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1.	Ahlbeck, Bengt, 1934- (author) Musikdirektör Anders Sidner : Musikundervisning och musikliv i skolstaden Härnösand 1840-1870 1998 Doctoral thesis (other academic/artistic)abstract The present study, together with my licentiate's dissertation, Music education and examination at the Royal Academy of Music during "the Pehr Frigel Era", 1796-1842, constitutes my doctoral dissertation. In the chapter Preludes, the relation between the two studies is accounted for.The study deals with Anders Sidner's work and career, and his influence on the teaching of music and music life in Härnösand. In my licentiate's dissertation I examined the music education and examination at the Royal Academy of Music during the first half of the nineteenth century. I pointed out, from a cultural-theoretical perspective, that the work of the Academy probably promoted cultural solidarity in a socially developing manner. Anders Sidner was one of around eighty graduates who were examined during this period. The aim of this study is to map out and critically examine Sidner's work and career in Härnösand, as well as to observe what effects his work has had.The structure of the study is mainly chronological. The understanding of Sidner's work, ideas and actions is based to a great extent on the knowledge of his personal situation and living conditions.Sidner's music studies, which were pursued parallel with his academic studies at Uppsala, are characterised by self-tuition, learning from friends and active participation in choirs and orchestras.After his academic studies at Uppsala and the graduation from the Royal Academy of Music, Sidner worked in Härnösand for twenty-eight years as a music teacher at grammar school and teacher training college. In both types of education, choir singing was an important part of the teaching. Sidner took the initiative in founding a musical society, and was its leader for a number of years. In the 1860s he initiated a collaboration between the musical society and a great number of the town's young male and female musicians. Sidner also engaged young female instrumentalists in the student orchestra. Both these initiatives can be considered unique.In relation to the town population, a remarkably great number of people attended the wide variety of musical events. The fact that the school's spacious music hall was used as a concert hall and that the music teacher as well as a number of other teachers were active in the local music life probably contributed to the active participation of many young people.The examination of Anders Sidner's teaching methods and his ideas on musical-aesthetic issues shows that his work was in line with the widely spread values of his time.My study indicates that Sidner's contribution to the teaching of music and music life in Härnösand promoted an increasing cultural solidarity. It is evident that his work also was to form part of a continuous process of secularisation. The music life in school was integrated with non-ecclesiastical activities to an ever increasing extent.
2.	Ahlbäck, Sven, 1960- (author) Computational Pronunciation Analysis in Sung Utterances 2021 Conference paper (peer-reviewed)
3.	Ahlbäck, Sven, 1960- (author) Den nordiska vallåtens tonspråk 2019. - 1 In: Fäbodlandskap och vallmusik. - Falun : Dalarnas Fornminnes och Hembygdsförbund. - 9789187719264 ; , s. 115-119 Book chapter (pop. science, debate, etc.)abstract Artikeln presenterar musikaliska egenskaper i traditionell fäbodmusikens i Sverige, med fokus på vallmusikens tonalitét, melodik och form. Artikeln sammanfattar ny forskning i fäbodmusikens tonspråk på ett enkelt sätt och nya rön baserade på unika korpusstudier med metoder hämtade från modern kognitiv musikforskning ställs i relation till tidiga musikvetenskapliga studier av ämnet.
4.	Ahlbäck, Sven, 1960- (author) Low Resource Audio-To-Lyrics Alignment from Polyphonic Music Recordings 2021 In: ICASSP 2021 -21021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). - : IEEE conference proceedings. Conference paper (peer-reviewed)
5.	Ahlbäck, Sven, 1960- (author) Melody Beyond Notes : A Study of Melody Cognition 2004 Doctoral thesis (other academic/artistic)abstract Abstract Melody beyond notes - a study of melody cognition Keywords: Melody, Cognition, Melodic segmentation, Melodic Parallelism, Pitch Structure,Meter, Rhythm, Grouping, Swedish Folk Music, Music Theory, Computer-aided analysis This thesis is a music theoretical approach to cognition of surface structure in monophonic melodies. It can briefly be described as a study into what extent we may acquire a common experience of melodic structure, such as phrase structure, only from listening to a melody. More precisely, this work concerns the question as to whether a cognitively based method of analysis can provide analyses of melodic surface structures in different styles thatwill concur with listeners’ conceptions better than chance. In order to investigate this question a general model of melody cognition wasdeveloped, relying primarily on a few general cognitive principles. The model was designed to be general in the sense that it should apply to any style for which the concept of melody is relevant. This model provided the framework for a computer-aided method of analysis, which performs analysis of different aspects of melodic surface structure based on information of relative pitch and temporal information only. These aspects involve: Categorical perception of pitch and duration at basic levels, such as context-sensitive quantization and melodic pitch categorization; Analysis of metrical and non-metrical temporal structures, e,g. heterometric structures; phrase and section structure, including analysis of structural implications of melodic similarity, structural hierarchy and symmetry. This development has required new theoretical concepts and methods to be created, e.g. regarding the relationship between rhythm and meter, some of which are presented for the first time is this thesis.In order to evaluate the performance of the model a series of listener tests were performed, which together with corpuses of musical notations from different styles, constituted the reference material of the study. This material has included Scandinavian folk music styles and Western classical music, but also examples of Eastern European folk music, Middle East and Indian Classical music, Jazz and Western popular song.The results of these tests indicated that melody can be conceived differently by people even within a limited cultural sphere. But the results also suggested that this variability is possible to model by a rule-based method of analysis, since the predictions given by the model generally were well above chance level. It is herein suggested that variability in grouping conception to a considerable degree can be accounted for in terms of start- and end-oriented grouping preference. Moreover, the results also indicate that important aspects of even culturally foreign music can be conveyed, also in limited melodic stimuli.Generally, the results support the assumption of a general cognitive framework for melodic surface structure. This might be interpreted as to indicate that, metaphorically speaking; melody may indeed be a universal ‘language’, but one which we all understand in our own way.
