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1.
  • Allan, Jon, 1972-, et al. (author)
  • Listener Preferences in Streamed Music
  • 2022
  • In: Journal of The Audio Engineering Society. - : AUDIO ENGINEERING SOC. - 1549-4950. ; 70:3, s. 156-176
  • Journal article (peer-reviewed)abstract
    • A cross-disciplinary study between the two research areas of Audio Technology and Music Education was performed to assess how different aspects of education and experience may influence the experience of music listening given a typical streaming service-Spotify.(1) The point of departure is that streamed media facilitates a plenitude of versions of the same song. The paper focuses on the differences that these different songs yield from various mastering processes and production choices motivated by the end distribution media and user settings in the playback system that aim to alter the sound. These variations may all lead to differences in musical dynamics and timbre. A listening test was conducted to examine listeners’ preferences, the assessed audio quality, and subjects’ reports on how the music content affected them when given the possibility to compare versions in a controlled environment. The test subjects (n = 76) represented populations with various educational backgrounds and experience within music and audio technology. Among the results, it was found that education and experience in some cases do affect preferences.
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2.
  • Almqvist, Cecilia Ferm, et al. (author)
  • The Music Teacher in the Nexus of Art Origin
  • 2017
  • In: Finnish Journal of Music Education. - : Faculty of Music Education, Jazz and Folk Music at the Sibelius Academy of the University of the Arts Helsinki and the Finnish Society for Research in Arts Education. - 1239-3908. ; 20:1, s. 45-58
  • Journal article (peer-reviewed)abstract
    • Artists are not born – they become. Artists are created by art, art that they have created. This twisted helix is conceptualised as ‘the origin of art’ by Heidegger. If an artist is to originate within musical educational settings, we claim that the musical educator has an inevitable role to play in this art origin. The problem of the investigation at hand are a question of how the educator can relate to this involvement; guiding the student toward the nexus of this origin without standing in the way for the originating of art nor to become a part of the origin of art as a part of the artist’s artistry. The complex phenomenon consisting of relations between art, student(s) and teacher are investigated, and in order to understand how teachers can organize their teaching towards an artistry achievement of their students, we seek to explore a number of phenomenological concepts; Heidegger’s notion of a work of art, the idea of Lifeworlds, musical intersubjectivity, responsibility in asymmetrical relationships and finally, dwelling. The conclusion are that teacher can relate to this situation in three different modes; (i) by enriching the Lifeworld of the student, (ii) by preparing for the unexpected to occur and (iii) direct the intentionality towards the nexus of artness originating instead of the artness itself.
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4.
  • 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.
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5.
  • Bjerstedt, Sven, et al. (author)
  • The musical present : A polyphonic philosophical investigation
  • 2017
  • In: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøgskole. - 9788278532195 ; , s. 9-39
  • Book chapter (peer-reviewed)abstract
    • How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understanding of the comprehension of tonality. Discussions of Bakhtin’s concepts of utterance and chronotope demonstrate that the need for experiencing and understanding music arguably poses a challenge for current music education in schools with regard to its predominant ways of dealing with time. With reference to Ricoeur’s analysis of time and narrative, it is suggested that musicians’ need for multi-directedness in the musical present calls for a rich learning ecology framework. In conclusion, it is argued that reflection on musical practice in general would benefit from taking the shape of polyphonic philosophical investigations.
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6.
  • Bjerstedt, Sven, et al. (author)
  • The musical present: A polyphonic philosophical investigation
  • 2016
  • In: Nordisk Musikkpedagogisk Forskning: Årbok. - 1504-5021. ; 17, s. 9-39
  • Journal article (peer-reviewed)abstract
    • How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understanding of the comprehension of tonality. Discussions of Bakhtin’s concepts of utterance and chronotope demonstrate that the need for experiencing and understanding music arguably poses a challenge for current music education in schools with regard to its predominant ways of dealing with time. With reference to Ricoeur’s analysis of time and narrative, it is suggested that musicians’ need for multi-directedness in the musical present calls for a rich learning ecology framework. In conclusion, it is argued that reflection on musical practice in general would benefit from taking the shape of polyphonic philosophical investigations.
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7.
  • Bjerstedt, Sven, et al. (author)
  • The playing now : A philosophical investigation of present time in music
  • 2015
  • In: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015. - Helsingfors : Sibelius Academy.
  • Conference paper (peer-reviewed)abstract
    • Introduction: Music, such as the duration of a musical piec e or length of a concert, can b e measured by metronomes and clocks in objective time ( chronos ). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time ( kairos) . Music has an intrinsic temporal dimension of experienced time , often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fasc inating object for philosophical exploration. Musical practice em bodie s temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of sem antic fullness , a meaningful moment . Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon o f music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.
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8.
  • Borgström Källén, Carina, 1961, et al. (author)
  • Vad kan det musikpedagogiska forskningsfältet erbjuda framtidens musiklärarutbildningar?
  • 2019
  • In: Nordic Network for Research in Music Education.
  • Conference paper (other academic/artistic)abstract
    • I musiklärarutbildningar vid musikhögskolor i Sverige finns det lång erfarenhet att tillvarata studenters behov av hantverksmässiga studier för såväl erövrande av fördjupade kunskaper i musicerande som i utvecklingen till att bli musiklärare som kan sitt musikaliska didaktiska hantverk. Traditionen av att integrera vetenskapliga rön i musiklärarutbildningarna är däremot inte lång och inte helt okomplicerad, delvis beroende på traditioner och att lärande i musikaliska hantverk tar mycket tid. Att sätta sig in i forskning som för utbildningen torde vara väsentlig kan vara betydligt lägre prioriterat, inte minst i ämnesstudierna. I rundabordssamtalet vill vi därför lyfta frågan hur vi inom det musikpedagogiska forskningsfältet kan bidra till att utveckla musiklärarutbildningarnas vetenskapliga innehåll och särskilt hur det kan integreras i studenternas ämnesstudier. Frågan är stor varför vi till det här samtalet avgränsar det till hur vi mer aktivt skulle kunna bidra genom att kontinuerligt rapportera om aktuell forskning som berör dagsaktuella frågor för musiklärare, eller som eventuellt borde vara det, och paketera det på ett sätt som är lättåtkomligt utan att göra avkall på vetenskaplighet. I skrivande stund arbetar vi med en antologi där vi bidrar med olika kapitel inom några av de områden som vi identifierat som aktuella för blivande musiklärare och/eller verksamma lärare och där vi alltså kan tillföra kunskap. Varje kapitel bygger på något område som kapitelförfattaren behandlade i sin avhandling (Asp, 2015; Borgström Källén, 2014; Falthin, 2015; Leijonhufvud, 2018; Mars, 2016; Nyberg, 2015; Zadig, 2017) och som i kapitlet ställs i relation till aktuella didaktiska frågor. De områden som behandlas är: o Hur genrer som musikdidaktiska redskap kan bidra till såväl breddning som fördjupning i olika musikstilar. o Musik som skolämne relaterat till genre och genus o Formativ bedömning i musikundervisning ur ett multimodalt perspektiv o Konsekvenser av ”flytande” strömmad musik o Synliggörande av den egna yrkesskickligheten–hur studenter och lärare ska kunna utveckla sin egen förståelse för hur och varför olika verktyg används i undervisningen. o Hur aktionsforskning kan stärka musiklärares agens o Forskningsmetoder för att undersöka rolltagande i kör. Ämnesinnehållet kan tyckas något spretigt men goda erfarenheter av att ha gjort så i en tidigare antologi som flera av oss deltog i (Ferm Thorgersen, 2013), talar för valet att presentera skilda områden utifrån olika teoretiska utgångspunkter och sätta dessa i relation till praktiknära frågor. Ett övergripande kapitel tillkommer i den pågående antologin som syftar till att utifrån de olika kapitlen påvisa hur praktik och teori samspelar i såväl vardagliga musikpraktiker som i musikpedagogisk forskning; kunskap som vi ser som vi ser som väsentlig att vara väl belyst och integrerad i framtida musiklärarutbildningar. Referenser: Asp, K. (2015). Mellan klassrum och scen: en studie av ensembleundervisning på gymnasieskolans estetiska program. Diss. Lund: Lunds universitet. Borgström Källén, C. (2014). När musik gör skillnad: genus och genrepraktiker i samspel. Diss. Göteborg: Högskolan för scen och musik vid Göteborgs universitet. Falthin, A. (2015). Meningserbjudanden och val: en studie om musicerande i musikundervisning på högstadiet. Diss. Lund: Lunds universitet. Ferm Thorgersen, C.(red.) (2013). Perspektiv på praktiknära musikpedagogisk forskning: utkomster av en forskarskola. Luleå: Institutionen för konst, kommunikation och lärande, Luleå tekniska universitet. Leijonhufvud, S. (2018). Liquid streaming: the Spotify way to music. Diss. Luleå: Luleå tekniska universitet. Mars, A. (2016). När kulturer spelar med i klassrummet: en sociokulturell studie av ungdomars lärande i musik. Diss. Luleå: Luleå tekniska universitet. Nyberg, J. (2015). Music education as an adventure of knowledge: student and teacher experience as conceptualizations of musical knowledge, learning and teaching. Diss. Luleå: Luleå tekniska universitet. Zadig, S. (2017). Ledarna i kören: vokala samarbeten mellan körsångare. Diss. Lund: Lunds universitet.
