| 1. |
|
|
| 2. |
- Kular, Onkar, et al.
(författare)
-
Bass Cultures: How Low Can You Go!
- 2023
-
Ingår i: Falkenbergs teater, Smedjan & Art Inside Out, Halland.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this two day sonic festival we were supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event hosted film screenings, workshops, talks, commissioned essays and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The festival was organised by Right to design which is a practice-based platform run by Onkar Kular and Henric Benesch and through their artist-in-residency with Art Inside Out, Halland, Sweden.
|
|
| 3. |
- Kular, Onkar, et al.
(författare)
-
Bass cultures: How Low Can You Go!
- 2023
-
Ingår i: Art Inside Out Journal: Den allmäna designbyrån, NR 16. ; , s. 16-29
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
|
|
| 4. |
-
Barnet i kulturen
- 2020
-
Ingår i: Barnläkaren. - 1651-0534. ; :5, s. 1-32
-
Annan publikation (övrigt vetenskapligt/konstnärligt)
|
|
| 5. |
- Tatlow, Mark, 1955
(författare)
-
Arias for a Voiceless Singer: What Can They Teach Us about Eighteenth-Century Opera?
- 2023
-
Ingår i: International Conference organised by Divino Sospiro (Centro de Estudos Musicais Setecentistas de Portugal), at Queluz National Palace: Historically Informed Performance.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper introduces my ongoing joint collaboration with Magnus Tessing Schneider on a vocal-score edition of fourteen of Luigi Bassi’s arias by other composers than Mozart. Covering the period 1780–1820, nine of the arias were specifically written for the singer by such little-known composers as Pietro Morandi, Angelo Tarchi, Peter Winter, Giovanni Liverati, Johann Joseph Rösler, and Francesco Morlacchi, while five of them come from some of his most popular roles in operas by Giovanni Paisiello, Antonio Salieri, Joseph Weigl, and Ferdinando Paer. As the common denominator in the aria collection, and as a singer whose voice was, somewhat paradoxically, not his most important calling card, Bassi provides an instructive example of how these arias may have been adapted in order to reach an audience. Together, the arias document what might be called Bassi’s ‘dramatic profile:' his preferred aria types as well as the types of characters, emotions, and dramatic situations that he excelled at portraying. I suggest that in reviving these arias today, performers are not always well-served by the 'urtext' culture that grew up in the twentieth century, largely in the service of the music of so-called ‘master composers’. Their scores often contain sufficient information for the needs of today’s performers, many of whom follow relatively recently established and successful codes of performance. But for the arias of lesser-known composers, the challenge lies in assessing what kind of performative flexibilities may have been applied by Bassi and harnessing them to reach an audiences today. I provide examples of how far performers may need to deviate from composers’ scores to achieve this aim and demonstrate that this is one way of developing the practices of historically informed performance. This is to use Bassi's unusual vocal profile as a stimulus for both historical speculation and practical experimentation.
|
|
| 6. |
- Rosengren, Cecilia, 1962, et al.
(författare)
-
Inledning: Den kontroversiella barocken
- 2020
-
Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
|
|
| 7. |
-
Innovation in Music : Technology and Creativity
- 2024
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
|
|
| 8. |
-
Innovation in Music : Cultures and Contexts.
- 2024. - 1
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
|
|
| 9. |
- Olsson, Dan, 1963
(författare)
-
Johanna (Jeanna) Elisabeth Åkerman
- 2020
-
Ingår i: Svenskt kvinnobiografiskt lexikon. - Göteborgs : Göteborgs universitet. - 9789163975943
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 10. |
- Dahlstedt, Palle, 1971
(författare)
-
Musicking with Algorithms: Thoughts on Artificial Intelligence, Creativity, and Agency
- 2021
-
Ingår i: Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity. - Cham : Springer International Publishing. - 9783030721169 ; , s. 873-914
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In this chapter, I present a pragmatic, critical, and sometimes speculative view of what Machine Learning (ML) and Artificial Intelligence (AI) bring to the table for art and music. It is pragmatic in the sense of analyzing what can actually be done today by musicians and composers working with AI, and what is missing in terms of creative agency. How does AI relate to other technologies in the context of art? Yet critical about the popular expectations of AI, its ascribed abilities and agency, and how AI is written and talked about today in terms of creativity. No, computers cannot paint like van Gogh or compose like Bach. What is really the role of humans, as designers, programmers, users, and tweakers, behind current AI applications? Still, I try to be visionary about the long-term future of AI in art and music. Will we ever see autonomous AI artists, composers, and musicians? If so, why would they even care to make art and music for humans?
|
|
| 11. |
- Ekström, Christina, 1957
(författare)
-
ERSTA KYRKA 150 ÅR, Festival som tillägnades Per Ulrik Stenhammar (1829–1875), kyrkans arkitekt och förste kyrkomusiker
- 2022
-
Ingår i: Ersta kulturscen, Stockholm, Ersta Diakoni, 18-20/11 2022.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Festivalen genomfördes under tre dagar i Ersta kyrka, en av de helgedomar som Per Ulrik Stenhammar (1829–1875) hade ritat. Festivalens syfte var att synliggöra och diskutera Stenhammars omfattande och mångfacetterade verksamheter, med tonvikt på hans musikaliska oeuvre. Vid festivalen framfördes ett oratorium, sånger för en röst och klaver, körsång, orgelstycken och stråkkvartetter. Flera av dessa verk är opublicerade. Därtill skedde ett panelsamtal med förberedda presentationer. Presentationerna uppmärksammade olika teman i Stenhammars liv som exempelvis hans engagemang i Evangeliska Fosterlandsstiftelsen, yrket som arkitekt, det kyrkomusikaliska engagemanget samt hans kompositionsgärning. Därtill uppmärksammades Stenhammar ur ett genealogiskt perspektiv. Flera av konserterna spelades in av Sveriges Radio P2. För de olika presentationerna, utvecklade till artiklar, planeras ett bokverk.
