
-
Konstnärligt arbeteabstract
- Producent på skivan Five holy heroes utgiven på Pantherfarm records
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| 39. |
- von Wachenfeldt, Thomas
(författare)
-
Praxisgemenskap och ideologi bland elever och lärare på en folk- och världsmusikutbildning
- 2014
-
Ingår i: Svensk tidskrift för musikforskning. - 1653-9672. ; 96:2, s. 23-41
-
Tidskriftsartikel (refereegranskat)abstract
- Studien har som övergripande syfte att belysa hur deltagare i en folkmusikalisk praxisgemenskap – i detta arbete gestaltad av elever och lärare på en folkhögskoleutbildning i folkmusik – resonerar kring och relaterar sina studier till den doxa som formerats inom spelmans- och folkmusikrörelsen över tid. I studien deltog två lärare och två elever vid Framnäs folkhögskolas Folk- och Världsmusikprofil. För att erhålla en bakgrund att relatera deltagarnas utsagor till, tecknas först en kort historisk översikt över den svenska folkmusikrörelsen och dess paradigmer. Som teoretisk grund ligger Lave & Wengers teorier om situerat lärande och Liedmans begreppspar manifesta och latenta ideologier. Undersökningens metod var den halvstrukturerade intervjun och analysen har skett genom kategorisering av utsagor, relaterade till syfte och forskningsfrågor. I resultaten framkommer det att en betydande del av det tankegods som kan spåras till kretsen kring Götiska Förbundet i Uppsala fortfarande lever kvar i form av arkaisering, syn på äkthet, repertoar och uppförandepraxis. Andra fenomen som visar sig är hur den riktning från individuellt framförande till ensemblemusicerande som pågått under de senaste decennierna påverkar undervisningen som fokuserar främst på ensemblespel. En fråga ställs slutligen huruvida akademisering och professionalisering av den svenska folkmusiken leder till att den tappar sin karaktär av folkrörelse.
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| 40. |
- von Wachenfeldt, Thomas, 1979-
(författare)
-
Rekonstruktion av äldre svenska spelmanslåtar : En studie om att utifrån interpretatoriska verktyg från äldre konst- och folkmusikaliska traditioner tolka spelmansmusik med rötter i 1700-talet
- 2021
-
Ingår i: Musikk og tradisjon. - Oslo : Novus Forlag. - 1892-0772. ; 35, s. 43-72
-
Tidskriftsartikel (refereegranskat)abstract
- The present text describes a combined artistic research and recording project of fiddle tunes from the second half of the 18th century in the county of Hälsingland in Sweden. Through studies of older interpretative practices within art and folk music traditions, the project Brudlåtar (2018) was initiated to revitalize and reconstruct the performances of a selection of fiddle tunes. The tunes that were chosen have some common features with the violin sonatas from the baroque and classical periods and were put together into suites where a general bass part was added to strengthen the sound of the 18th century. The study draws on Paul Ricœur’s (1984) mimesis theory and his ideas on transmission of tradition, revitalization and reconstruction. It discusses the various difficulties and opportunities that the interpreter encounters in relation to conventions and source material, and it shows how the cognitive achievements concerning interpretation from traditional music as well as early music, may enrich each other.
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| 41. |
- von Wachenfeldt, Thomas
(producent, creator_code:cre_t)
-
Rimthurs: Svartnar
- 2010
-
Konstnärligt arbeteabstract
- Credits:"Svartnar" was recorded by RIMTHURS first half of 2008. Mixed by Ymer and Jonas Lindstrom, mastered by Fredrik Groth autumn 2008. All music by Ymer, all lyrics written by Ymer except "Krigssång" and parts of "Underjord" and "I jämmer och klagan", taken from the work of Dan Andersson.All bass played by Mordh, Violin and helsingepipe by Thomas von Wachenfeldt, solo on vansinne by Bosse Öhman."Naglfar" music/lyrics written by Fenriz, ISENGARD.Guitar solo on "Naglfar" played by bosse Öhman."Naglfar" mastered by Jonas Lindström March 2010.
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| 42. |
- von Wachenfeldt, Thomas, 1979-, et al.
(författare)
-
The Becomings of Satanist Musicianship : a study of how Black metal musicians describe their learning processes
- 2018
-
Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøgskole. - 1504-5021. ; 18:2017:8
-
Tidskriftsartikel (refereegranskat)abstract
- Research in music education has in the last decades become more attentive to musical learning through informal contexts. This article adds to the body of research by investigating the musical learning in a genre that is considered unacceptable and bad by most of society: black metal. Through interviews with five young black metal musicians from Sweden and Finland an interesting image was revealed of a musical practice that aims to fight evil by being evil, that worships enlightenment and the fulfilment of the individual potential and also detests religious organisations for suppressing people. The sonic is considered only a part of a gesamtkunstwerk where all parts of a performance are sup- posed to work together to create a feeling of fear or horror in the audience. The material opens up for interesting paths in music education when working with musical bildung and criticism of taken for granted truths, but at the same time presents a milieu where what is considered good by society is questioned.
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| 43. |
- von Wachenfeldt, Thomas
(författare)
-
Vi speler inga covers vi e’! : Spelmanslaget som läroplats och dess ideologier
- 2014
-
Ingår i: Musikk og tradisjon. - 1892-0772. ; 28, s. 53-83
-
Tidskriftsartikel (refereegranskat)abstract
- The overall aim of this study is to describe the social structure within Nordanstigs spelmanslag and further how the manifest and latent ideologies connected to the Swedish fiddler movement affects the learning and musical processes in Nordanstigs spelmanslag. The theoretical basis for the study was Bourdieu’s field theory, Berger & Luckmanns theory of institutionalisation, Lave & Wengers theories about Communities of practice and Liedman’s concept of Manifest and Latent ideologies.The method consisted of both semi-structured interviews of three members in the spelmanslag and also Participatory observation with an auto-ethnographical approach on four occasions. The analysis was done using transcriptions and a self-invented color coding process of categorization. In the results it appears that a significant part of the latent ideology from the Swedish fiddler movement is manifested in the activity of the spelmanslag. Other findings are that the spelmanslag as an institution maintains a strong doxa that derives from its foundation which seems to have a fairly strong influence on its members concerning views on authenticity, repertoire and interpretation. The doxa is mainly upheld and reproduced by individuals that inherits a strong symbolic capital.
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| 44. |
- von Wachenfeldt, Thomas
(arrangör, creator_code:cre_t)
-
Yohio : Himlen är oskyldigt blå
- 2013
-
Konstnärligt arbeteabstract
- Arrangering och musikertjänst vilket bestod av inspelning av fioler och viola. Låten gavs ut som singel och framfördes singback på Humorgalan i TV4 20130501.
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| 45. |
- von Wachenfeldt, Thomas
(producent, creator_code:cre_t)
-
Åsa Jinder: Det hände i Hårga
- 2011
-
Konstnärligt arbeteabstract
- CD-skiva med musik från musikalen Det hände i HårgaArrangemang och produktion Thomas von Wachenfeldt
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| 46. |
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