| 1. |
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| 2. |
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| 3. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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| 4. |
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| 5. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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Co-created staging : situating installations
- 2011
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Ingår i: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival. - Copenhagen.
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Konferensbidrag (refereegranskat)abstract
- Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.
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| 6. |
- Gunve, Fredric, et al.
(författare)
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Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
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Ingår i: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This paper performs a dialogue/an encounter between Madness (or the false mad Demidamia from the opera La Finta Pazza performed in Venice in 1641) and the Bastard (the illegitimate love child of arts, performance and education). Entangled they move through time, talking, confronting, shaping and diffracting a non‐existing form. Their method is about diffracting every inch of their journey. Meeting obstacles, facing resistance, walking into bubbles of flair and comfort, stepping into dilemmas and borderlands. Continuously asking themselves: What happens in the microscopic moment? When no/thing could even be imagined. On their way they challenge both time and existence. Learning through teaching through learning. Their journey is an ornamenting becoming in itself. It is an example of mattering as in meaning-‐making and knowledge processing, based on a performance of the indeterminable and affinity. The outcome in the performative encounter in itself – a potential model for teaching and learning in higher arts education.
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| 7. |
- Belgrano, Elisabeth, 1970
(författare)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 8. |
- Kular, Onkar, et al.
(författare)
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Bass Cultures: How Low Can You Go!
- 2023
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Ingår i: Falkenbergs teater, Smedjan & Art Inside Out, Halland.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this two day sonic festival we were supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event hosted film screenings, workshops, talks, commissioned essays and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The festival was organised by Right to design which is a practice-based platform run by Onkar Kular and Henric Benesch and through their artist-in-residency with Art Inside Out, Halland, Sweden.
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| 9. |
- Kular, Onkar, et al.
(författare)
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Bass cultures: How Low Can You Go!
- 2023
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Ingår i: Art Inside Out Journal: Den allmäna designbyrån, NR 16. ; , s. 16-29
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
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| 10. |
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| 11. |
- Åshede, Linnea, 1987, et al.
(författare)
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Cassandra's Plight: Gender, Genre, and Historical Concepts of Femininity in Goth and Power Metal
- 2019
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Ingår i: Classical Antiquity in Heavy Metal Music / edited by K. F. B. Fletcher and Osman Umurhan.. - London : Bloomsbury Academic. - 9781350075351 ; , s. 97-114
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Bokkapitel (refereegranskat)abstract
- The authors focus on the trope of powerful historical feminities in two subgenres of heavy metal: goth and power metal. Through the case study of Cassandra - cursed by Apollo with perfect prophecies that nobody believes - the authors discuss how 20th century metal bands employ classical imagery to critique heterosexual power-relations, or look beyond gender to access the universal human conditions.
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| 12. |
- Andersson, Anders-Petter, 1969-, et al.
(författare)
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Musical interaction for health improvement
- 2014
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Ingår i: Oxford handbook of interactive audio. - Oxford : Oxford University Press. - 9780199797226 ; , s. 247-262
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Bokkapitel (refereegranskat)abstract
- During the past decade, tangible sensor technologies have matured and become less expensive and easier to use, leading to an explosion of innovative musical designs within video games, smartphone applications, and interactive art installations. Interactive audio has become an important design quality in commercially successful games like Guitar Hero , and a range of mobile phone applications motivating people to interact, play, dance, and collaborate with music. Parallel to the game, phone, and art scenes, an area of music and health research has grown, showing the positive results of using music to promote health and wellbeing in everyday situations and for a broad range of people, from children and elderly to people with psychological and physiological disabilities. Both quantitative medical and ecological humanistic research show that interaction with music can improve health, through music’s ability to evoke feelings, motivate people to interact, master, and cope with difficult situations, create social relations and experience shared meaning. Only recently, however, the music and health field has started to take interest in interactive audio, based on computer-mediated technologies’ potential for health improvement. Here, we show the potential of using interactive audio in what we call interactive musicking in the computer-based interactive environment Wave. Interactive musicking is based on musicologist Christopher Small’s concept “musicking”, meaning any form of relation-building that occurs between people, and people and things, related to activities that include music. For instance, musicking includes dancing, listening, and playing with music (in professional contexts and in amateur, everyday contexts). We have adapted the concept of "musicking" on the design of computer-based musical devices. The context for this chapter is the research project RHYME. RHYME is a multidisciplinary collaboration between the Centre for Music and Health at the Norwegian Academy of Music, the Oslo School of Architecture and Design (AHO), and Informatics at the University of Oslo. Our target group is families with children with severe disabilities. Our goal is to improve health and wellbeing in the families through everyday musicking activities in interactive environments. Our research approach is to use knowledge from music and health research, musical composition and improvisation, musical action research, musicology, music sociology, and soundscape studies, when designing the tangible interactive environments. Our focus here is interaction design and composition strategies, following research-by-design methodology, creating interactive musicking environments. We describe the research and design of the interactive musicking environment Wave, based on video documentation, during a sequence of actions. Our findings suggest some interactive audio design strategies to improve health. We base the design strategies on musical actions performed while playing an instrument, such as impulsive or iterative hitting, or sustainable stroking of an instrument. Musical actions like these can also be used for musicking in everyday contexts, creating direct sound responses to evoke feelings that create expectations and confirm interactions. In opposition to a more control-oriented, instrument and interface perspective, we argue that musical variation and narrative models can be used to design interactive audio, where the audio is seen as an actor taking many different roles, as instrument, co-musician, toy, etc. In this way, the audio and the interactive musicking environments will change over time, answering with direct response, as well as nose-thumbing and changing response, motivating creation, play, and social interaction. Musical variation can also be used to design musical backgrounds and soundscapes that can be used for creating layers of ambience. These models create a safe environment and contribute to shared meaning.