6.	Ahlbäck, Sven, 1960- (author) MITIS - Musical Information Technology in Schools : How can interactive music technology be used to support learning of music literacy? 2021 Conference paper (other academic/artistic)abstract MITIS – Musical Informational Technology in SchoolThe aim of the MITIS - project is to explore possibilities to create interactive teaching materials where new technology is used to distribute knowledge about musical structure (i.e. notation) as well as content in an interactive and creative way. This is carried out as a collaborative project between a group of music teachers, the company DoReMir, and researchers and staff from the Institution for Folk Music and the Institution for Music, Pedagogics and Society at the Royal College of Music in Stockholm.The core foundation of the project is literacy in music – for example reading and writing notation (Asmus, 2004). Notation is for most musicians an important tool to use both for taking part of, interpreting, documenting and pass music on (Hultberg, 2000). In connection with the digitalization of society and digital tools to do things such as interpreting, documenting and pass music on made available to a broader public, traditional notation has got a more hidden place in music education in schools. In the Swedish curricula for the compulsory School, notation is explicitly mentioned in 1969. In the later Curricula’s, different kind of notation is mentioned, but not as explicitly as in earlier years (Skolöverstyrelsen, 1969; Skolverket, 2019). This also aligns with the development of society as a whole, and with the strategy for digitalization that was established by the Swedish government in 2017 (Regeringen, 2017) and can be seen as a development towards a wider view on different forms of notation. However, in the aesthetic program for the upper secondary school, reading traditional notation on a basic level, is required in the Curricula (Skolverket, 2020). Furthermore, to get access to higher music education in Sweden, the skill of reading traditional notation, is required. We argue therefore, that to increase music literacy, also in regard to reading notation, can be seen as an democratic issue. To make learning notation available and possible in an easy and digitalized way, with devices available to pupils in school, may be an important step to advance possibilities for every child to access higher music education.An important part of the project is to develop and support learning and interpretation of notation in different creative ways. One of the starting points for this project is the technique for digital music interpretation that has been developed by DoReMir Music Research AB. This technique has been used in an app called Notysing, for learning to read and sing traditional notation with a digital device such as a reading tablet or mobile phone. The project has been running since 2018. The first year the focus was to develop the app, test it within a small group of music teachers, and ensure good technical quality as well as pedagogical foundations for the design. In 2019 testing started in compulsory as well as in upper secondary School in Sweden, with focus on gathering qualitative data through a digital survey in the app. During autumn 2020 a qualitive study has been conducted, and in-depth interviews are in progress. Pupils in San Diego has been included in 2020, also as a part of finding new teaching strategies for distance education during the Covid19 pandemic. It has been developed and tested with over 200 pupils and music teachers.Preliminary results suggest that pupils and music teachers are positive to learn notation through an app that uses gamification to enhance and motivate learning, and that issues that arise are mostly technical, and that the equipment of the schools, and technical skills ana knowledge of the music teacher are crucial for success. Furthermore, the results indicate that regards must be taken todifferent systems for managing IT in different schools and municipalities. Last but not least, there are great school-cultural differences in how schools work with notation in San Diego and in Sweden, which once again raises questions about how to work with it in our context, and also, why we work with it the way we currently do.ReferencesAsmus, E. P. (2004). Music Teaching and Music Literacy. Journal of Music Teacher Education, 13(2), 6–8. https://doi.org/10.1177/10570837040130020102Hultberg, C. (2000). The Printed Score As a Mediator of Musical Meaning – Approaches to Musical notation on Western Tonal Tradition. [Doctoral thesis, Malmö Academy of Music].Regeringen. (2017). Nationell digitaliseringsstrategi för skolväsendet. Utbildningsdepartementet: Bilaga till regeringsbeslut I:1, 2017-10-19.Skolöverstyrelsen. (1969). Läroplan för grundskolan 1 Allmän del. UtbildningsförlagetSkolverket (2019). Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011. Reviderad 2019. Skolverket. Skolverket.( 2020). https://www.skolverket.se/undervisning/gymnasieskolan/laroplan-program-och-amnen-i-gymnasieskolan/gymnasieprogrammen/amne?url=1530314731%2Fsyllabuscw%2Fjsp%2Fsubject.htm%3FsubjectCode%3DMUS%26courseCode%3DMUSINS01S%26tos%3Dgy&sv.url=12.5dfee44715d35a5cdfa92a3#anchor_MUSINS01
7.	Ahlbäck, Sven, 1960- (author) MSTRE-Net: Multistreaming Acoustic Modeling for Automatic Lyrics Transcription 2021 Conference paper (peer-reviewed)abstract This paper makes several contributions to automatic lyrics transcription (ALT) research. Our main contribution is a novel variant of the Multistreaming Time-Delay Neural Network (MTDNN) architecture, called MSTRE-Net, which processes the temporal information using multiple streams in parallel with varying resolutions keeping the network more compact, and thus with a faster inference and an improved recognition rate than having identical TDNN streams. In addition, two novel preprocessing steps prior to training the acoustic model are proposed. First, we suggest using recordings from both monophonic and polyphonic domains during training the acoustic model. Second, we tag monophonic and polyphonic recordings with distinct labels for discriminating non-vocal silence and music instances during alignment. Moreover, we present a new test set with a considerably larger size and a higher musical variability compared to the existing datasets used in ALT literature, while maintaining the gender balance of the singers. Our best performing model sets the state-of-the-art in lyrics transcription by a large margin. For reproducibility, we publicly share the identifiers to retrieve the data used in this paper.