|
|
| 12. |
|
|
| 13. |
|
|
| 14. |
-
Innovation in Music 2022 : Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 2022
- 2022. - 01
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music 2022FRIDAY 2022-06-17 Welcome to Innovation in music 2022! - 15:30 1C103 - Lilla salen 1Keynote 1: Armen Shaomian - 15:45 - 1C103 - Lilla salen 1Panel 1: Entrepreneurship, Copyright, & Innovation in Music: Linda Portnoff, Christian Råsmark, Thomas Arctaedius & Örjan Strandberg 15:30 - 1C103 - Lilla salen 1Seminar with online presenters 17:30 - Lilla salen Paul Novotny: How to Put Together a Premium DIY Dolby Atmos 'Tiny Studio' on a Budget Anders Lind: Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers 2Pedro Miguel Ferreira: Road(ies) To Nowhere? A Portuguese live music perspective, Eirik Askerøi: Sonic Markers in Popular Music: Innovation - Trend - Tradition, Ola Buan Øien: The Dialogue of Mr. Question Mark and Sylvia Massy: Challenging norms at the intersection of crafts and creativity in music recording contexts 3SATURDAY 2022-06-18 Welcome with music: Henry Mikkonen & Martin Åberg 08:45 - Lilla salen 4Seminar with online presenters 09:00 - Lilla salen 4Yuxiang Cai, Rui Liu and Xuefeng Zhou: An investigation of piano timbre preference based on employing equalizer to adjust the harmonic loudness, Martin Koszolko: Connecting across borders: communication tools, group structures and practices of remote music collaborators, Hussein Boon: Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship 5Yngvar Kjus, Ragnhild Brøvig-Hanssen & Solveig Wang: Encountering new technology: A study of how female creators explore DAWs, Scott Stickland, Nathan Scott & Rukshan Athauda: The DAW Collaboration Framework: Improving Creative Opportunities and Authenticity in Collaborative Online Audio Mixing 6Samuel Lynch & Helen English, Jon Drummond, Nathan Scott: Exploring Dynamic Music Methods to Extend Compositional Outcomes 7Session 1 A 10:20-12.00 - 1C103 (Lilla salen) Ingvild Koksvik: Staging Notions of Space: Developing a Practice-Based Model for Realizing Compositional Intention in 3D and Stereo Record Production 8Grzegorz Trela: The sound from behind the Iron Curtain: Record production in the Polish People's Republic 8Marc Estibeiro: An interactive chamber work for two classical guitars and electronics which uses the natural sound of the acoustic instruments as both source material for electronic processing and as a means of controlling the electronic part 9Stephen Bruel: Remastering Elton John's Goodbye Yellow Brick Road 9Session 1 B 10:20-12.00 (1D221) 9Claus Sohn Andersen: The space is the place - Interplay and interaction in an extreme location 9Matthew Lovett: Artificial creativity and tools for understanding: music, creative labour and AI 10Tony Dupé: Self Production as a Creative Practice 10Leigh Shields: Exploring the history of distortion in Drum and Bass 11Session 1 C 10:20-12.00 (1E207) 11Matthias Jung & Vegard Kummen: Hacking the concert experience - exploring co-creative audience interaction at a chiptune live performance 11Haoran Jiang: A History of Taiwan's Recording Industry: Production and Promotion Strategies of Campus Song Records by Synco Corporation 12Mat Dalgleish: Unconventional Inputs: The Modular Synthesizer as One-Handed Instrument 12Shib Shankar Chowdhury: Autoethnography and composition for Innovative music creation about Pandemic with reference to "I Am Virus" 13Keynote 2: Susanne Rosenberg 13:00-13:50 - 1C103 (Lilla salen) 13Session 2 A 14:00-15:40 - 1C103 (Lilla salen) 14Håkan Lindberg: Innovation solving problems with vocal recordings 14Emil Kraugerud: Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy 14Bjørnar Sandvik: Sample, Slice, and Stretch! Four Innovative Moments in the History of Waveform Representation 14Antti Sakari Saario: “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the design of a new ‘classic’ microphone (Nordic Audio Labs NU-100K) 15Session 2 B 14:00-15:40 (1D221) 16Florian Hollerweger: Audio beyond Demand: Creative Reinventions of the Broadcast Listening Experience 16Sven Ubik, Jakub Halak, Martin Kolbe & Jiri Melnikov: Comfortable playing together over distance 16Mattias Petersson: A new morphology – Strategies for innovation in live electronics performance 16Zachary Diaz: Signifyin(g) Producers: The Roland SP-404 and The Evolution of Live Instrumental Hip-Hop Performance 17Session 2 C 14:00-15:40 (1E207) 17Kirsten Hermes: Levelling up chiptune: nostalgic retro games console sounds for the ROLI Seaboard 17Ambrose Field & Ling Ding: Innovation and music business: a new approach for international partnership in music 18Egor Poliakov & Martin Pfleiderer and Christon-Ragavan Nadar: Analyze! Development and integration of software-based tools for musicological and music theoretical needs 18Christos Moralis: The ‘Performable Recordings’ model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance 19Session 3 A 16:00-17:15 (1C103 Lilla salen) 19Scott L. Miller & Carla Rees: Telematic Performance and Recording of Interactive Electroacoustic Chamber Music 19Henrik Langemyr: Music(al) Production: To Compose and Produce Musical for Recorded Medium: Based on the Perspective of Music, and Media Production 20Session 3 B 16:00-17:15 (1D221) 20Phil Harding: Transforming A Pop Song: The Journey of the Extended Club Remix 20M. Nyssim Lefford & Gary Bromham and David Moffat: From