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9.
  • Burkart, Patrick, et al. (author)
  • The Spotifyication of public service media
  • 2019
  • In: The Information Society. - : Taylor & Francis. - 0197-2243 .- 1087-6537. ; 35:4, s. 173-183
  • Journal article (peer-reviewed)abstract
    • This article investigates contemporary cultural policy reforms enabled by paid digital media distribution services, taking the case of the integration of Spotify into the Swedish public media system. Specifically, it reflects on the conflicts arising over the prioritization of digital distribution over cultural preservation, during the gradual substitution of the Spotify digital services for the services provided by the traditional material media archive, the Grammofonarkivet. It considers the factors influencing changes in the Swedish cultural policy environment and the nature of the complaints and human rights claims made by employees of the Grammofonarkivet to UNESCO regarding its structural transformation. It also postulates a “Spotification” model of public service media emerging in Sweden but potentially affecting other countries with public media systems served by traditional media archives.
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10.
  • Explorativ bildning i strömmande medier : Spotify som ett case
  • 2020
  • Editorial collection (peer-reviewed)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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12.
  • Ferm-Almqvist, Cecilia, et al. (author)
  • Evolving Bildung in the Nexus of Streaming Services, Art andUsers : Spotify as a Case
  • 2017
  • Conference paper (peer-reviewed)abstract
    • The changed landscape of media, with digital distribution as a keyfactor, creates new conditions for people’s access to cultural expressions. This has mainly been studied through technical and financial perspectives, focusing on the record industry, file sharing, human–technology interaction, and click frequency. New questionsare necessary for an understanding of what functions streamed musicand art expressions can have in people’s lives, and how companies such as Spotify relate to these functions.The aim of the study is to explore Bildung in the nexus of streaming services, art and users, with Spotify as a case study. Research questions: How and to what extent do technical, legal, economic, and ethical factors control possibilities for meaningmaking in the interaction between streaming media such as Spotify, arts, and human beings? How does the quality of art/music distributed through streaming influence opportunites for Bildung? How do users make meaning in the specific contexts? To what extent is the user involved in her own Bildung via the algorithms making up the participation?To achieve this aim and address the research questions an interdisciplinary study is needed, which makes it possible to understand the complex phenomena of a streaming media platform in relation to Bildung. Technicians and researchers from the humanities and social sciences will approach the research problem and form a holistic understanding of streaming media in relation to human beings, art, and technology. Hence, combinations of methodological approaches are required. Big-data analysis will provide access to how varied demographics use Spotify. The Spotify users’ activities, experiences of streaming media interactions, and meaning-making will be accessed through qualitative netnographical observations, shadowing, and interviews. Sound quality analysis will clarify what aesthetic values are involved in the most appreciated listening experiences, which will be related to Bildung.
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13.
  • Ferm Almqvist, Cecilia, 1966-, et al. (author)
  • Evolving musical Bildung in streaming media – Spotify as a case : Reflections upon a pilot study
  • 2018
  • In: Konferensbidrag. - : Mirac (Music Focused Interdisciplinary Research & Analysis Center). ; , s. 10-11
  • Conference paper (peer-reviewed)abstract
    • The presentation will share experiences of and reflections upon a pilot study based on stimulated recall interviews aiming to explore the meaning and function of streaming media as a facilitator of musical Bildung. It can be stated that new technology has the possibility to provide information and education for everyone. Today, most people can access the same information for "free", which is interesting from a democratic perspective. Access to music in relation to the new, transformed music industry has been studied from technological and economical perspectives. Even listening habits and listening frequencies, have been investigated through analyses of Big Data. Hence, we stated a need to reflect upon and discuss the meaning and function of streamed music in people's lives, taking as a starting point the affordances and constraints of the music streaming services. Using Spotify as a case, based on phenomenological perspectives of Bildung, a cross disciplinary project was created. In the presentation we want to answer share preliminary results from a pilot stimulated interview study. A netnographic oriented approach where chosen, given its focus on distinguishing meanings and human practice in varied contexts, and combined with shadowing and individual interviews, supported by stimulated recall. The participants gathered their user activities that took place during a limited period of time, and also in what ways these were shared and expressed in varied social media. The stimulated recall interviews were documented through the use of a web based videoconference application, transcribed and subjected to qualitative content analysis. The paper presentation aims to share and discuss the use of methods as well as preliminary results, which hopefully can contribute with insights when it comes to how streamed music functions, and can be used consciously, within the field of music education.
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14.
  • Ferm Almqvist, Cecilia, Professor, 1966-, et al. (author)
  • Outroduktion
  • 2020
  • In: Explorativ bildning i strömmande medier. - Huddinge : Södertörns högskola. - 9789189109377 ; , s. 261-268
  • Book chapter (other academic/artistic)
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15.
  • Ferm Almqvist, Cecilia, Professor, 1966-, et al. (author)
  • Spotify as a case of musical Bildung
  • 2021
  • In: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
  • Journal article (peer-reviewed)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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18.
  • Ferm Thorgersen, Cecilia, 1966-, et al. (author)
  • Being – is it possible in a space offered by Music Education? : A philosophical investigation of how Music Education can embrace the space of Being presented as the Origin of the Work of Art
  • 2012
  • In: Ontology, music, education. - Reykjavik : Reykjavik University.