8.	Ahlbäck, Sven, 1960- (author) Notysing – notläsning för alla! 2021 Conference paper (other academic/artistic)
9.	Ahlbäck, Sven, 1960- (author) Pitch-Informed Instrument Assignment using a Deep Convolutional Network with Multiple Kernel Shapes 2021 Conference paper (peer-reviewed)abstract This paper proposes a deep convolutional neural network for performing note-level instrument assignment. Given a polyphonic multi-instrumental music signal along with its ground truth or predicted notes, the objective is to assign an instrumental source for each note. This problem is addressed as a pitch-informed classification task where each note is analysed individually. We also propose to utilise several kernel shapes in the convolutional layers in order to facilitate learning of timbre-discriminative feature maps. Experiments on the MusicNet dataset using 7 instrument classes show that our approach is able to achieve an average F-score of 0.904 when the original multi-pitch annotations are used as the pitch information for the system, and that it also excels if the note information is provided using third-party multi-pitch estimation algorithms. We also include ablation studies investigating the effects of the use of multiple kernel shapes and comparing different input representations for the audio and the note-related information.
10.	Ahlbäck, Sven, 1960- (author) Stylistic Feature Mapping for Music Performance 2021 Conference paper (other academic/artistic)abstract Stylistic Feature Mapping for Music Performance In the late 1970s, the Royal College of Music in Stockholm (KMH) started professional performance programs for musicians outside the domain of Western Classical Music, including e.g. Jazz and Swedish Folk music. In the beginning, it was regarded an opportunity for informally trained musicians in these genres to receive proper music education. However, it soon became clear that these students, in order to develop their artistic practice within their own genres within the domain of academic music performance training, needed terminology, concepts and methods for to describe the values, aesthetics, expressions, musical structures, instrumental techniques etc. of importance in their musical practice. In the clash between musical styles developed outside of the music academies and the art music with its rich history of prescriptive descriptive concepts, there was a need for communication of expressional qualities between different musical styles – and this need for revealing the tacit knowledge of non- academic performers were in particular prominent in Folk Music. An artistic research project was initiated, conducted between 1983 and 1987 (Ahlbäck 1987), with the aim to study, document and describe performance style and techniques in Swedish fiddle music from a performance perspective, however making style comparisons possible. One outcome of the project was a system for description and mapping of performance style qualities, and this ‘style mapping model’ originally developed for fiddle music emerged into a more general model for describing performance style qualities that has been used in artistic reflective training and in thesis work at KMH for more than 30 years, as a tool for developing, describing, documenting and communicating artistic directions and concepts. This paper discusses the features of this model in relation to musicological and music psychological approaches to music expression and style and presents empirical results from the application of the system within performance training for over 30 years including over 250 students, as well as examples of influences on contemporary musical practice. How has this approach been used for development of musical concepts in different artistic reflective works? What can be learned from applying this mapping system in the meeting between musicians with different musical values?
11.	Ahlbäck, Sven, 1960- (author) ”We hear what we know” - On the power of concepts : how traditional fiddle music in contemporary society can benefit fromfolk music theory 2021 Conference paper (other academic/artistic)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.
12.	Ahlbäck, Sven, 1960- (author) What does AI learn from music? : on the problem of ground truth in music and the power of concepts 2020 Conference paper (peer-reviewed)abstract Many AI applications on music relates to music theoretical models, in the sense of musical concepts and ideas of how music works, that are not always made explicit, explicitly discussed or questioned. Already the choice of representations of music and sound as well as the selection of data for training models can influence models and creative output greatly. Here we will give some examples of problems arising when modelling basic musical features, from the experience of developing automatic music notation.
13.	Andersson, Ditte (author) Biomekanik och ergonomi i samband med spel på nyckelharpa : en inledande studie 2012 Reports (other academic/artistic)abstract 1974 publicerades boken The Teaching of Action in String Playing av Paul Rolland. Boken re- dovisade ett forskningsprojekt där man visade att rörelseträning, skapad för att befria ele- ven från överdriven spänning, på lång sikt kommer att resultera i snabbare inlärning och bättre utförande i frågan om att spela fiol. I bokens teorikapitel redovisas principerna för effektiva och avspända rörelser i samband med fiolspel. I det forskningsprojekt som utgör grunden för föreliggande uppsats, var avsikten att göra förberedande undersökningar för att så småningom kunna studera hur man kan överföra dessa principer till spel på nyckelhar- pa.En stor del av arbetet ägnades åt att utveckla en bra metod för att, medelst videofilmning, studera hur nyckelharpsspelare rör sig, samt att strukturera och klassificera de olika rörelser spelaren utför. Detta utvecklingsarbete resulterade i en plan över vilka rörelser som ska studeras och från vilka vinklar dessa ska filmas, samt konkret material, i form av listor och protokoll, som ska användas vid vidare studier. En liten del av tiden äg- nades också att åt att fundera hur modern videoteknik kan användas för att manipulera de färdiga filmerna, t.ex. med användandet av ultrarapid och grafiklager, i syfte att åskådlig- göra de rörelser som studeras.Ett urval av rörelserna i den fullständiga planen filmades och studerades se- dan. Dessa är instrumenthållning (som kan betraktas som en rörelse på så vis att den inne- bär ett balanserande av instrumentet), helkroppsrörelse i stående samt sittande position, samt start- och avslutningsrörelser. Fem stycken professionella spelare filmades och stude- rades. Deras rörelsemönster kunde sedan, i viss mån, jämföras med ett privat material med inte lika skickliga spelare. Generellt kunde en klar koppling ses mellan spelskicklighet och rörelsemönster, på så vis att de skickliga spelarnas rörelser i högre grad ansluter sig till de principer som redogörs för i Paul Rollands bok.En specialist på biomekanik konsulterades också, för att diskutera de olika spelarnas rörelsebeteenden. Denna konsultation resulterade i att författarens iakttagelser bekräftades och underbyggdes med konkreta fakta om människans rörelseapparat.
14.	Anterot, Joakim, 1965- (author) Seminarium slagverk inriktning orkester : PASIC 2020 2020 Conference paper (film/video) (peer-reviewed)abstract I det här seminariet ser vi närmare på teknik och frasering kring i första hand tamburin och triangel. Vi tar upp frågeställningar och tankar kring hur vi sätter allt i ett sammanhang och förhåller oss till olika musikaliska situationer. En vanlig fråga är hur en skall spela på en audition för att spela bäst. Vi lyfter några av dessa frågor här. Seminariet var en del av konventet PASIC 2020 som detta år hålls helt digitalt. I normala fall hålls PASIC årligen i USA och Indianapolis och är det största konventet i världen inom gebitet slagverk.