Intelligent Digital Assistant to Intelligent Digital Collaborator 21Brendan Williams: Creative Potentials for Dolby Atmos: Presenting the self-balancing acoustic ensemble 21Session 3 C 16:00-17:15 (1E207) 22Henrique Portovedo & Ângelo Martingo: Transforming Performance with HASGS: research-led artistic practice in augmented instruments 22Ambrose Field: Rethinking the relationships between space, performance and composition in notated acoustic composition: Quantaform Series 22Hans Lindetorp: Gesture-controlled synths with WebAudioXML 22Panel 2: How to get published? And Book releases Chair: Rob Toulson 23Keynote 3: Sven Ahlbäck, Christian Råsmark & Rob Toulson 23SUNDAY 2022-06-19 Welcome with music: Henry Mikkonen & Martin Åberg - 08:45 Lilla salen 23Panel 3: Exploring Dolby Atmos: Past Present and Future Chair: Daniel Pratt 23Session 4 A 10:20-12:00 - 1C103 (Lilla salen) 23Enric Guaus & Alex Barrachina, Gabriel Saber, Víctor Sanahuja, Josep Comajuncosas: Exploring a network setup for music experimentation 23Paul Thompson, Mcnally Kirk & Toby Seay: Multiple Takes: Multitrack Audio as a Musical, Cultural, and Historical Resource 24Jo Lord & Michail Exarchos: Dynamic meta-spatialisation: Narrative and recontextualisation implications of spatial stage stacking 24Stefan Östersjö, Thanh Thuy Nguyen & Matthew Wright: Yellow music in diaspora: Re-inventing the sound of pre-1975 record production in Sài Gòn 25Session 4 B 10:20-12:00 (1D221) 25Hans Lindetorp: Towards a standard for interactive music 25Jessica Edlom, Jenny Karlsson & Linda Ryan Bengtsson: Innovating music experiences – Creativity in pandemic times 25Alicja Sulkowska: Before Our Spring – towards the concept of intermedial authenticity in a curated K-pop industry. On the example of Kim Jonghyun’s “Blue Night Radio” 26Dave Fortune: Composing Without Keys: The LFO as a Composition Tool 27Session 4 C 10:20-12:00 (1E207) 27Mads Walther-Hansen & Anders Eskildsen: Forceful Action and Interaction in Non-Haptic User Interfaces for Music Production 27Charles Norton, Justin Paterson & Daniel Pratt: Musical connections and enhanced performance control, a strategy to reduce complexity 28Kjell Andreas Oddekalv: Rap as composite auditory streams: Techniques and approaches for layered vocal production in hip-hop and their aesthetic and philosophical implications 28Liucija Fosseli: Music Business Present and Future Innovations. Perspectives of international songwriters and producers working towards Chinas´market 29Keynote 4: Håkan Lidbo 13:00-13:50 - 1C103 (Lilla salen) 29Session 5 A 14:00-15:40 - 1C103 (Lilla salen) 29Stefan Östersjö & Jan Berg, Anders Hultqvist: A Deepened ‘Sense of Place’: ecologies of sound and vibration in urban settings and domesticated landscapes 29Andy Visser & Justin Paterson: HAPPIE: The Haptic Audio-Production Pipeline – A novel method for accomplishing audio-production tasks using haptic feedback within a Mixed Reality [MR] environment 30Jon Marius Aareskjold-Drecker & Ragnhild Brøvig-Hanssen: Vocal Chops: Balancing the Uncanny Valley 30Jacob Westberg: Ludonarrative Harmony: Music production through the lens of game design 31Session 5 B 14:00-15:40 (1D221)Thomas Bårdsen: Improving the republishing process of legacy music productions through documented source selection and reformatting 31Toivo Burlin: Mobile Classical Music – Recording, Innovation and Mediatization. Three Swedish case studies from the 1940’s to 2021 31David Thyrén, Jan-Olof Gullö, Per-Henrik Holgersson & Thomas Florén: Icebreakers and clusters within the Swedish music wonder 32Russ Hepworth-Sawyer, Rob Toulson & John-Paul Braddock: UDPi Mastering Protocol 32Session 5 C 14:00-15:40 (1E207) 33Mads Walther-Hansen: Music Production Entrepreneurship – Between Art and Business 33Thomas Arctaedius, Martin Q Larsson, Emilie Lidgard & Madeleine Jonsson Gill: Experiences from a Learning Lab – Cross Innovation in Music/Arts 33Daniel Pratt & Toby Seay: Time, place, and reflexivity: the recording space as an instrument 34Samantha Talbot: Song Worlds: Spontaneity, Intimacy, and Immersion. Music Video from Glencoe 34Concert & Paper presentation Henrik Frisk: Literate programming and documentation of artistic processes . Lilla salen 16:00 34Panel 4: Final reflections & Future perspectives 16:40 35
|
|
| 15. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
-
Spotify as a case of musical Bildung
- 2021
-
Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
-
Tidskriftsartikel (refereegranskat)abstract
- This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
|
|
| 16. |
-
Grief : Sonic Expressions of loss, pain, and sadness
- 2023
-
Ingår i: Seismograf. - 2245-4705. ; :29
-
Annan publikation (refereegranskat)abstract
- This special issue has invited scholars to reflect upon the theme of »grief« in the format of an audio paper. This format, we thought, would offer authors a possibility to present their research in sound, in a way that gives the theme of grief the opportunity to be heard firsthand, not only described in text.
|
|
| 17. |
- Munthe, Christian, 1962
(författare)
-
Who is the player?
- 2022
-
Ingår i: In: Gustafsson, M & Lugo, T (2022). VERTICAL. Baltimore, MD: Superpang records. [Vinyl album phonogram]. - Baltimore, MD : Superpang records.
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Linear notes to a vinyl LP music album, reflecting on the role of AI's in improvised music.