  • Conference paper (peer-reviewed)abstract
    • This abstract presents a contribution to a symposium concerning the book Ontology, music, education edited by Øivind Varkøy and Frederik Pio.  More specifically, our contribution to the symposium focuses on Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music posses the power to strike us and hence throw us into Being. The presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. More specifically the contribution to the theme of the symposium will be an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music. Further, Art, as Heidegger describes it, is being focused and discussed in relation to how it can exist within music education. How is it possible to relate to Music as a Work of Art with the same distinctions as Heidegger presents for us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the space that constitutes the gap between Earth and World? To structure the philosophical investigation the presentation follows two main lines; one investigating Art as an opener to Being and the other focusing the equivalence between how the Artist makes the Work of Art in the same time as the Work of Art makes the Artist. According to Heidegger, this equivalence is the very Origin of Art. We argue, that the educator has an unquestionable role in this creational space of Origin seen as an educational practice. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main line issues to the Swedish national syllabus for the subject Music. The disposition of the presentation in the symposium starts with a narrative that describes how a musical Work of Art has changed history for a young boy. A section follows where Heidegger’s concepts The Origin of the Work of Art, and The space of Being between World and Earth are presented and explored. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embrace and perform Heidegger’s thinking in music educational practise. The presentation will be ended by a discussion about how music education can offer students a place in Being, and music educators’ roles as being parts of the creational Origin process of a Work of Art.                
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19.
  • Ferm Thorgersen, Cecilia, 1966-, et al. (author)
  • Music as Art – Art as Being – Being as Music : A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking
  • 2012
  • In: Onthology, music, educaiton. - : Ashgate.
  • Book chapter (peer-reviewed)abstract
    • Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music posses the power to strike us and hence throw us into Being. The chapter will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. More specifically the contribution to the theme of the book will be an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music. Further, Art, as Heidegger describes it, is being focused and discussed in relation to how it can exist within music education. How is it possible to relate to Music as a Work of Art with the same distinctions as Heidegger presents for us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the space that constitutes the gap between Earth and World? To structure the philosophical investigation the chapter follows two main lines; one investigating Art as an opener to Being and the other focusing the equivalence between how the Artist makes the Work of Art in the same time as the Work of Art makes the Artist. According to Heidegger, this equivalence is the very Origin of Art. We argue, that the educator has an unquestionable role in this creational space of Origin, seen as an educational practice. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main line issues to the Swedish national syllabus for the subject Music. The disposition of the chapter starts with a narrative that describes how a musical Work of Art has changed history for a young boy. A section follows where Heidegger’s concepts The Origin of the Work of Art, and The space of Being between World and Earth are presented and explored. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embrace and perform Heidegger’s thinking in music educational practise. The chapter will be ended by a discussion about how music education can offer students a place in Being, and music educators’ roles as being parts of the creational Origin process of a Work of Art.
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21.
  • Gullberg, Anna-Karin, et al. (author)
  • The Equalizer – Amplifying Artistic Resonance and Reducing Mental Dissonancein Artistic Processes
  • 2019
  • In: The Science of Consciousness 2019. - : Collegium Helveticum. ; , s. 177-177
  • Conference paper (peer-reviewed)abstract
    • Understanding of cognitive strategies in supporting artistic expressions, reducing stress, performance anxiety and emotional blockings are of paramount importance to empower students’ and prepare for a sustainable work life as musicians. How can we aid musical artists to cope and master their emotional and mental dissonances in order to empower creative and artistic progressions in a sustainable way within higher music education?This pilot has several aims including investigating possibilities for higher education to interact with societal artistic communities as well as students’ DIY culture using available technology in order to analyse and co-create a professional development including artistic competence, holistic awareness and personal balance. The project will explore transformative technologies; HRV, Muse (EEG), Soma Mat & Breathing Light (heat and breath feedback), and the ARK-crystal, which differ regarding presented data (biofeedback) and function. Further, how these devices relate to research theory and methodology. We pose the critical question: Can these applications contribute to the identification, interpretation, and organization of the First Instrument, the students’ own aesthetic sensory information, embodied behaviours and cognitive strategies?This presentation will include methodological challenges discussed and interpreted in the transdisciplinary research group SANE – embracing researchers in art, quantum physics, medicine, sustainability learning, and biology.
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22.
  • Leijonhufvud, Susanna, 1972- (author)
  • A phenomenological investigation of the phenomenon of singing
  • 2012
  • Conference paper (peer-reviewed)abstract
    • The paper will present the results from my licentiate thesis where the phenomenon of Singing Experience from a first-person perspective is treated. The purpose of the thesis was to reveal the content that constitutes the phenomenon of singing from the singers’ point of view. Singing should be understood as a unique vocal expression carried by tones in a form that is sonorous, alive and fluid. The singing is a singing in a context with others who also experiences them selves as singing. The point of departure of the investigation is a natural attitude which develops into a philosophical attitude towards the experience where given experiences are examined upon their content and then bracketed in favour for further experiences of the phenomenon to be revealed. The study uses a phenomenological approach from a first-person perspective based on Edmund Husserl’s transcendent phenomenology. These methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience. In the thesis the result of the eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a description of the constitution of the phenomenon of singing. The presentation will initially briefly describe the entry to the study as well as the background and the method of gathering experiences and analysis of ditto. The main part of the presentation will focus on the results of the thesis i.e. a model of a constitution of the phenomenon of singing presented as a mind map where the relationship between essences is visualized. The main topic of the presentation will focus on three major findings. First of all the thoughts about the phenomenological body by Maurice Merleau-Ponty where the phenomenological body of the singer is an acoustic body spread out in time and space is presented. Second the findings of different aspects of experience and listening to one’s own voice is discussed. This finding suggests a possibility to tune in to an inner listening, an outer listening, an immanent listening or a combination of those three different listening modes. This particular result will explicit highlight Husserl’s thinking of pluralistic intentionality. Third, and final, the presentation will discuss the possibility for an extended version of the phenomenon of singing where transcendent dimension of experience emerges. These are dimensions stretched out into a trio of essences; love and humanity, music and thirdly, something divine. These essences, in existence, are experienced as subjects with have the power to act intersubjective with the singing subject of living body. The extension into the transcendent parts enriches and enlarges the phenomenon from a narrow into a widen phenomenon, which covers the possibility of different life-worlds within different singers. 
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23.