15.	Appelgren, Alva, et al. (author) Tuning in on motivation : Differences between non-musicians, amateurs, and professional musicians 2019 In: Psychology of Music. - : SAGE Publications. - 0305-7356 .- 1741-3087. ; 47:6, s. 864-873 Journal article (peer-reviewed)abstract The drive to learn and engage in music varies among individuals. Global motivation to do something can be intrinsic, for example, the joy and satisfaction in an activity. But motivation behind our action can also be extrinsic, such as the desire for fame, status or increased financial resources. The type of motivation probably influences to what degree individuals engage in musical activities. In this study, we examined the associations between the level of musical engagement and self-rated global motivation, factoring in age and sex, in a sample of 5,435 individuals. Musical engagement ranged from no music activity to amateurs and professional musicians. We found that intrinsic motivation increases with level of music activity and that motivation differs depending on sex, with females scoring higher on intrinsic motivation than males. Such differences may be considered in adjusting the forms of support offered to young musicians in music education. The phenomenon of motivation is complex, and we have highlighted areas that require further investigation, but this study has elucidated some differences in motivation types found in men and women, and between non-musicians, amateurs and professional musicians.
16.	Arcs 2017 Artistic work (peer-reviewed)abstract Arcs (2017) 48’ – elektroakustiskt verk för fyra kanaler.Musikinstallation som är inköpt av Statens konstråd för placering på Svenska institutet i Paris och spelas där permanent från mitten av oktober 2018.Arcs (2017) elektroakustiskt verk för fyra kanaler 48'
17.	ARP2017 Accepted Papers with Abstracts. : The 12th Art of Record Production Conference: Mono –Stereo- Multi. 2017 Editorial collection (peer-reviewed)
18.	Atienza, Ricardo, et al. (author) Playing the design : Creating soundscapes through playful interaction 2023 In: SMC 2023 - Proceedings of the Sound and Music Computing Conference 2023. - : Sound and Music Computing Network. ; , s. 362-369 Conference paper (peer-reviewed)abstract This study takes inspiration from provocative design methods to gain knowledge on sound preferences regarding future vehicles’ designed sounds. A particular population subset was a triggering component of this study: people with hearing impairments. To that aim, we have developed a public installation in which to test a hypothetical futuristic city square. It includes three electrical vehicles whose sound can be designed by the visitor. The interface allows the user to interact and play with a number of provided sonic textures within a real-time web application, thus “playing” the design. This opens a design space of three distinct sounds that are mixed into an overall soundscape presented in a multichannel immersive environment. The paper describes the design processes involved.
19.	Auvinen, Tuomas (author) Differences and Similarities in the Role and Creative Agency of Producers in Pop, Rock and Classical 2019 In: Proceedings of the 12th Art of Record Production Conference. - Stockholm : Royal College of Music (KMH) & Art of Record Production. - 9789198386998 ; , s. 1-18 Book chapter (peer-reviewed)abstract Differences and similarities in the creative agency of the producerin the production process of urban pop music produced in a home studio,rock music produced in a conventional studio facility and classical concerthall music produced in a concert hall setting is explore in this paper. Startingfrom the premise of record production being a collaborative effort, I approachagency as the capacity to make and effect decisions within a structure or evento alter it to some extent, and creativity as contributing to the domain of existingworks through exercising aesthetic decision-making. Based on theseunderstandings of agency and creativity, I will examine how different culturesin different production settings and different studios conceived as culturalspaces affect the construction of the producer’s agency within creativecommunities in the production process. Furthermore, I will discuss how differencesin understandings of the ontology of the music contribute to the levelof creativity, i.e. the contribution to the domain of existing works, that aproducer agent can possess. I base my presentation on extensive ethnographicfieldwork of three case studies on production processes, which took place inthe course of 2015-2017.
20.	Backman Bister, Anna, 1976-, et al. (author) A Prima Vista : Möjligheter och utmaningar med praktiknära forskningsprojekt i musikpedagogik 2021. - 1 Book (pop. science, debate, etc.)abstract Antologin A prima vista är ett resultat av ett samarbetsprojekt mellan Eskilstuna kommun och Kungl. Musikhögskolan för att bedriva praktiknära forskning i musikundervisning. Projektet är utöver resurser från de båda parterna, delfinansierat av den nationella satsningen på praktiknära forskning, ULF-avtal, via Uppsala universitet.Texterna i antologin behandlar praktiknära forskning på två olika nivåer. För det första presenteras de fyra olika delprojekt som genomförts som mindre forskningsprojekt där en lärare från Eskilstuna kommun genomfört ett praktiknära forskningsprojekt tillsammans med en forskare från Kungl. Musikhögskolan. Dessa projekt handlar om teman som bland annat berör ledarskap, musikdidaktik, digitalisering och normkritik. På en övergripande nivå analyseras och diskuteras samarbetsprojektet från olika infallsvinklar. Bland annat dis- kuteras praktiknära forskningsprojekt i relation till definitioner och terminologi, syfte och funktion, etiska aspekter, att organisera för praktiknära forskning samt praktiska utmaningar och vinster med deltagande i praktiknära forskningsprojekt. I anslutning till denna övergripande nivå har lärarna själva skrivit ett kapitel i boken utifrån sina perspektiv. Vidare har rektorer, administrativ personal och ansvariga chefer fått komma till tals för att redogöra för sina perspektiv.Sammanfattningsvis spänner denna antologi över ett stort antal olika aspekter av praktiknära forskning som vi hoppas kan bidra till att inspirera till att initiera och utveckla liknande praktiknära forskningsprojekt.