|
|
| 18. |
|
|
| 19. |
|
|
| 20. |
|
|
| 21. |
-
Gränser och oändligheter – Musikalisk och litterär komposition, en forskningsrapport : 'Compositional' Becoming, Complexity, and Critique
- 2020
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- ur Förordet: Det övergripande forskningsprogrammet söker spåra några mindre delar av det vidsträckta landskap av mänskliga och icke-mänskliga betingelser, strategier och komplexiteter som ligger till grund för arbetet inom musikalisk och litterär komposition. Sektion 1 inleds med utdrag ur Tapeshavet av Gunnar D Hansson som är en text kring plats, natur, dikt och poetik, och där de geologiska beskrivningarna även blir en metafor för diktsamlingens egen organisationsprincip. Detta följs av reflektioner kring bakomliggande tankar, vidare gestaltningar, och meta-reflektioner. En del kompositionella frågeställningar tas vidare genom presentationer av och reflektioner kring ett antal musikaliska kompositioner, ljud-installationer och gestaltade konsert-föreställningar. Sektion 2 diskuterar litterära och musikaliska praktiker och skilda verksamma poetiker utifrån bland annat Inger Christensen, Elfride Jelinek, kommissarie Maigret och Bengt-Emil Johnson, samt en avslutande epilog kring symmetribegreppet. From the Preamble: On the whole the project can be said to trace some small parts of the vast landscape of strategies and complexities underlying musical and literary composition. The artistic investigations in different ways take their point of departure in some of the textual, musical, and informational conditions for related artistic work. Would it be possible to expand some of our lived metaphors by looking at these different levels and areas of complexity and time, how they are connected and why we might interpret and inhabit them as we do? Addressing the physical (biological) and cultural complexities we and our artefacts both are made out of, and dynamically move within, and in doing this, in some way, try to “ignore the right details, [...] still preserving the essence of what is complicated” as Carina Curto puts it in an article in Quanta Magazine. But also, through some of the subprojects, in different ways address conventional metonymical concepts and compressions like ‘a poem’, ‘listening’, or ‘a (musical) composition’.
|
|
| 22. |
- Olsson, Dan, 1963
(författare)
-
Wilhelm Stenhammar och folkmusikfrågan
- 2023
-
Ingår i: Svensk tidskrift för musikforskning. - 0081-9816. ; 105, s. 187-202
-
Tidskriftsartikel (refereegranskat)abstract
- This article focuses on composer Wilhelm Stenhammar’s relationship with the nascent Swedish folk music movement, namely the individuals, networks and organizations committed to preserving folk music in Sweden. The matter is briefly discussed by Bo Wallner in his biography of Stenhammar (1991), and his conclusion is that Stenhammar is ‘standing beside’ this movement. Unlike several contemporary colleagues he did not, for example, actively participate in the production of written records and, according to Wallner, seems to have lacked personal contacts with ‘experts’ on the subject. The present article is based on new or previously overlooked facts leading to a modification of Wallner’s conclusion. In the 1910s, Wilhelm Stenhammar was one of those who actively got involved in the issue of the possibilities of the phonograph in the documentation of folk music. He was in personal contact with Yngve Laurell, assistant at The Swedish Museum of Natural History, who had been educated at the Berliner Phonogramm-Archiv. By engaging donors Stenhammar greatly contributed to Laurell being able to carry out phonograph recordings of Swedish folk music during several years. In 1914 Stenhammar was also one of eleven prominent figures in Swedish cultural life who signed an appeal for ‘a phonogram archive for folk music’ with the Berliner Phonogramm-Archiv as a likely model. Placing Wilhelm Stenhammar beside the contemporary folk music movement without contacts with experts in the field is therefore wrong. By making Laurell’s recording work financially possible, his involvement also gained historical significance for the genre.
|
|
| 23. |
- Arvidson, Mats, et al.
(författare)
-
Intermedial combinations
- 2022
-
Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 106-137
-
Bokkapitel (refereegranskat)abstract
- Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.
|
|
| 24. |
- Diapoulis, Georgios, 1981
(författare)
-
Primary and secondary aspects of musical gestures in live coding performance
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Embodied interaction in live coding performance has been reported and is particularly present in dance performance. Here, we review studies from music phychology and perception along with studies from live coding and human-computer interaction. We examined how the live coder may experience primary aspects of musical gestures and we discuss how music listening and musical imagery may trigger mental models of gestural unfoldings. Disciplinary gaps between music psychology and the live coding community are discussed.
|
|
| 25. |
- Gustavii, Mats, 1973-
(författare)
-
Binaurally recorded sound in interaction with the cinema's surround sound to moving image - the next evolutionary step of the film medium?
- 2024
-
Rapport (övrigt vetenskapligt/konstnärligt)abstract
- This study explores the potential to enhance the film experience by experimenting with the repositioning of listening points in cinemas. By combining traditional cinema sound systems with innovative audio technology, such as noise-cancelling headphones with ambient sound function and binaural recording techniques, the project aims to create an enriched 3D sound experience.A specially written script resulted in a short film tailored to test these sound technologies.The study's findings indicate that the integration of binaural sound recordings and music from the cinema's surround system, especially when the music is recorded using a technique that places musicians around the recording equipment to enhance the immersive sensation, can strengthen the sense of presence in the film experience. However, the final sound quality is negatively affected by the current limitations of the noise-cancelling headphones in reproducing external music with high quality. The study concludes that future improvements in headphone technology could enable a more integrated and realistic sound environment in cinemas, without requiring significant investments in new sound equipment.
|
|
| 26. |
- Lundblad, Jonas, 1982-
(författare)
-
Sentiment beyond Chronometry : A Performance History of Olivier Messiaen's Livre d'orgue
- 2023
-
Ingår i: Musiikki. - : Suomen musiikkitieteellinen seura. - 2669-8625. ; 53:1, s. 78-107
-
Tidskriftsartikel (refereegranskat)abstract
- Tonsättaren Pierre Boulez påpekade att hans lärare Olivier Messiaen (1908–1992) stod mitt i en av 1900-talsmusikens mest betydande spänningar: i hans verk är ett fokus på kompositionstekniker avsett att understödja en mer romantisk strävan mot ett intensivt musikaliskt uttryck och känsla. Spänningen kan diskuteras som aspekter av en modernistisk respektive romantisk musiksyn och gör sig direkt påmind i studier av Messiaen som interpret av sina egna verk.Till skillnad från en rad befintliga undersökningar av Messiaens pianospel har motsvarande analytiska studier av hans interpretation av egna orgelverk inte genomförts tidigare. Under lång tid har en uppsättning kommersiella inspelningar från 1956 utgjort den främsta källan till detta område, vid sidan av diverse kommentarer som spridits genom elevers skrifter. Det har funnits en vitt spridd uppfattning att Messiaen tar sig mycket stora friheter i förhållande till sina egna partitur, utan att bakomliggande konstnärliga ideal diskuterats vidare. Artikeln påvisar att tonsättaren själv upphöjde partituren som gemensam norm för verkens interpretation och betraktade sina egna inspelningar som ett högst personligt uttryck.I denna studie har tre inspelningar av cykeln Livre d’Orgue med Messiaen som interpret kunnat detaljstuderas, tillsammans med 14 senare kompletta versioner med andra organister. Analysen utgår från tonsättarens egna råd till interpreter i förordet till verket Quatuor pour la fin du temps. Där fastslås att musiker först måste lära sig spela musiken exakt som noterat för att senare vid framföranden enbart behålla notvärdens sentiment och forma musiken med personlig frihet och agogik. I flera av de sju satserna blir det tydligt att Messiaen spelar med en stark känsla för sina bakomliggande idéer, även till en punkt där han inte längre bibehåller kontroll över partiturens notvärden. Trots att en senare interpretationshistoria till stor del bygger på att organister underordnat sig tonsättarens auktoritet sker tidigt en riktning mot ett mer exakt återgivande av notationen.Analysen påvisar att Messiaen tycks följa de råd han formulerade i sitt nämnda förord. Artikeln lyfter också fram skilda akustiska förhållanden som avgörande för olika versioners tempi och artikulation. En annan slutsats är att Messiaens skivor från 1956 till stor del bör betraktas som uttryck för sitt eget decenniums estetik och synsätt på inspelningar. Den frihet som tidigare kommentatorer tillskrivit Messiaen som interpret kan till viss del förstås i ljuset av hur betydelsen av återkommande lyssning till inspelningar förändrade interpretationsideal under andra hälften av 1900-talet.