  • Leijonhufvud, Susanna, 1972- (author)
  • Affordances of Music Streaming based on Exploratory Media Archaeology : A presentation of the completed PhD-project Liquid Streaming focusing the affordance of musicking for the public via the Spotify streaming service with an emphasis on method
  • 2018
  • Conference paper (peer-reviewed)abstract
    • In my dissertation, I have accounted for the affordances of musicking brought about by streamed music with the case example of Spotify. In order to perform a study orbiting the realm of music streaming, mainly digital sources have been used; Internet sources and software program of the streaming service. In the presentation, I will focus on issues concerning those two major roots. Within the latter I will present, problematize and conclude how; the Internet can be used as a field of sources, and on what terms the Internet can be regarded as an Archive. Also, what alternatives researchers can depend on when practising research within the realm of the Internet. The sources have, over time, been shown to change content, update, disappear, change resolution or package, which means that digital sources such as source material as well as methodology operating in such a field need to be problematized. First of all, I will account for how a phenomenon such as the Spotify streaming service is a multidimensional feature where appearance and featured functions depend on a number of things such as geographical market zone, subscription zone, the digital device used for access, and previous user-generated history. Researching a platform based software program like this brings particular issues for the researcher. I will present how these issues have been recognised and managed in my research. Secondly, I will address Internet as a base for research. The Internet provides a plethora of available sources, and as such Internet brings the affordance of accessing a tremendous amount of data opening up for possibilities that were not available prior to digitalisation. For instance, interviews and talks by interesting people might be available on-line whereas the same persons may be difficult or impossible to reach in ordinary life. Contemporary culture on the Internet, characterised by free culture and shared content further supply massive amount of data to be researched. Further, many services on the Internet provide access to local archives where content can be searched for, and a great number of sources can be screened regarding particular content. The popular phrase: “Once on the Internet, always on the Internet” has been found to be a truth with modification. I will present four different examples of issues concerning using the Internet as an archive and how such issues can be tackled within research concerning questions of reliability and trustworthiness. The first (i) example is how content many times are personalised, why an "objective" or public view can be impossible to gain. Further, it can be impossible to gain access to how personalisation is conducted. The second (ii) example is how sources, such as music, can be limited to certain geographical restrictions and thus only accessed from certain IP-addresses for the researcher. The third (iii) example is how sources may be removed and deleted. This is the case with some personal information as individuals have a right to be forgotten. Another example is how documents from the government offices are removed when there is a new government in office. The fourth (iv) example addresses the issue where a source might remain on the Internet but presented in a different digital format than the original content.
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24.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Affordances of Musical Sound : Listening to the Spotify Streaming Service
  • 2020
  • Conference paper (peer-reviewed)abstract
    • In the context of musical Bildung, a study was performed to assess how different aspects of education and experience may influence the affordance from music listening in a typical streaming service such as Spotify. This was done by investigating whether subjects’ backgrounds affect preferences and/or choice of wording in motivations when comparing versions of different tunes. The versions that were compared were selected for typical differences that may occur in a streaming context full of choices, e.g. different masters or user settings. Five different tunes were compared in a classic A/B test. A survey, related to the A/B test, captured three aspects of perceived differences: preference, musical affection and audio quality. Questions were also added to capture a range of background factors that were assumed to affect these aspects, e.g. listening habits, earlier musical education and/or socialisation. Earlier research has shown that similar tests were performed with people of convenience, e.g. sound or computer engineers, predominantly males 25–45 years of age. They have thus not accounted for the results from psychoacoustic studies which have stated that preferences may differ on behalf of demographic factors such as gender and age. In the study at hand, the common selection of participants was challenged by performing a strategic selection of participants. This included professional musicians, students within music education, professional sound engineers, students in sound engineering and people without any explicit education within the expertise areas accounted for above. The number of participants was N=60 of mixed gender and of varying ages from 13 years and up. The presentation will show several statistically significant results. 
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25.
  • Leijonhufvud, Susanna, 1972- (author)
  • An Origin of Swedish Folk Music : A Case Study of the National Project Skansen 1896-1899
  • 2023
  • In: Folk-Music Practices and Polyphonic Nationalisms in Europe, 25–29 Sep 2023. - Graz.
  • Conference paper (peer-reviewed)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.
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26.
  • Leijonhufvud, Susanna, et al. (author)
  • Assessment of musical quality : a case study of achieving a World Champion title in chorus singing
  • 2014
  • Conference paper (peer-reviewed)abstract
    • In 2013 the World Champion title in female barbershop singing was awarded the Swedish chorus Rönninge Show Chorus (RSC). This achievement was historical not only because the winning score was the highest ever in the history of the competition , but foremost because it was made by a non-American chorus in an American tradition. This achievement has triggered our interest in researching this event concerning the assessment protocol of the competition, and how such criteria has guided the pedagogical work of the chorus.The project presented is based on interviews, our own experiences and knowledge from the field as well as written material related to regional and international competitions such as assessment criteria and score sheets. The interview was performed in Swedish, therefor all the quotes in this presentation are our translations. In our presentation we will start by presenting the RSC as well as a brief presentation of the female barbershop community Sweet Adelines and its field of praxis. We will focus on the assessment of musical qualities of the competition environment and in addition to this, our presentation will describe the underlying choral work based on interviews with the two conductors of the RSC. Finally, we will discuss the barbershop learning practice in relation to an overall musical educational context.
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27.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Assessment of musical quality : a case study of achieving a World Champion title in chorus singing
  • 2014
  • Conference paper (peer-reviewed)abstract
    • In 2013 the World Champion title in female barbershop singing was awarded the Swedish chorus Rönninge Show Chorus. This achievement was historical not only because the winning score was the highest ever in the history of the competition, but foremost because it was made by a non-American chorus. How did this become possible? All participating choruses are assessed by a standard, which among other criteria includes being in command of American English in order to perfect formants, and thereby the united sound of the Chorus. This event has triggered our interest in researching the assessment protocol of the competition, and how such criteria guide the pedagogical work of the chorus – work that has led to mastery and scoring a new world record. In our presentation we will describe the atomistic standard used in the assessment of musical qualities of the female barbershop singing competition environment: Music, Sound, Expression and Showmanship. These four categories are in turn divided into a number of assessment units. In relation to music education we will focus on the first three categories, which we find to be relevant in any musical work. In addition to this, our presentation will describe the underlying choral work based on interviews with the two conductors of the Rönninge Show Chorus. Finally, we will discuss the barbershop learning practice in relation to a musical educational context: What can we learn from this explicit, atomistic judgement practice in the ongoing discussion regarding atomistic and holistic assessment in music education?
  •  
28.
  •  
29.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Digitalisering och musikundervisning
  • 2021
  • In: A Prima Vista. - Stockholm : Kungl. Musikhögskolan. - 9789198386967 - 9789198386950 ; , s. 87-120
  • Book chapter (pop. science, debate, etc.)
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30.
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31.