21.	Backman Bister, Anna, 1976-, et al. (author) A Prima Vista – Possibillities and Challenges with Practice-based Research in Music Education 2021 Conference paper (peer-reviewed)abstract In 2017 the Swedish Government commissioned four Universities to plan and execute a project aiming to develop and test different models for long-term collaboration between Universities and Colleges and heads of Schools concerning practice-based research (Utbildningsdepartementet, 2018). This should be seen in the light of the decree in the Swedish education act from 2010, that declares that the Swedish compulsory school shall be founded in scientific basis and proven experience (SFS 2010:800; Norrestam & Alfredson, 2018).These four Universities became the core of a practice-based test project between Higher Education and School, called ULF (Utbildning, Lärande, Forskning) [in English ELR, Education, Learning, Research]. The four Universities have collaborated with other Universities and Colleges and formed four hubs in the ULF project network. The Royal College of Music (RCM) in Stockholm has been a part of the project through the hub administrated by Uppsala University. The trial period ends in 2021, and throughout the period RCM has been conducting four practice-based research projects where music teachers in the compulsory school have worked together with researchers from the college in pairs and in one case in a trio, researching areas that have been identified by the music teachers as important for them in their daily work. These research areas have been: Leadership in the music-classroom; Interventions for musical knowledge development and participation; Music education and digitalization; and Norm-critical music education.Five music teachers and four researchers together have developed multifaceted knowledge concerning, of course, the research areas of interest, but also about matters concerning arrangements supporting practice-based research. This could be called incidental findings, but we argue that these areas of interest may, in fact be part of the main findings, of the study made by the RCM, as well as of the main project nationally. The results are presented in an anthology called “A Prima Vista” which will be completed in January 2021.In the symposia we would like to present results and further discuss:- How to define practice-based research? The definition of the term practice-based or practice-conducted research is not an easy on to make?- The ethical codex for conducting studies that include humans, is in Sweden not updated to adequately meet the special issues that arises when practicing teachers are partaking in research that their head of the school department is engaged in. This concerns i.e., the matter of anonymization and bias.- How do one practically take on the task of practice-based research? Little is written in Sweden on organizational matters. Our project has shown that issues like schedules, access to resources, and substitute teachers are just a few of many pressing organizational matters.- Findings from the collaborative part-studies. References Norrestam S. & Alfredsson, S. (2018). Skola på vetenskaplig grund. Hur LUnd gör BFL/BFFL. I Vetenskap och beprövad erfarenhet, (s 29–38) VBE- programmet, Lund.SFS 2010:800. Skollagen. Stockholm, Utbildningsdepartementet.Utbildningsdepartementet. (2017). Uppdrag om försöksverksamhet med praktiknära forskning. Utbildningsdepartementet. Diarienummer: U2015/03573/UH, U2017/01129/UH.
22.	Backman Bister, Anna, 1976- (author) Spelets regler : En studie av ensembleundervisning i klass 2014 Doctoral thesis (other academic/artistic)abstract The aim of this study is to explore criteria characterizing music teacher’s strategies when trying to adapt their teaching to individual students. The interaction of three music teachers with their students was explored in case studies in different parts of Sweden (a pre-study, and the main study consisting of two parallel studies). The research interest especially concerns teaching class ensemble addressing teenagers in the tuition provided under the curriculum of Swedish secondary and upper secondary school. This study adopts the perspective of cultural psychology according to which learning is understood as being relational, taking place in a cultural context, depending on available cultural resources and affected by it. Cultural tools are considered mediators of meaning and crucial for learning. Of special interest to the present study are the ways in which teachers distribute knowledge to their students.Many-sided data were collected in all case studies: series of lessons were observed and video-documented; preliminary results were followed up in semi-structured interviews with the teachers, respectively.The results show similarities in the use of general strategies; e.g. peer-teaching and -learning in the classroom and flexibility in using and developing cultural tools. Results also show three diverging practices; rehearsal-room practice, supervisor-practice and ensemble-leading-practice.The results are discussed from a societal perspective, in light of Swedish School history. Issues concerning the government of the School and equivalence are addressed. An unexpected result is that the concept “individually adapted ensemble teaching” may be understood very differently among music teachers actively involved in teachers’ education. The need for development of professional concepts is further underlined by the findings that teachers develop new cultural tools within different practices. This is discussed related to the framing of the central curricula.