|
|
| 27. |
- Minors, Helen Julia
(författare)
-
Music speaks: The role of emotional expression in music for sci-fi fantasy films
- 2022. - 1
-
Ingår i: Intersemiotic Perspectives on Emotions: Translating across Signs, Bodies and Values. - London : Taylor and Francis. - 9781003056652 ; , s. 332-348
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This chapter explores how music expresses emotions by illustrating how music is able to translate the content of texts, narratives and cultures. In particular, in order to demonstrate how music can express emotion, it situates how music means and how it might “speak” to its listener (Albright 2009). If meaning is “emergent” (Cook 2001) in the experience of the sound, then what supplementary role does music play within expressing emotions within the context of film? Music is used in a variety of ways in film, often to speak on behalf of a character or culture, when words are not sufficient. It is a vital component of the film media, and is often accredited as contributing the emotional heart to the film. Whereas language in film can be dubbed or subtitled, the music remains, projecting its message across cultural boundaries. If music is able to express emotion, then it has an emotive response and significant impact on the narrative of a film and its spectator. Can music make us “shiver when listening to Vivaldi’s Winter concerto from the Four Seasons?" (Chanan, in Minors 2013). In illustrating music’s emotional capacity, this chapter takes a model of expressive potential from popular music studies (Moore 2016), which charts the four relational dimensions (intimate space, private space, social space, public space) which enable the listener to interpret meaning from nonverbal gestures. Two main examples drawn from Sci fi/fantasy films show how music contributes to the expression of emotions. Two contemporary fantasy movies with newly composed music are: The Shape of Water (2017) with music by Alexandre Desplat and Arrival (2016) with music by Jóhann Jóhannsson.
|
|
| 28. |
- Olsson, Dan, 1963
(författare)
-
Anna Oscàr : Anna Dorothea Oscàr
- 2020
-
Ingår i: Svenskt kvinnobiografiskt lexikon. - Göteborg : Göteborgs Universitet. - 9789163975943
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 29. |
|
|
| 30. |
- Punzi, Elisabeth, 1968, et al.
(författare)
-
Judisk musikkultur i Sverige
- 2024
-
Ingår i: Shmues! Judiskt kulturarv i Sverige. ; :3
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I detta avsnitt tar vi oss an musikhistoria med judiska förtecken tillsammans med Anders Hammarlund, forskare, författare och musiker. Vad är det judiska musikarvet i Sverige? Med start i det svenska musiklivet under 1800-talet lotsas vi genom musikarv i Sverige, judiskt kulturliv, klezmer, emancipation och ett progressivt judiskt Göteborg. Vi pratar musik som bildningsideal och musik och identitetsbygge. Vi möter kantorer, musiker, kompositörer och musikforskare och får veta mer om bland annat Abraham Baer, Dina Baer, Wilhelmina Josephson, Karl Valentin, Moses Pergament och Georg Riedel. Vi besöker också Benjamin Gerber, andlig ledare inom Göteborgs judiska församling i Göteborgs synagoga där han sjunger psaltarpsalm 96 ”Hela Jordens Konung” och Adon Olam.
|
|
| 31. |
- Thyrén, David, 1967-, et al.
(författare)
-
Kluster och isbrytare inom det svenska musikundret
- 2021
-
Ingår i: Musikforskning idag 2021 15–16 juni 2021. - Huddinge. ; , s. 21-
-
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 arbetat med är att ett fåtal mindre ”kluster” centrerade kring skivbolag med några enstaka personer som agerat som ”isbrytare” varit av stor betydelse. Här presenteras analyser av klustren Polar Music International AB, Mariann Records, Prim Records och Cheiron med isbrytare som Stig ”Stikkan” Anderson (1931–1997), Bert Karlsson (f. 1945), Svante Bengtsson (f. 1944) och Dag Volle ”Denniz PoP” (1963–1998).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).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.
|
|
| 32. |
- Thyrén, David, 1967-, et al.
(författare)
-
Musikindustri i förvandling : Isbrytare och kluster inom det svenska musikundret
- 2021
-
Ingår i: <em>Press play:</em><em>efter den stora pausen</em>. - Stockholm. ; , s. 6-
-
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).
|
|
| 33. |
- Thyrén, David, 1967-, et al.