  • Leijonhufvud, Susanna, 1972- (author)
  • Experience of Singing – a musically vocal confirmation of my existence in the world : A phenomenological investigation from a first-person perspective
  • 2014
  • Conference paper (peer-reviewed)abstract
    • Experience of Singing - a musically vocal confirmation of my existence in the worldA phenomenological investigation from a first-person perspectiveSusanna Leijonhufvud, Fil.Lic.PhD-student in Musicology at Örebro university,Swedensusanna.leijonhufvud@oru.seThe phenomenon of singing, in music education, is primarily understood through the research of acoustics (Sundberg 1999). This research has formed the base for our understanding of the singing apparatus and hence how singing education should be postulated considering these results. During recent years we have also learned about the psychological and social aspects of singing and different types of health effects that can be added to our previous understanding of the phenomenon (Sloboda 2005, Theorell 2009). I claim that these disciplines have not yet fully described the holistic phenomenon of singing from the perspective of the singer. In this paper presentation I suggest an additional approach towards an understanding of singing – the philosophical phenomenological perspective (Ihde 2007).The results from my licentiate thesis where the phenomenon of Singing Experience (Erlebnis) is treated will be presented. The purpose of the thesis was to reveal the general essence and the essences that constitute the phenomenon of singing from the singers’ point of view. Singing should, in this context, be understood as a unique human vocal expression carried by tones in a form that is sonorous, alive and fluid (Smith 1979). The first-person perspective experiences the singing whilst singing with others. To reveal essences, content within the phenomenon, the study uses a transcendental phenomenological approach from a first-person perspective (Husserl 1995). The phenomenological methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience (Husserl 2004). In that way, the result point towards the possible and are not, in this sense limited to the situational and particular. In the thesis the result of this eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a theoretical model of the constitution of the phenomenon of singing (Leijonhufvud 2011).Initially the presentation will briefly describe the entry to the study as well as the background and the method of gathering experiences and analysis of ditto. The main part of the presentation will focus on the results of the thesis, a theory of singing, i.e. a model of a constitution of the phenomenon of singing. The model shows immanent and transcendent essences of singing as well as bodily and emotive essences. The theoretical model also shows the essence of cogito, humanity, time and space, music, love and the divine. At the end of the presentation of the result, I will briefly guide trough the phenomenological reduction that the phenomenon undergoes, through use of the theory, in order to suspend the belief in the existence of the phenomenon itself (Spiegelberg 1994). That means that even if the phenomenon in itself is non-existing, the experience of it must exist if it survives this appraisal of reduction. As we cannot investigate the phenomenon in itself, this epistemology provides a possibility to investigate the intentionality between the phenomenon and the cogito within the living body. Therefore, as Husserl claims, the existence of the intentionality is the closest we can get to the phenomenon itself (Husserl 2004).The results highlights the findings of the acoustic extension of the phenomenological body of the singer, the different aspects of listening to one's own voice as well as the tight connection the phenomenon of singing has with the very existence of what I experience as me. The result also reveals essences of transcendence. This last finding might be provoking in music educational settings. If the transcendent, hence transcendent knowledge is knowledge that lacks a priori knowledge, how then can a music educator play a part in the developing of such transcendent skills in singing? How shall we treat such aspects of singing whilst singing together or teach singing? The final discussion will invite further questions regarding the study of a musical phenomenon from a first-person and a third-person perspective. The target of such a problematization is how we, as music educators, can work with the other who only has access to her/his own experience of her/his singing voice, tone and timbre when we make music together? How is it at all possible to tune in into an inter-subjective experience of singing considering these issues?ReferencesHusserl, E. (2004). Idéer till en ren fenomenologi och fenomenologisk filosofi. Stockholm: Thales. Original title: Ideen zu einer reinen Phänomenologie und phänomenologischen Philosophie. Erste Buch, 1913. Translation: Jim Jakobsson.Husserl, E. (1995). Fenomenologins idé. Göteborg: Daidalos. Original title: Die Ideen der Phenomenologie, 1907. Published 1950. Translation: Jan Bengtsson.Ihde, D. (2007). Listening and Voice: Phenomenologies of Sound. State University of New York Press, 1976.Leijonhufvud, S. (2011). Sångupplevelse - en klingande bekrä¤ftelse på min existens i världen: en fenomenologisk undersökning ur första-person perspektiv. (Licentiate dissertation). Stockholm: KMH-förlaget. http://www.diva-portal.org/smash/get/diva2:446147/FULLTEXT01.pdfTheorell, T. (2009). Noter om musik och hälsa. Stockholm: Karolinska Institutet University Press.Sloboda, J. A. (2005). Exploring the musical mind: cognition, emotion, ability, function. Oxford: Oxford Univ. Press.Smith, J. F. (1979). The Experience of Musical Sound. Gordon and Breach Science Pub. Inc.Spiegelberg, H. (1994). The Phenomenological Movement. The Netherlands: The Kluwer Academic Publisher. (Part V: The Essentials of the Phenomenological Method, s. 677-719).Sundberg, J. (1999). Perception of singing. In: The Psychology of Music. Second Edition. Academic Press Series in Cognition and perception. California: San Diego (ed.) Diana Deutsch, p. 171-214.
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32.
  • Leijonhufvud, Susanna, 1972- (author)
  • Filosofiskt perspektiv på sångupplevelsen som fenomen
  • 2013. - 1
  • In: Perspektiv på praktiknära musikpedagogisk forskning. - Luleå : Luleå Tekniska Universitet. - 9789174397482 - 9789174397499 ; , s. 207-227
  • Book chapter (peer-reviewed)
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33.
  • Leijonhufvud, Susanna, 1972- (author)
  • Folkmusik till Skansen och Mazurkor till Harg : Folk music to Skansen and Mazurkas to Harg
  • 2023
  • In: Nordic Network for Research in Music Education. - Örebro.
  • Conference paper (peer-reviewed)abstract
    • Just before the turn of the last century, the young and promising Swedish music ethnologist Karl Peter Leffler published Om Nyckelharpospelet på Skansen. In the writing, two detailed portraits are drawn of the fiddlers Johan Edlund and Jonas Skoglund, both of whom had been summoned from Uppland to contribute with folk music to the capital’s national project in Stockholm. The booklet has worked as the basis for several studies about the nyckelharpa, and folk music in general. The institution Skansen, is emerging as part of the Nordiska Museet under Artur Hazelius’ care. Here, the Nordic and the Swedish are being established during this national romantic era by bringing folk culture from all areas of the kingdom – to be displayed and brought to life at the capital’s outdoor museum. The current research project focuses on the constitution of the Swedish when it comes to folk music. Skansen has become significant for our knowledge of and how we understand Swedish culture. What kind of music was to become a part of the Swedish? One way to investigate this is to focus on a single fiddler – which in my case is one of the two fiddlers that Leffler highlights – Johan Edlund from the Roslagen parish of Harg in Uppland. The project, which is ongoing, tries to map the musical cultural geography of the 19th century and the Roslagen’s parish of Harg with the help of genealogical research using records of parish catechetical meetings, old maps, old national surveys from Nordiska Museet, photos, newspapers, and private correspondences. What was the musical life like for those who lived at this place at this time? What occasions, venues and contexts were music present in people’s lives? Where did the music stem from? How did they learn how to play and where did the instruments come from? The emerging picture around this fiddler, his playing and learning, shows, among other things, that it is not only Roslagen that brings music to the capital – musical influences also travel in the opposite direction. The patrons of the iron mill, järnbruken, of Uppland, often live with their families in the capital during the winter months where they enjoy musical salons as well as the city’s opera performances. They return to the estates during the spring and summer months where parties and dinners with ballroom dances offer the local fiddlers to play. At these events, the fiddlers seem to expand their repertoire with the novelty of the mill pattern drawn from the city’s social life. A picture of a give-and-take emerges, not only between the upper-class milieu and the common people but also between the capital city and the rural perishes as well as music genres in between.
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34.
  • Leijonhufvud, Susanna, et al. (author)
  • Introduktion
  • 2020
  • In: Explorativ bildning i strömmande medier. - Huddinge : Södertörns högskola. - 9789189109377 ; , s. 7-21
  • Book chapter (other academic/artistic)
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35.
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36.