23.	Backman Bister, Anna, 1976-, et al. (author) Uppfattningar om musikundervisningen i grundsärskolan. 2022 In: Lärarnas forskningskonferens 2022. ; , s. 41-42 Conference paper (peer-reviewed)abstract Uppfattningar om musikundervisningen i grundsärskolanAnna Backman Bister, Kungliga musikhögskolan, Diana Berthén, Stockholms universitet och Viveca Lindberg, Stockholms universitetBakgrund, syfte och frågeställningar: I vårt bidrag presenterar vi en intervjustudie med sex musiklärare i grundsärskolan. Syftet är att undersöka hur lärarna beskriver sin undervisning för denna elevgrupp.Vikten av undervisning där elever med intellektuell funktionsnedsättning (IF) får möta estetiska uttrycksmedel och ges möjlighet att erövra ett kulturellt medborgarskap betonas av flera forskare (jfr Ferm Almqvist, 2016; Sæther, 2008). FN:s barnkonvention om barnets rättigheter, samt FN:s konvention om rättigheter för personer med funktionsnedsättning, betonar att personer med IF har rätt att ta plats som fullvärdiga medlemmar av samhället, inte bara för sin egen skull utan också för att berika samhället. Denna rättighet speglas också i skollagen.Det finns ett fåtal internationella studier med fokus på musikundervisning för elever med intellektuella funktionsnedsättningar (IF). Dessa har antingen undersökt undervisning i integrerade klasser, där elever med IF undervisas tillsammans med elever utan IF, eller så är studierna gjorda i relation till musikterapi. Flera av dem är fallstudier baserade på enskilda barn eller ungdomar. Nationellt saknas såväl studier som utvärderingar av musikundervisning i grundsärskolan (Berthén, Backman Bister, Lindberg, accepterad för publikation). Resultatet av vår forskningsöversikt av musikundervisning i grundsärskolan (Berthén, Backman Bister, Lindberg, accepterad för publikation) visar närmast att musiklärarna försöker hantera en situation de oftast saknar kunskaper om och erfarenheter av (Berthén, Backman Bister, Lindberg, accepterad för publikation).Forskningsfrågan för vårt bidrag är vilka uppfattningar musiklärare i Sverige har av musikundervisningen för elever med intellektuell funktionsnedsättning och förutsättningarna för denna undervisning i grundsärskolan? Vi har inspirerats av Carlson (2013), som använder uttrycket musical becoming för att betona möjligheten att få uttrycka sig musikaliskt, särskilt för personer med komplicerad språklig kommunikation, och för att påvisa att det kan ta form på olika sätt – som musikkonsument, eller som (med)skapare av musik.Urval och metod: En inbjudan till ett flertal musiklärare skickades ut via den ena forskarens nätverk. Urvalskriterierna var att lärarna skulle ha lärarbehörighet och att de skulle vara aktivt verksamma som musiklärare i grundsärskolan. När det gäller lärarsituationen i grundsärskolan saknas ofta den dubbla kompetens som krävs, dvs musiklärarutbildning och speciallärarutbildning för elever med intellektuell funktionsnedsättning (IF). Under läsåret 2020/21 uppgick andelen musiklärare med lärarlegitimation och behörighet i musik i grundsärskolan till 6,3 % (https://siris.skolverket.se).Semistrukturerade tematiska intervjuer genomfördes utifrån tre teman. Varje intervju inleddes med frågor som riktades mot lärarens upplevda didaktiska utveckling och faktorer som påverkat denna (jfr life-storytraditionen, Dunpath & Samuel 2009), därefter följde frågor41gällande de förutsättningar respektive skola erbjöd för musikundervisning i grundsärskola. Avslutningsvis ställde vi frågor om lärarnas musikundervisning baserat på kursplanen i musik för grundsärskolan. Medan den första intervjun genomfördes på en av de deltagande lärarnas skola, kom övriga intervjuer att genomföras på Zoom på grund av pandemin. Samtliga lärare informerades om syftet med studien och gav sitt medgivande till att intervjuerna spelades in. Ljudinspelningarna transkriberades och utgör vårt datamaterial. Intervjuerna analyseras fenomenografiskt (se Marton, 1994) för att urskilja återkommande skillnader i mönster av uppfattningar i intervjuerna.Resultatet förväntas bidra med utgångspunkter för en kommande interventionsstudie i grundsärskolans musikundervisning.ReferenserDunpath, R. & Samuel, M. (2009). Life History Research. Epistemology, Methodology and Representation. Sense Publishers.Carlson, L. (2013). Musical becoming: Intellectual disability and the transformative power of music. I: M. Wappett & K. Arndt (eds.) Foundations of Disability Studies (83-103). Palgrave Macmillan.Ferm Almqvist, C. (2016). Cultural Citizenship through aesthetic communication in Swedish schools. European Journal of Philosophy in Arts Education, 1(1), 68-95.Marton, F. (1994). Phenomenography. I T. Husén & T. N. Postlethwaite (Eds.), The International Encyclopedia of Education. 2. ed, Vol 8, 4424–4429. Pergamon.Saether, E. (2008). When minorities are the majority: voices from a teacher/researcher project in a multicultural school in Sweden. Research Studies in Music Education, 30(1), 25–42.
24.	Beads för klarinett och elektronik spelas på Åland : Konsert 2023 Artistic work (peer-reviewed)
25.	Berg, Daniel, 1971- (composer, creator_code:cre_t) 3' 44¨ 2019 Artistic work (peer-reviewed)abstract ” Music is everywhere, you just have to have the ears to hear it” John CageIn 1952, composer John Cage shook the classical music scene when he composed4 ' 33' '. The work, in three movements contained only pauses…Daniel Berg has, with inspiration from Cage, composed the piece 3 '44' for speech choir that contains the word silence in all European languages and all got their unique rhythm.The low-key work ends with the choir blinding and without conductor creates a long diminuendo with exhale and exhale.Duration: 3’ 44’’
26.	Berg, Daniel, 1971- (composer, creator_code:cre_t) 5 Funny Pieces : for the young choir 2017 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract The famous percussion group, Rhythm Art Duo (Daniel Berg and Fredrik Duvling) encourage young people to start playing classical percussion and they have written a lot of education material. In 5 funny pieces Rhythm Art Duo uses a lot of humor for the young choir. Bosh and Tosh for speech choir, Song for christmas carol with tuned bottles, Body Rhythm for body percussion, A piece of Paper for a choir who makes sounds with papers and Let it Bee! for a speech choir with kazoos…
27.	Berg, Daniel, 1971- (creator_code:cre_t, composer) Bird of Prey : for Piccola and Marimba 2022 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract During the years, I had the opportunity to work together with many excellent flute players and I really think the combination of Flute and Percussion is a perfect match. A lot of great composers have written for the instruments and through them, I got the inspiration to compose for flute and percussion. After composing Dark Shadows, Kinkaku-ji and Second Concerto for Flute & Percussion, all published by Edition Svitzer, I’ve got a question and wish from many flute players to also write something for piccolo and percussion. They are right, there are not so many pieces composed for that combination of instruments. Working close to the young virtuous performers, Laura Michelin & Filip Korošec, I had the opportunity to write them Bird of Prey. In the pulsing rhythms, we hear the bird hunting its prey and the harmonies enhance the wildlife, to always be on its guard. In the middle of the piece, the listener is getting a high-flying journey to the lamenting song of a Bird of Prey.
