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Elva studier om kreativitet i musikproduktion : Till invigningen av Kungl. Musikhögskolans nya campus 2017
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Musikproduktion har under de senaste decennierna utvecklats till en verksamhet som huvudsakligen syftar till att skapa medieburen musik, som till exempel skivinspelningar. Musikproduktion kan också handla om musikskapande för film- eller videoproduktion, interaktiv medieproduktion eller till exempel musik som ska användas i utställningsverksamhet. I musikproducenters arbete ingår många olika arbetsuppgifter. Det kan vara komposition, arrangering, inspelning, mixning och annan efterbearbetning av den inspelade musiken. För att vara verksam som musikproducent krävs alltså många olika kompetenser.Frågor om ansvar är viktiga för musikproducenter och mycket viktiga i musikproduktionsutbildning. En musikproducent är till exempel ansvarig för att en musikproduktion blir färdigställd, helst på utsatt tid och inom angiven budget. Men det kanske viktigaste ansvaret är det konstnärliga och det är alltså musikproducenten som har det övergripande konstnärliga ansvaret för en musikproduktion. När det gäller konstnärlig verksamhet har kreativitet en central betydelse. Därför har vi i det här projektet, Att fånga kreativiteten i musikproduktion – Capturing Creativity in Music Production, valt att särskilt studera hur kreativitet kan komma till uttryck i just musikproduktionsverksamhet.I denna publikation finns sju delstudier om kreativitet i musikproduktion av lärare som alla är verksamma i utbildningen i musik- och medieproduktion vid Kungl. Musikhögskolan i Stockholm. Även studenter, från vårt masterprogram i musikproduktion, bidrar med fyra delstudier. De medverkande är: Felix Brag, Josef Doukkali, Hans Gardemar, Jan-Olof Gullö, Claudia Jonas, Ludvig Klint, Hans Lindetorp, Erik Petersson, Mika Pohjola, Johan Ramström, Haukur Hannes Reynisson, Peter Schyborger, Simon Sjöstedt, David Thyrén, Nanno Veen, Sophie Verdonk, Mattias Viklund och Robert Åkerman.
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| 2. |
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Explorativ bildning i strömmande medier : Spotify som ett case
- 2020
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Vilka bildningsprocesser kan urskiljas ur människors Spotifyanvändande? Det visar sig att ett sådant användande är tätt sammanflätat med musikalisk- såväl som digital kunskap. Med ett fokus på de bildningsprocesser som sker i samspelet mellan människa, teknik och musik utmanas förståelsen av vad en strömmande musiktjänst som Spotify kan erbjuda.”Evolving Bildung in the nexus of streaming services, art and users – Spotify as a case” är ett tvärdisciplinärt projekt som visar hur människans bildningsprocesser villkoras, utmanas och möjliggörs i och med den strömmande medieutvecklingen. Denna bok kan med fördel användas inom utbildningar i musikpedagogik, musikvetenskap, musikproduktion, ljudteknik, pedagogik, kulturstudier, sociologi, samt medie- och kommunikationsvetenskap.
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| 3. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Spotify as a case of musical Bildung
- 2021
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
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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.
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| 5. |
- Gullö, Jan-Olof, 1961-
(författare)
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Musikproduktion med föränderliga verktyg - en pedagogisk utmaning
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.
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| 6. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Nobel Creations
- 2015
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Ingår i: <em></em>. - Aalborg : Aalborg universitet.
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Konferensbidrag (refereegranskat)
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| 7. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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Nobel Creations : Producing infinite music for an exhibition
- 2015
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Ingår i: Dansk Musikforskning Online. - Aalborg : Danish Musicology Online - DMO. - 1904-237X. ; :Special ed., s. 63-80
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Tidskriftsartikel (refereegranskat)abstract
- In 2014 a collaborative artistic music production project gave rise to the development and use of new methods for composition and music production. With a specially de- signed software engine the music productions responded interactively to actions of the visitors at the Nobel Museum in Stockholm. The music was distributed by multi- ple loudspeakers in the museum hall, week after week without interruption through the four months the exhibition lasted. The results of the project show clear evidence, that the romantic ideal, that creativity and creative capacity primarily is individual, in- born and inherent, is not valid. Instead, by combining different art forms, using struc- tured project planning, aiming to develop creative actions, people can create artwork in collaboration, that far exceeds what they individually can achieve.
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