  • Leijonhufvud, Susanna, 1972- (author)
  • Liquid streaming  : an actor-network analysis of streamed music with the case of Spotify  
  • 2017
  • Conference paper (peer-reviewed)abstract
    • Currently music streaming services are starting to dominate the music industry. Streaming out rule physical records as well as digital download, and by doing so music streaming has contributed to shift ownership of artefacts with access to ditto. This presentation aims to describe the affordances and surplus values that are connected to such an access service taking the Swedish founded company of Spotify as a case example. By employing Zygmunt Bauman’s concept of Liquid Modernity as a way to comprehend contemporary society in an encounter with Bruno Latour’s Actor-Network Theory (ANT) I will show how and in what ways accessed music streaming indeed are an networked actor of a liquid nature. The presentation will focus one main part of my forthcoming thesis Liquid Music Streaming, namely the actor – the Spotify streaming service. According to the ANT analysis, the feature of music streaming needs a number of networked actors in order to act as a music-streaming actor. Foremost music streaming needs an actor e.g. a company that can create a practice of musicking. The analysis of the Spotify Company and its service shows in summary how the company management structure is agile with autonomous working squads that constantly update the service based on user-generated data. Hence the Spotify music streaming are a runaway object, to use Yrjö Engeström’s terminology, a result of subject’s activity and impossible to master or overview from any single point of lookout. Secondly, music streaming needs the actor of distribution channels to reach its primary final cause – the end-user. Distribution of musical goods, e.g. musical files, are networked by Internet Service Providers (ISP) as well as providers of digital devices, the right holders of music and political jurisdictions. Besides these major actors the service is associated to yet other services and products, developers and public institutions, not to forget the end-user. These entities are not solid and static but constantly changing and reshaping. The conclusion will present the Spotify streaming service as an liquid actor that are inescapably intertwined and dependent on several other liquid actors in order to preform its liquid service of streaming. 
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37.
  • Leijonhufvud, Susanna, 1972- (author)
  • Liquid Streaming : The Spotify Way To Music
  • 2018
  • Doctoral thesis (other academic/artistic)abstract
    • This thesis accounts for the liquid affordances of musicking via streamed music from the perspective of the end-user. The study is particularly analysing the case of Spotify, which has gained an extraordinary prominent position within the Swedish market. The point of departure is that music streaming has emerged in a time where there seems to be an increased space and need for a musical presence in everyday human life. This circumstance is then related to the phenomenon that music has an exceptional position for human beings.Music may affect the human body, empower physical activity as well as regulate moods and feelings. Whatever the musical experience might be, it is affected by previous musical socialisation including formal as well as informal music learning situations. These experiences per se found the base of future musical awareness and advancement. Moreover, as musical involvement, to such a large extent currently are given via streaming, it is most crucial to understand what kind of affordances streaming brings to a lifelong learning and its more or less organized arenas, of music. To investigate music streaming from the user’s point of view, Norman’s concept of affordance has been applied to numerous public sources that in different ways houses the Spotify way to music. Here, the concept of affordance reveals the idea of the user as the user is inscribed in the design. The Spotify software program, materials from Spotify employees, newspaper articles, statistics and reports concerning music streaming have been analysed according to actor-network theory (ANT) situated in, what Bauman regards contemporary society as, an interregnum of liquid time. The thesis initially accounts for the constitution of music streaming as a feature, revealing an intrinsic network of a company with its core of employees, its agile management and playful culture, but also necessary networked actors such as Internet Service Providers, manufactures of digital devices, software algorithms and music formats to mention a few. Economic Maecenas and legislators also constitute the streaming service intertwined with the main players of users and music. This multifaceted picture shows that to comprehend a music streaming actor, its whole network needs to be accounted for as its constitutes the actor. Also, as condition changes, actor changes, why also music streaming, as a feature, changes. Consequently, any music educator at various levels within the society, e.g. public radio, artists, teachers, peers, the user herself, or even the Spotify company need to consider the liquid situation as it has become fundamental for musical experiences and learning through this kind of media. The affordances of musicking are further analysed on the level of the service’s interface, e.g. the visual display of the music service by addressing a multimodal analysis of the social semiotics used to network users to music. This cross-section also shows to be liquid as the service both continuously updates as well as being customised which means that one view is not alike the other. This protean state and the liquid affordances it brings with it needs to be related and responded to by music educators. Finally, the thesis covers the affordance of musicking on behalf of the one who streams. Based on the fact that music is available in a plethora, the central feature of streaming services is to aid and guide users to music. In this realm, intelligent algorithms have started to be employed as cicerone. Algorithmic cicerone based on usergenerated data blend humans and machines into a hybrid lifeform when musicking. User-generated data is currently being refined via an increased human embodiment by the Internet of Things starting to close up on the one who streams. Technological embodiment of the human is starting to increase to also embrace a sensuous embodiment of the musicking human. A detected human heartbeat can consequently co-constitute musical recommendation for the streamer, a recommendation that in turn can affect the heartbeat. This evolution calls for a turn toward a renewed coalition between music and human. Music streaming has the affordances to constitute an advent of something newborn - a musical cyborg.
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38.
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39.
  • Leijonhufvud, Susanna, 1972- (author)
  • Mazurkor till Harg och folkmusik till Skansen
  • 2021
  • Conference paper (other academic/artistic)abstract
    • Strax före förra sekelskiftet utkommer Karl Peter Leffler med en skrift om nyckelharpospelet på Skansen. I skriften tecknas två utförliga porträtt av spelmännen Johan Edlund och Jonas Skoglund, båda tillresta från Uppland enkom för denna uppgift. Institutionen Skansen, som växer fram under Artur Hazelius försorg, etablerar sig under denna nationalromantiska era genom att samla folklig kultur från riket och visa upp det svenska. Föreliggande forskningsprojekt fokuserar på en av dessa två spelmän, Johan Edlund, nybyggare på torpet Sundhagen vid Stockby i Hargs socken, Uppland. Projektet, som är pågående, försöker kartlägga Johans liv och leverne och vad som ligger bakom att han finns på Skansen 1896 och då beskrivs som en framstående spelman, en representant för den genuina folkkulturen. Vilka andra uppländska spelmän fanns att spela med och lära av i gårdarna och byarna kring Sundhagen? Hur ter sig musiklivet för de som bor på denna plats vid denna tid? Vilka tillfällen, spelplatser och sammanhang fanns att spela på och med vilka? Den bild som börjar växa fram kring denna spelman visar bland annat att det inte bara är Uppland som levererar musik till Stockholm – musikaliska influenser reser även i motsatt riktning. Brukspatronerna vid Hargs bruk vistas, med familj, i huvudstaden under vinterhalvåret där de njuter av musikaliska salonger såväl som stadens operaföreställningar. De återvänder till bruket under vår- och sommarmånaderna där fester och middagar med sällskapsdanser erbjuder traktens spelmän att spela. Vid dessa begivenheter verkar spelmännen utvidga sin repertoar med brukspatronens nyheter hämtade från stadens societetsliv. Fram växer en bild av ett givande och tagande, inte bara mellan stad och land utan även musikgenres emellan.
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40.
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41.
  • Leijonhufvud, Susanna, et al. (author)
  • Music as Art – Art as Being – Being as Music : A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking
  • 2015
  • In: Philosophy of Music Education Challenged: Heideggerian Inspirations. - Dordrecht : Springer Netherlands. - 9789401793186 - 9789401793193 ; , s. 113-128
  • Book chapter (peer-reviewed)abstract
    • Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music possesses the power to strike us and hence throw us into Being. The chapter communicates an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. The chapter presents an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. To structure the philosophical investigation two lines were drawn; one investigating Art as an opener to Being and the other line investigating the inescapable nexus of how the Artist makes the Work of Art simultaneously as the Work of Art makes the Artist. The results show that there is an overrepresentation of phenomena connected to what Heidegger refers to as Earth and an underrepresentation of what he refers to as World. According to Heidegger, the phenomenon of art will not reveal itself unless both Earth and World are present, connected to each other through strife; a state of tension where Being comes forth. Being, in the Heideggerian sense, has the power to change history and hence constitute history on both a collective and an individual level. Although not explicitly stated in the music syllabus, our results suggest that there are possibilities for art as Being to be expressed in the subject of music.