28.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Blue Memories : for solo marimba 2010 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Some memories are easy to tell - others are more like a feeling, difficult to put into words. This piece is an attempt to describe this feeling in music.The harmonic tension between G major and F sharp minor, creates a melancholy mood - a kind of nostalgia - Blue Memories.
29.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Cattelin : for solo marimba 2005 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Stieg Trenter (1914-1967) var en journalist och författare som skrev några av Sveriges bästa deckare. Hans skildrade också Stockholm ur ett fantastiskt perspektiv. Huvudpersonen i Trenters böcker var fotografen Harry Friberg till vilken detta stycke är tillägnat.
30.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Chicken Race 2019 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract In the movie Rebel Without a Cause from 1955, James Dean competing against Corey Allen in a life-threatening car race: They drive against a dive, and the last one to jump out is a coward, chicken.The chicken race, or chickie run as it is called in the movie, quickly became a trope and was used by several moviemakers. Chicken race is also a term used to handle a conflict. The term is used for duels between two opposing poles, for example in politics, where the one who loses loses, but both lose more if no one folds.In the composition Chicken Race by Daniel Berg, two violins are competing about who is the fastest. Let us hope that the Last Duel, in the end of the piece, does not get a deadly end…
31.	Berg, Daniel, 1971 (author) Concertino for Marimba and Strings 2017 In: Gehrmans Musikförlag, Stockholm. - Stockholm : Gehrmans. Artistic work (other academic/artistic)abstract The Swedish composer Lars-Erik Larsson wrote in the late 40’s 12 Concertini – twelve smaller solo concerts for various instruments accompanied by string orchestra, all composed to be performed by amateur orchestras while the solo parts made higher demands on the instrumentalists’ skill. With inspiration from Lars-Erik Larsson, Daniel Berg has written a piece in two movements for a virtuoso solo marimba in combination with a soft string timbre – in classical style, but with clear elements of jazz harmonics. Daniel has, along with experienced string teachers, written parts that can be played by amateur orchestras along with a skilled marimba soloist. In his Concertino for Marimba and Strings, Daniel wants to highlight the marimba as a melodic percussion instrument, and at the same time inspire young musicians to discover classical percussion.
32.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Dark Shadows : for Flute and Marimba 2020 Artistic work (swepub:mat_score_t) (peer-reviewed)
33.	Berg, Daniel, 1971- (composer, creator_code:cre_t) December : for marimba 2001 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract “The perfect opener for any recital! The writing is wonderfully idiomatic and a joy to play”Keyboard Percussion Publications Vintern är den bästa årstiden på året - snö, tomtar och julefrid. Harmoniken i stycket är ett försök att beskriva den stämning som finns strax innan och under julen. Rytmen i ”December” är en lek med talet fem. Detta stycke är kanske det mest uppskattade av Daniels soloverk och har blivit en klassiker i repertoaren för marimba.
34.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Easy Duets vol. 1 2013 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Easy Duets Volume 1 contains five easy duets for any combination of 2 mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3-octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba. The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Crusin', Blues brotherS and Happy Shoes is very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet).
35.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Easy Duets vol. 4 2016 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Easy Duets Volume 4 contains five easy duets for any combination of mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3-octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba. The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Rockin’, Cosmos and Song in my heart are very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet). Easy Duets Vol. 1, 2 and 3 are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world. With Vol. 4, I now choose to finish the series Easy Duets. Many thanks for all the inspiration from students and teachers. Hope to see you again at the mallet stage round the world!
36.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Easy Solos vol. 2 2014 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract "In the early 1970s the legendary percussionist Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of a repertoire that is idiomatic while musically challenging for the young percussionist. This booklet contains five solo pieces with four mallets for vibraphone, xylophone or marimba. All works have the range F-F and can therefore be played on any mallet instrument." Easy Duets with duets for mallet instruments by Daniel Berg are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.
37.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Easy Solos vol. 4 2016 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract In the early 1970s the legendary percussionist Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of a repertoire that is idiomatic while musically challenging for the young percussionist. With this final booklet in the series Easy Solos, I want to salute five people who all contributed greatly to increase the interest in the marimba. Vol. 4 contains:• Opus and Numero (dedicated to Clair Omar Musser)• Zen Refractions after the Rain (to Mitchell Peters)• Une Petite Prière (to Evelyn Glennie) • Etude #4 (to Paul Smadbeck)• Variations on Swedish Folk Songs (to Keiko Abe) Easy Solos Vol. 1, 2 and 3 are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world. With these five works my hope is to approach the classical standard repertoire for marimba, in the degree of difficulty, and therefore the technical level is a little higher than in the previous parts. As before, all the works in this booklet have the range F-F and can therefore be played on any mallet instruments.
38.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Fantasia and Toccata : for solo marimba 2012 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract As a young percussionist I played timpani with S:t. Matteus Symfoniorkester (SMSO) in Stockholm. During a production we played among others Gloria by Francis Poulenc, for choir and orchestra. The music, and above all the harmony, had a big impact on me. I was immediately inspired to study more music from Poulenc together with other French composers like Oliver Messiaen. Fantasia and Toccata is strongly inspired by the harmonies of both Poulenc and Messiaen which I have tried to adapt through the marimba.
39.	Berg, Daniel, 1971- (arranger, creator_code:cre_t) Five Swedish Marimba Pieces 2010 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Five piece by: Heimer Sjöblom - Imagination (1977)Miklós Maros - Marimbacapriccio (1996)Sergei Dmitriev - Min barndoms snö... (2001)Ole Lützow-Holm - Rhyme and Pairs (2003)Staffan Storm - En viskning av intet (2007)
40.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Four Mallet Duos 2015 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract My passion for chamber music started when I played my first pieces for percussion duo. To create something of its own together and find a personal means of expression has since led me to new ways and new combinations of instruments. I hope these four duets may inspire you to play more chamber music focusing on percussion. Presently, I give about 100 concerts a year with any of my chamber music formations. Organ and percussion with Johannes Landgren, guitar and marimba with Christer Brodén, violin and marimba with Tobias Granmo, and percussion duo with Fredrik Duvling (www.rhythmartduo.com).