(författare)
-
The Denniz PoP Model : Core Leadership Skills in Music Production as Learning Outcomes in Higher Education
- 2021
-
Ingår i: Summit Proceedings - 2020 Academic Papers Presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 - Virtual Summit. - Nashville : Music & Entertainment Industry Educators Association. ; , s. 64-72
-
Konferensbidrag (refereegranskat)abstract
- Over the last two decades, many Swedish songwriters and music producers have been internationally successful. During this time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding, and reason. Previous research clearly shows a variety of competences that are demonstrated and needed among musicians, music producers, and others active in the art of music production. Leadership is a very important aspect of music production and that’s why we explore what we can learn from Denniz PoP’s (1963-1998) leadership when he collaborated with his closest colleagues, and multiple award-winning songwriter/producer Max Martin. The empirical source material includes interviews as well as radio and television programs, literature, and an extensive inventory of Swedish music industry and consumer magazines. The results include a seven-step model for music production but also indicate that Denniz PoP’s true expertise was his ability to make others in a team grow and perform well. That which best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.
|
|
| 34. |
- Werner, Ann, Docent, 1976-
(författare)
-
Solidarity as strategy : Anti-racism and feminism in the work of Titiyo
- 2022
-
Ingår i: Mixing pop and politics. - New York : Routledge. - 9780367248093 - 9780429284526 - 9780367248086 ; , s. 156-166
-
Bokkapitel (refereegranskat)abstract
- This chapter analyses Swedish pop artist Titiyo’s artist persona on television, on Instagram, and in an advertisement campaign, as political. Contextualising her as black and Swedish in mainstream popular music, I draw on her ways of addressing issues of race and gender. The handling of racism within the examples from Titiyo’s career is realised through focusing on either racism in another place and time or inclusion of women artists and black women artists. Such focus is enacted without explicitly naming the issues, sexism, and racism in the music industries, and without pointing any fingers. Titiyo’s artist persona build on postfeminist ideas about the individually successful (black) woman, without addressing prevailing global gender and race inequalities.
|
|
| 35. |
- Saffiotti, Alessandro, Professor, 1960-, et al.
(författare)
-
On human-AI collaboration in artistic performance
- 2020
-
Ingår i: NeHuAI 2020: First International Workshop on New Foundations for Human-Centered AI. - : CEUR-WS. ; , s. 38-43
-
Konferensbidrag (refereegranskat)abstract
- Live artistic performance, like music, dance or acting, provides an excellent domain to observe and analyze the mechanisms of human-human collaboration. In this note, we use this domain to study human-AI collaboration. We propose a model for collaborative artistic performance, in which an AI system mediates the interaction between a human and an artificial performer. We then instantiate this model in three case studies involving different combinations of human musicians, human dancers, robot dancers, and a virtual drummer. All case studies have been demonstrated in public live performances involving improvised artistic creation, with audiences of up to 250 people. We speculate that our model can be used to enable human-AI collaboration beyond the domain of artistic performance.
|
|
| 36. |
|
|
| 37. |
- Groth, Sanne Krogh
(författare)
-
Kunsten at lyde i verden
- 2022
-
Ingår i: Weekendavisen. - 0106-4142. ; 273:19, s. 13-13
-
Recension (populärvet., debatt m.m.)abstract
- Review of:Annette K. Nielsen i samarbejde med Leonora Christina Skov: Med på en lytter. En rejse i lytningens univers. 270 sider. 299,99 kr. Gads Forlag.
|
|
| 38. |
- Groth, Sanne Krogh, et al.
(författare)
-
Sound Art : The First 100 Years of an Aggressively Expanding Artform
- 2020
-
Ingår i: The Bloomsbury Handbook of Sound Art. - 9781501338793 - 9781501338816 ; , s. 1-20
-
Bokkapitel (refereegranskat)abstract
- "A brief history of sound art is, in a nutshell, a history of sonic forms of expression that throughout the twentieth century can be traced within music, the visual arts, and contemporary dance, as well as in performance art, conceptual art, and media art. Attempts to capture sound art as a detached and isolated art form or artistic phenomenon have been made, but this is definitely not the approach of this handbook. On the contrary, we conceptualize sound art as a persistent and expanding art form, that is entangled with a broad diversity of genres and cultural phenomena—through its sound practices. Sound art today both stimulates and builds, challenges and destructs, reinvents and subverts institutions. It is concrete and physical, material and corporeal—calling for reflection, speculation, and abstraction to surprisingly excessive degrees. Sound art is rooted in a longer history and culture, but incessantly seeks a critical politicizing, decolonializing, and rethinking of the same. A history of sound art can, of course, be shaped in various ways depending on the argument or approach one wishes to frame. In order to support our argument we stress a canon of works and approaches that consider technology, performativity, social and political awareness, and utopia and dystopia. These are, in our understanding the main reasons why today it still holds true to claim: Sound art is generative....With this handbook we hope ... to provide a contemporary journey in postapocalyptic times across the grid of sensibilities, thinking, making, and institutionalizing that can serve artists, curators, activists, developers, inventors, listeners, researchers, and aficionados as well. May sound art further expand!"
|
|
| 39. |
- Leijonhufvud, Susanna, 1972-
(författare)
-
An Origin of Swedish Folk Music : A Case Study of the National Project Skansen 1896-1899
- 2023
-
Ingår i: Folk-Music Practices and Polyphonic Nationalisms in Europe, 25–29 Sep 2023. - Graz.
-
Konferensbidrag (refereegranskat)abstract
- The national project of Skansen was established at the end of the 19th century. Here, the Swedish is being created during a national romantic era by bringing folk culture from all provinces of the kingdom – to be displayed and brought to life at the capital’s open-air museum. The current research project focuses on the constitution of the Swedish when it comes to folk music. Skansen has, as an institution, become significant for knowledge production and the understanding of Swedish culture in several ways. Our contemporary understanding of Swedish folk music also originates from this time and the very event – the establishment of Skansen. Therefore, it is interesting to investigate how, and in what way, music becomes manifested and displayed at Skansen. One way to investigate this is to focus on a single fiddler – Johan Edlund from the Roslagen parish of Harg in Uppland, Sweden. Edlund, engaged as a fiddler 1896-1899, is portraited his first week at Skansen by the folk music collector Karl Peter Leffler. This book has, since its publication, been one of the oldest sources that later studies depart from. This research project, at hand, critically examines the origin of this manifestation of the Swedish. When it comes to Leffler’s transcribed music from Harg, it becomes clear that the music is not merely directly retrieved from the province to the capital. The presentation will show how national folk music is by far of a national origin but rather a conglomerate of international influences.