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42.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Music as Art – Art as Being – Being as Music : A Philosophical Investigation into How Music Education Can Embrace a Work of Art Based on Heidegger’s Thinking
  • 2015
  • In: Philosophy of music education challenged. - New York : Springer-Verlag New York. - 9789401793186 - 9789401793193 ; , s. 113-128
  • Book chapter (peer-reviewed)abstract
    • Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music possesses the power to strike us and hence throw us into Being. The chapter communicates an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. The chapter presents an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. To structure the philosophical investigation two lines were drawn; one investigating Art as an opener to Being and the other line investigating the inescapable nexus of how the Artist makes the Work of Art simultaneously as the Work of Art makes the Artist. The results show that there is an overrepresentation of phenomena connected to what Heidegger refers to as Earth and an underrepresentation of what he refers to as World. According to Heidegger, the phenomenon of art will not reveal itself unless both Earth and World are present, connected to each other throughstrife; a state of tension where Being comes forth. Being, in the Heideggerian sense, has the power to change history and hence constitute history on both a collective and an individual level. Although not explicitly stated in the music syllabus, our results suggest that there are possibilities for art as Being to be expressed in the subject of music.
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43.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Music as Art – Art as Being – Being as Music : A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking
  • 2011
  • In: RIME. - Exeter : School of LIfelong Learning.
  • Conference paper (peer-reviewed)abstract
    • The paper presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking generates for music educational practice. As Heidegger tries to capture truth within the concept of Art he passes through his thinking of the essences of Art as well as his constant thinking about Being. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those issues to the Swedish national syllabuses for the subject Music. For educators within an artistic domain, the reasoning is highly interesting to investigate further. The paper will focus and discuss Art, the way Heidegger describes it, as it can exist within music and further music education. Heidegger’s examples of art in painting, architecture, poetry, and musical composition is extended with examples within music educational practise. How can we relate to Music as Art with the same distinctions as Heidegger presents to us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the World (Welt) and in that sense, Art as the Making of History.The paper will present a way of understanding The Origin of the Work of Art and its connections to music educational practice. This will lead us to the question of how educators can or should be aware of the origin of the artist, the origin of the work of art and most crucial the origin of art itself when teaching. Heidegger’s thinking also provides an interesting line of reasoning about the relations between artist, listener and the work of art. A crucial battery of questions, that evokes from Heidegger’s thinking, is how school and educators can position themselves as being an unquestionable part of the origin of the Artist as well as the origin of the Work of Art within Music Education.
  •  
44.
  • Leijonhufvud, Susanna, 1972- (author)
  • Musical cyborg – the human–non-human offspring within music streaming
  • 2016
  • In: Musikliv i snabb förändring – hur förändras forskningen?.
  • Conference paper (peer-reviewed)abstract
    • The musical cyborg is the hybrid life form between the musicking human and smart algorithms that inhabits streaming services of music. The neologism derives from Donna Haraway’s cyborg but instead of accounting for technological elements built into the human body the musical cyborg is a hybrid between software code in the shape of algorithms and the human autonomic nervous system which regulates emotions, moods, heartbeats, breathing, and body temperature.Music streaming services offers a plethora of available music. The amount of musical content is no longer at stake; rather it is the selection of that content aligned with a constant need to find “new” music within the plethora. Therefore, by necessity music needs to be tailored for us in one way or the other. Music streaming companies such as Spotify has since its launch into the Internet focused on these particular issues making social suggestions from peers, the ability “to follow” peers within the Spotify community, recommended playlists etc. as different entrances toward selection and suggestions of music. As a Spotify user it is possible to select or ignore recommendations with a simple screen touch. So far the user have been active on a rather high cognitive level in making decisions like this. However this is about to change.Quite recently Spotify launched its ‘running app’ an application on the smart phone that can detect the tempo of running and use that input to tweak the tempo of a certain piece of music, which in turn is used by the runner to enforce the running. The whole arrangement shows a looped activity where it is rather difficult to identify and isolate a prompt to the course of events. We know from earlier research within musicology and adjacent research areas that humans uses music for all sorts of purposes for diverse activities like leisure, focus or even therapy. If we add to that the emerging development of Internet of Things (IoT) which conveniently emerges in our everyday life and embraces us like the tempo detectors in our smart phones, the pulse meters on our wrists, smart fabrics detecting body temperature, smart car seats reading pressure points of our backs, screens reading our facial expressions and so on, we are facing a new dawn where the physical input to the digital systems are almost automatic even though the input stems from the human herself.Whilst studying Spotify as a case example of a music streaming service and combining this with a screening of the inventions of ICT I have come to this conclusion that music can serve as a role model for how the cyborg can bring us closer to humanity than ever before. The modern negotiation represented by Marx, Adorno, and Benjamin where man shall differ himself from he machine. The mission of the humanities, which where music belongs to, have been to offer an alternative to a technological reproduction, affording emancipation and refinement for the human being. I suggest a different reading of contemporary technology in the realm of digitalisation. The originating digital cyborg can actually offer a deepened understanding of what it means to be human and discover our human potential, not in contrast to the machine but on the contrary on behalf of being cyborg in an intertwined relationship between humans and non-humans (i.e. the machine). The musical cyborg is not the end of the modern project where humans cease into the belonging to the machine, instead the cyborg constitute a new beginning post the modern. As it need the human input in order to operate and act. This is an act of Action – the beginning of something new – a musical advent – to quote Hannah Arendt’s biblical words “for unto us a child is born” – I suggest that that child is to be a Musical Cyborg.       
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45.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Musikarvets digitalisering : Panelsamtal kring utmaningar och möjligheter för samtida och framtida musikforskning
  • 2020
  • In: Musikforskning idag 2020. - Lund.
  • Conference paper (pop. science, debate, etc.)abstract
    • Inom musikforskning används av tradition källmaterial som inspelningar, noter och textdokument i tryck så väl som handskrift. Denna typ av källmaterial utkommer numer många gånger i digitalt format (så kallat born-digital eller ”digitalt fött” material) Det är även så att äldre icke digitala källor digitaliseras. Digitalisering uppfattas ofta vara ett sätt att rädda äldre och skört material från tidens tand. Digitaliseringen kan leda till ökande möjligheter för forskaren vad gäller till exempel åtkomst och spridning. Men samtidigt kan den också leda till utmanande begränsningar i fråga om till exempel krav på teknisk utrustning och kompetens i digital literacy. Centrala teman i en diskussion om born-digital och digitaliserat källmaterial är bevarande, tillgänglighet, sökbarhet och kvantitet så väl som kvalitativt innehåll. På ett rent organisatoriskt plan innebär dessutom digitalisering och tillgång till digitalt material många gånger en hybridisering mellan traditionella kulturarvsbevarande samhällsinstitutioner och privata kommersiella aktörer, eftersom arkiv och bibliotek inte sällan köper in programvara och databaser från privata företag. Förutom dessa tämligen konkreta problemområden kan användningen av digitalt material i vetenskaplig forskning även lyftas till en abstraktionsnivå. Det handlar om forskningens nav och vetenskapens kärna: Vilka möjligheter och begränsningar för forskning erbjuder det digitala paradigmet?, Vad är att betrakta som forskning då källmaterialet är flytande och föränderligt?, Vilka krav behöver vi som forskare ställa på vetenskaplighet i detta paradigm?