41.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Helios : for solo marimba 2013 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Helios was, according to Greek mythology, the sun god, but also the guardian of the seas and the god of gift of being able to see. Every morning he went across the sky with his golden chariot drawn by fiery stallions. When he reached the Hesperides (country of evening) in the west, he went back over Okeanos water by boat and the sunset was created. When I wrote Blue Memories a couple of years ago, I chose an enamel painting by Swedish artist, Bengt Berglund from late 60's as cover for the work. This painting I chose is part of a series of other enamel paintings by Berglund. For a few years now, I have been thinking of writing music for the remaining paintings in the series. Helios, Twilight Garden and Blue Memories are related to each other in terms of harmony, rhythm and character. The three pieces are written as standalone pieces, however the three pieces works well together as one substantial piece with several movements in it.
42.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Impossible Etudes : for marimba 2005 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Music is just technique – etude for Marimba: This works interval changes in both hands from 3rds to 10ths.The Right Way to Perfect Control: Double lateral/narrow interval etude.John – Watch your left hand! – etude for Marimba: This etude uses 4 over 3 polyrhythms and interval changes from 4ths to 10ths.Anton Bruckner with 4 Mallets: Independent roll study that overlaps between the hands.
43.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Impossible Etudes II : Even worse 2010 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract 1. Dragonfly: • Focuses on the development of precise interval changes, primarily with the outer mallets. Interval ranges include M2 up to an octave, but the shifts move mostly in stepwise motion. 2. The Dark Side of Marimba Playing • Intended to practice long jumps and fast interval shifts in a smooth and controlled manner. • Inner voices maintain a roll on dissonant cluster chords while outer voices jump for single notes. • Uses octave intervals. 3. Marimba Etude for Octaves • RH plays double verticals in larger intervals (up to a 10th), while LH outlines the harmony with arpeggios. • Works on developing the interval switch from 6th to octave 4. Hochzeitsmarsch • Arranged to help develop one-handed rolls in both hands. • May also help develop fast, relaxed motion on double verticals and quick shifting around the instrument.
44.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Karawane : for speach choir and percussion 2016 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Varför är vissa ord så roliga att säga? Varför ligger andra ord så skönt i munnen? I detta verk är det rytmiken i ord och fraser som står i centrum. Balansen mellan det exakt perfekta och en gnutta humor med en nonsenstext som ingen förstår! Ett udda och muntert inslag i konsertprogrammet!
45.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Kinkaku-Ji : Meditation for Flauto Alto and Vibraphone 2020 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract In the late 1990s I visited Japan. Something that made a strong impression on me was the Japanese gardens who breathed meditation and inner peace. The original Japanese religion, Shinto, is based on the worship of nature spirits and therefore everything in a Japanese garden - plants, rocks and water – has a spiritual meaning and represent something beyond their physical shape.
46.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Mallet Ensembles vol. 3 2018 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Daniel Berg has a great passion for teaching and a dream that more children and young people will find the melodic percussion instruments. In Mallet Ensembles the level is a little more difficult compared to his earlier booklets for Youth - Easy Solos, Easy Duets and Easy Marching Percussion. The hope with these scores is to awaken a curiosity and a bridge to the classical repertoire for mallet instruments, but also an encouragement to play music with each other!These three songs are orchestrated for a couple of mallet instruments – to get a rich and ”fat sound”, please double each part on both marimba and vibraphone in several octaves.
47.	Berg, Daniel, 1971- (creator_code:cre_t, composer) Mallet Ensembles Vol. 4 2021 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract As many kids, I started to play drums and later in the teens I got in contact with the melodic percussion… and I was stucked! With the songs in Mallet Ensembles I have an attempt to awaken a young drummers curiosity for marimba and vibraphone. Therefore, I use repeated technical patterns in the chord parts, quite easy to learn, but a little bit tricky and fun for a drummer to play. These three songs are orchestrated for a couple of mallet instruments – to get a rich and ”fat sound”, please double all parts in different octaves. The glockenspiel part is grade as easy, melody part is a little bit harder and chord parts intermediate. Index: Concorde Somethin' You Can Do About It? Oh Yeah!
48.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Mistral : for solo marimba 2019 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract In the early 2000s, I had the pleasure to teach and perform together with the American marimba legend Michael Burritt at a couple of summer courses. In one concert, I remember he present his new solo piece Scirocco with fast-moving and swirling melodic lines – inspired by one of the eight desert winds across the Mediterranean Sea. The year after, Michael played the first performance of his lyric the Offering and both pieces are now standard works for marimba.Almost twenty years later, I got the opportunity to write a solo piece for Michael Burritt and I want to catch the positive energy from his personality and from his strong virtuoso and lyric playing. And, as a greeting to Michael and with a little humor, the piece gets name after another desert wind across the Mediterranean Sea.The Harmonies in Mistral is chosen by overtones from the low octaves of a marimba. Together, the notes in the chords form a tone color unique to the instrument.
49.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Montecristo : for solo marimba 2009 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract Montecristo är beställt av marimbasolisten och stämledaren vid Kgl Hovkapellet i Stockholm, Olle Petterson. Hans önskan var ett virtuost verk i stil med Daniels tidigare stycken för marimba, Over the Moon och December. Rytmen i det här verket är inspirerat av "Two Mexican Dances" av Gordon Stout. Harmoniken beskriver aromen från en av Cubas mest välkända produkter - gissa vilken?
50.	Berg, Daniel, 1971- (composer, creator_code:cre_t) Over the Moon : for solo marimba 2001 Artistic work (swepub:mat_score_t) (peer-reviewed)abstract ”This three-minute solo marimba piece for the advanced player is written in a fluid, impressionist style reminiscent of Debussy.Over the Moon would make an excellent recital encore piece or a short solo work in a concert setting” Terry O’Mahoney, Percussive Notes

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