|
|
| 40. |
- Ronström, Owe, 1953-
(författare)
-
In retrospect: Dancing and music-making among Yugoslavs in Stockholm
- 2021
-
Ingår i: Sounds of Migration. - Uppsala/Stockholm : Eddys AB. - 9789187403392 ; , s. 59-82
-
Bokkapitel (refereegranskat)abstract
- In recent years, we have seen a renewed interest in the study of music and migration in the Nordic countries, following from the extensive migration waves in recent decades and the increasingly charged political discourse on refugees and integration. Many of these studies focus on the role of music as a collective emblem, a social catalyst and a unifying force for people in vulnerable situations.Studies of music and migration in the Nordic countries go further back in time. During the 1980s, migration research was expanded to include studies of expressive culture, cultural encounters and cultural diversity. During the 1990s and onwards, a number of works on music making and dancing among migrants were published that significantly strengthened and renewed the field of ethnomusicology in the Nordic countries.In April 2019, Nordic ethnomusicologists gathered in Stockholm to discuss how experiences and knowledge from previous studies could enrich today's research. This book is the result of this meeting.
|
|
| 41. |
- Rosenberg, Susanne, 1957-
(författare)
-
Kulning Nu! : Pedagogik för ett medeltida redskap som nutid röstuttryck.
- 2024
-
Ingår i: Röstforums riskstämma 2024, 27-28 april, Malmö Opera, Malmö.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Vilka stilmedel och röstbruk hör samman med kulning och hur kan vi undervisa i denna röstkonst? Susanne Rosenberg, professor i folksång vid Kungl. Musikhögskolan i Stockholm med lång erfarenhet av att både forska och undervisa i kulning ger konkreta exempel från sin egen verksamhet och beskriver vad som kännetecknar kulning mer generellt och hur det används idag. Susanne Rosenberg är författare till boken "Kulning - Musiken och tekniken", en lärobok om kulning.
|
|
| 42. |
- Ahlbäck, Sven, 1960-
(författare)
-
”We hear what we know” - On the power of concepts : how traditional fiddle music in contemporary society can benefit fromfolk music theory
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ”We hear what we know” - On the power of conceptsand how traditional fiddle music in contemporary society can benefit fromfolk music theorySwedish fiddle music, just as many other fiddle traditions, has a strong connection to dance. Making people want to move their feet is one of the chief tasks ofthe fiddler, and this connection still influences the music today, even thoughthe music might be played on concert stages or be digitally streamed.So what constitutes this knowledge of the fiddler? What is important when playing a certain local styleof Swedish polska so people actually can dance to it? If you live in an isolated community with no contact with the outside world you might not have to reflect on what is the stylistic features of your tradition but today folk music generally lives in a multi-stylistic world where different value systemsthat originates from other music traditions than fiddle music dominates. Today’s fiddlers will have to relate to today’s world of music, whether we want it or not.In Sweden, since the 19th century, there has been a tradition of mystifying the knowledge of the fiddler, making the competence of playing a matter of socio-cultural background, geography and ancestry.The perils of this view is that the qualities of art of fiddling might be obscuredand actually might be lost when music transforms - as music always do.In this talk Sven Ahlbäck, who is a traditional fiddler deeply rooted in traditional Swedish FolkMusic and very involved in development of new ensemble playing and teaching, will talkabout how conceptualising stylistic qualities of Swedish fiddle music such as e.g.asymmetrical beats, swing, bowing and intonation have influenced the developmentof today’s Swedish folk music, even beyond the fiddle.
|
|
| 43. |
- Bania, Maria, 1964
(författare)
-
Om termen affektlära och det svenska ordet affekt i diskussioner om 1600- och det tidiga 1700-talets musik : The term Affektenlehre (doctrine of the affections) and the Swedish word affekt in discussions about 17th-century and early 18th-century music
- 2021
-
Ingår i: Svensk tidskrift för musikforskning. - 0081-9816. ; 103, s. 1-20
-
Tidskriftsartikel (refereegranskat)abstract
- The meaning of words can shift or change over time, which can lead to misconceptions. This article discusses potential misconceptions in the use of, on the one hand, the term ‘doctrine of the affections’ or ‘theory of the affections’ (Swe. affektlära) and, on the other hand, the Swedish word affekt as an equivalent to the 18th-century German term Affect, in discussions about 17th- century and early 18th-century music. The first of these misconceptions is that Affektenlehre was used in the 17th- and early 18th centuries for theories on how music could represent the affections. The second is that a systematic and schematic doctrine about the representation of the affections in music was commonly used during the 17th and early 18th centuries. The third is that the composers and performers of the early and mid-18th century were less emotionally engaged than the sources of the time suggest. To use the Swedish term affekt as an equivalent to the 18th-century German term Affect in discussions about 17th- and 18th-century music means risking confusion with the meaning of the term in today’s affect-theory. It might also promote an understanding of the term as referring to a more abstract and idealized emotional state than the sources support.
|
|
| 44. |
- Beghin, Tom, et al.
(författare)
-
Two visitors in Paris. : Vignette 2
- 2022
-
Ingår i: Beethoven’s French Piano: A Tale of Ambition and Frustration. - Chicago : The University of Chicago Press. - 9780226818351 ; , s. 95-99
-
Bokkapitel (refereegranskat)abstract
- The vignette describes and discusses Johann Friedrich Reinhardt's visit at the Erard workshops in Paris 1802-1803.
|
|
| 45. |
- Bojner Horwitz, Eva, et al.