  •  
46.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Musikarvets digitalisering : Panelsamtal kring utmaningar och möjligheter för samtida och framtida musikforskning
  • 2021
  • Conference paper (pop. science, debate, etc.)abstract
    • Inom musikforskning används av tradition källmaterial som inspelningar, noter och textdokument i tryck så väl som handskrift. Denna typ av källmaterial utkommer numer många gånger i digitalt format (så kallat born-digital eller ”digitalt fött” material) Det är även så att äldre icke digitala källor digitaliseras. Digitalisering uppfattas ofta vara ett sätt att rädda äldre och skört material från tidens tand. Digitaliseringen kan leda till ökande möjligheter för forskaren vad gäller till exempel åtkomst och spridning. Men samtidigt kan den också leda till utmanande begränsningar i fråga om till exempel krav på teknisk utrustning och kompetens i digital literacy. Centrala teman i en diskussion om born-digital och digitaliserat källmaterial är bevarande, tillgänglighet, sökbarhet och kvantitet så väl som materialets kvalitativa innehåll.På ett rent organisatoriskt plan innebär dessutom digitalisering och tillgång till digitalt material många gånger en hybridisering mellan traditionella kulturarvsbevarande samhällsinstitutioner och privata kommersiella aktörer, eftersom arkiv och bibliotek inte sällan köper in programvara och databaser från privata företag.Förutom dessa tämligen konkreta problemområden kan användningen av digitalt material i vetenskaplig forskning även lyftas till en abstraktionsnivå. Det handlar om forskningens nav och vetenskapens kärna: Vilka möjligheter och begränsningar för forskning erbjuder det digitala paradigmet? Vad är att betrakta som forskning då källmaterialet är flytande och föränderligt? Vilka krav behöver vi som forskare ställa på vetenskaplighet i detta paradigm?
  •  
47.
  • Leijonhufvud, Susanna, et al. (author)
  • On the developing of a Swedish national assessment support in music : context, commission, design, and possible outcome
  • 2013
  • Conference paper (peer-reviewed)abstract
    • Sweden has adopted the principles of New Public Management by creating an educational market where private and public providers compete to attract school children and where the government is increasing its efforts to measure output and audit the providers. However, Sweden goes against the flow by emphasizing subject specific knowledge and skills instead of key competences. In an attempt to further natonal equivalence when it comes to education, assessment and marking, the Swedish National Agency for Education is issuing supporting kits in different subjects. We have been responsible for the design and production of the supporting kit in music for primary and lower secondary education. In this presentation, we will place this didactical material in a historical context, describe the process from commission to publication and discuss some of the considerations that have guided our work.
  •  
48.
  • Leijonhufvud, Susanna, 1972- (author)
  • Researching Music Streaming by Using Liquid Sources
  • 2019
  • In: Musikforskning idag 2019. - : Svenska samfundet för musikforskning. ; , s. 30-30
  • Conference paper (peer-reviewed)abstract
    • Music streaming has colonised the market of recorded music. Recordings of music are transformed from traditional physical artefacts into numerous digital formats, which consequently implies different affordances of how the sound of the music may be mediated. Such digital formats keep evolving which means that how a particular recording sound is a rather undefinable matter over time. Also, cloud storage is replacing traditional archives of recorded music. This entails that sources can be swapped with new versions or taken out of the collections leaving little or no traces behind that it was there before. This digital milieu does, by these features, offer new challenges for research. This paper will present experiences and insights from the method used in my dissertation Liquid Streaming – the Spotify Way To Music where the affordances of musicking brought about by streamed music with the case example of Spotify was explored. For this purpose, digital sources like the Spotify program and sources found on the Internet were used as empirical grounds. The presentation will focus on issues concerning those two major roots by problematizing and conclude how it is possible to use agile software, like the Spotify streaming service program, as well as the Internet as sources of research. One major conclusion from this work is that liquid sources need to be saved as copies and followed longitudinally. My research also showed that sources changed content over time, updated, disappeared, change its resolution e.g. quality. In retrospect, it is clear how digital sources such as programs and sources on the Internet need to be problematized as sources for research in order to bring about trustworthiness to the research.
  •  
49.
  • Leijonhufvud, Susanna, 1972-, et al. (author)
  • Researching Transformative Technology and its Affordance for Students within Higher Music Education
  • 2019
  • In: Musikforskning idag 2019. - : Svenska samfundet för musikforskning. ; , s. 31-31
  • Conference paper (peer-reviewed)abstract
    • Since the autumn 2018 a research project concerning Transformative Technology (TT) for the increase of wellbeing and the reduction of mental dissonance has been launched at the School of Music in Piteå. Seed money has enabled a pilot project where students within higher music education can use different types of TT. This poster will show the different types of TT used in the pilot project and some preliminary result from the user experiences. The technology in use are (i) the Heart Rate Variability (HRV) sensors and Heart Math application, (ii) the Muse headband and meditation app, (iii) the Soma Mat and Breathing Light developed at SICS and KTH, as well as the (iv) ARK-crystal developed at the Torus Tech lab. The purpose of the pilot study is to investigate how students respond to different kinds of sensors and actuators used in this TT and most importantly how the students find the technology transformable in regard to amplifying their well-being, empowering and refining their aesthetic resonance and diminishing stress and anxiety blocking them in their musical performance and development.
  •  
50.
  • Leijonhufvud, Susanna, 1972- (author)
  • Sammusicerande på distans med Avancerad medieteknik
  • 2019
  • In: <em>Vad är livemusik idag och vart är den på väg? </em> <em> </em>.
  • Conference paper (other academic/artistic)abstract
    • Hösten 2019 har ett projekt startat upp där Stockholms Musikpedagogiska Institut (SMI) har anslutit sig till arbetet med avancerad medieteknik, genom sammanslutningen NCDP, som verktyg vid sammusicerande över långa distanser. Susanna kommer att presentera deltagande aktörer i detta projekt; upphovsmännen Mats Erixon och Mårten Frojdo och NCDPs etablering i norden. Därefter presenteras även initiativtagaren Ian Plaude, rektor på SMI, som har knutit tekniken till SMI som första musikpedagogiska institution. Tanken med projektet är att lärare och elever vid SMI skall vara med och utveckla teknikens musikpedagogiska utmaningar för ett sammusicerande där tekniken smälter in och försvinner i det musikaliska sammanhanget. Tanken är här att Sveriges kommuner skulle kunna investera i tekniken för att på så sätt kunna erbjuda elever en musikutbildning även på geografiska orter där lärarkompetens saknas. De frågeställningar som fokuseras ur ett musikpedagogiskt perspektiv är:-      Vilka är de tekniska utmaningarna för att tekniken ska smälta in i ett musikaliskt sammusicerande?-      Vilka ekonomiska och praktiska möjligheter och begränsningar finns för att tekniken ska kunna verka för ett ökat musicerande även för individer utanför de större städerna?
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