(författare)
-
Biological correlates of togetherness strengthened by music making in ensembles
- 2020
-
Konferensbidrag (refereegranskat)abstract
- Both singing and playing instruments in a group have been described in narratives as activities that increase cohesiveness. It has been speculated that music making is at the core of cultural activities in the history of humans. Music, dance and religious rituals including visual arts may have arisen because it was necessary to create strong and reliable bonds in a group, and such activities were effective for achieving this goal. This may even have increased chances of survival in life-threatening environments and this may still be true. According to our study of the Swedish Twin Registry, there is a clear relationship between total number of music practice hours in life (particularly ensemble practice) and ability to handle emotions. In monozygotic twins who are within-pair discordant with regard to piano-playing (one twin has practiced piano extensively and the other not) it has been shown that the size of the corpus callosum, the bridge between the right and the left hemispheres, is larger in the playing twin. Since corpus callosum is important not only for coordination of muscles in the right and left halves of the body but also for emotional skill this is of particular importance – music training may stimulate parts of the brain that govern emotion handling. During performance, strong group interactions can occur both within a music ensemble and between the ensemble and the audience. In our group we have an ongoing project MUSETHICA that examines biological, psychological and social processes when one ensemble plays the same piece in front of different audiences. Accordingly, the audience reaction is studied by means of visual analogue scales, group flow in the ensemble by means of a standardized questionnaire (flow synchronization scale) and heart rate variability on line (for the assessment of sympathetic and parasympathetic balance) during the concerts in all the members of the ensemble. Qualitative interview data focusing on perceived performance quality, group flow and support are collected. Results from a feasibility study will be presented. A string quartet whose young members are going through the advanced training program MUSETHICA for chamber music is performing the same quartet (Haydn opus 76 number 2, D minor) on two occasions the same day with two different audiences of school children aged 13-15. Despite the small size of the study sample the analyses of heart rate variability show that there was a borderline significant variability across the different movements on the two occasions with regard to parasympathetic (high frequency power) and sympathetic (heart rate) activity – with evidence of low sympathetic and high parasympathetic activity during the second occasion during the playing of movement 2. The children showed more uniform reactions on the second occasion according to VAS ratings. The feasibility study shows that it is practically possible to study these complex interactions and that the joint methodology has the potential of showing interesting processes related to group playing.
|
|
| 46. |
- Burlin, Toivo, et al.
(författare)
-
Calle Jularbo som popikon : En populär artist bygger sin karriär i musikindustrins gryning
- 2024
-
Ingår i: Musik – musikproduktion – musikbransch. - Falun : Högskolan Dalarna. - 9789188679710 ; , s. 135-148
-
Bokkapitel (refereegranskat)abstract
- Hur kunde en populär artist bygga sin karriär i musikindustrins gryning? Dragspelaren och kompositören Karl Karlsson ”Calle” Jularbo (1893–1966) var en av 1900-talets mest kända musiker i Sverige. Han föddes i Jularbo, Avesta, Dalarna som ett av elva syskon, son till gårdfarihandlaren Alfred Karlsson och Selma Meijer, av ”resande-” eller romaniursprung. Calle Jularbos musik, liv och instrument dragspelet, kan förstås som djupt rotade i den svenska traditionella musiken, samtidigt som hans karriär som musiker utvecklades i ett intimt samspel med den tidigt framväxande musikindustrin.
|
|
| 47. |
- Corcuera Marruffo, Andrea, et al.
(författare)
-
Perceptual Significance of Tone-Dependent Directivity Patterns of Musical Instruments
- 2023
-
Ingår i: AES: Journal of the Audio Engineering Society. - 1549-4950. ; 71, s. 293-302
-
Tidskriftsartikel (refereegranskat)abstract
- Musical instruments are complex sound sources that exhibit directivity patterns that not only vary depending on the frequency, but can also change as a function of the played tone. It is yet unclear whether the directivity variation as a function of the played tone leads to a perceptible difference compared to an auralization that uses an averaged directivity pattern. This paper examines the directivity of 38 musical instruments from a publicly available database and then selects three representative instruments among those with similar radiation characteristics (oboe, violin, and trumpet). To evaluate the listeners' ability to perceive a difference between auralizations of virtual environments using tone-dependent and averaged directivities, a listening test was conducted using the directivity patterns of the three selected instruments in both anechoic and reverberant conditions. The results show that, in anechoic conditions, listeners can reliably detect differences between the tone-dependent and averaged directivities for the oboe but not for the violin or the trumpet. Nevertheless, in reverberant conditions, listeners can distinguish tone-dependent directivity from averaged directivity for all instruments under study.
|
|
| 48. |
- Diapoulis, Georgios, 1981
(författare)
-
Perceptual and technical aspects of live coding music performance using statistical learning
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Live coding is the creative act of interactive code evaluations and multimodal assessments during the execution of a running program. In the context of music-making, the composer-programmer employs auditory percepts by means of appreciation and planning of present and future code evaluations. Thus, a weave of musical imagery and music listening facilitates the interplay between novel code evaluations and rigidly structured computations. Machine listening has been shown to be a prominent approach to control live coding and is typically correlated with perceptual assessments. Such developments have enabled the advent of statistical analysis of sequential dependencies between acoustical features during performance. Here, we will present a demo of a live coding session based on an OSC protocol binding between SuperCollider and Python libraries for statistical learning. The system presented can perform window-based feature transformation of the extracted acoustical features, which consequently modify numerical parameters of the composition. A typical window size may be hundreds of milliseconds long, so that is multiple times the window size of feature extraction. This is done by storing the numerical values of the extracted features in plain text files. The approach used here aims to facilitate the understanding of the user and promote a human-centric approach to AI. Possible applications may be used for educational purposes and live music performances.
|
|
| 49. |
- Diapoulis, Georgios, 1981, et al.
(författare)
-
The creative act of live coding practice in music performance
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Live coding is the creative act of interactive code evaluations and online multimodal assessments. In the context of music performance, novel code evaluations are becoming part of the running program and are interrelated to acoustic sounds. Performers’ and audience ability to experience these novel auditory percepts may involuntary engage our attention. In this study, we discuss how live coding is related to auditory and motor perception and how gestural interactions may influence musical algorithmic structures. Furthermore, we examine how musical live coding practices may bring forth emergent qualities of musical gestures on potentially equivalent systems. The main contribution of this study is a preliminary conceptual framework for evaluation of live coding systems. We discuss several live coding systems which exhibit broad variations on the proposed dimensional framework and two cases which go beyond the expressive capacity of the framework.
|
|
| 50. |
|
|