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| 13. |
- Andersson, Anders-Petter, 1969-
(författare)
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"Shoot ’em up -musik" : om musikaliska strukturer för interaktivt berättande i tevespelet Rez
- 2003
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Ingår i: NM/T Nutida Musik/Tritonus. - 0029-6597. ; :2, s. 26-30
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.
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| 14. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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| 15. |
- Rosengren, Cecilia, 1962, et al.
(författare)
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Inledning: Den kontroversiella barocken
- 2020
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Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 16. |
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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| 17. |
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| 18. |
- Olsson, Dan, 1963
(författare)
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Jeanna Åkerman
- 2016
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Ingår i: Levande Musikarv.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 19. |
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Barnet i kulturen
- 2020
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Ingår i: Barnläkaren. - 1651-0534. ; :5, s. 1-32
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Annan publikation (övrigt vetenskapligt/konstnärligt)
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| 20. |
- Tatlow, Mark, 1955
(författare)
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Arias for a Voiceless Singer: What Can They Teach Us about Eighteenth-Century Opera?
- 2023
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Ingår i: International Conference organised by Divino Sospiro (Centro de Estudos Musicais Setecentistas de Portugal), at Queluz National Palace: Historically Informed Performance.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper introduces my ongoing joint collaboration with Magnus Tessing Schneider on a vocal-score edition of fourteen of Luigi Bassi’s arias by other composers than Mozart. Covering the period 1780–1820, nine of the arias were specifically written for the singer by such little-known composers as Pietro Morandi, Angelo Tarchi, Peter Winter, Giovanni Liverati, Johann Joseph Rösler, and Francesco Morlacchi, while five of them come from some of his most popular roles in operas by Giovanni Paisiello, Antonio Salieri, Joseph Weigl, and Ferdinando Paer. As the common denominator in the aria collection, and as a singer whose voice was, somewhat paradoxically, not his most important calling card, Bassi provides an instructive example of how these arias may have been adapted in order to reach an audience. Together, the arias document what might be called Bassi’s ‘dramatic profile:' his preferred aria types as well as the types of characters, emotions, and dramatic situations that he excelled at portraying. I suggest that in reviving these arias today, performers are not always well-served by the 'urtext' culture that grew up in the twentieth century, largely in the service of the music of so-called ‘master composers’. Their scores often contain sufficient information for the needs of today’s performers, many of whom follow relatively recently established and successful codes of performance. But for the arias of lesser-known composers, the challenge lies in assessing what kind of performative flexibilities may have been applied by Bassi and harnessing them to reach an audiences today. I provide examples of how far performers may need to deviate from composers’ scores to achieve this aim and demonstrate that this is one way of developing the practices of historically informed performance. This is to use Bassi's unusual vocal profile as a stimulus for both historical speculation and practical experimentation.
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| 21. |
- Belgrano, Elisabeth, 1970
(författare)
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Understanding the singing self in performance of laments and madscenes in Italian and French 17th century opera.
- 2009
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Ingår i: EUFRAD (European Forum for Research Degrees in Arts and Design, 4-6 september 2009, Glasgow School of Art, Glasgow, UK.
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Konferensbidrag (refereegranskat)abstract
- This is an interdisciplinary study departing from vocal practice-based research in Baroque opera performance. The aim is to better understand minds and emotions of women performers during the 17th century with reference to 21 century performance practice, while exploring new possibilities of performing vocal music from the Baroque era.
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| 22. |
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| 23. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Reimagining the research archive: a dialogue
- 2016
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Ingår i: Dream-playing across borders: accessing the non-texts of Strindberg’s A dream play in Düsseldorf 1915–18 and beyond / Astrid von Rosen (ed.). - Göteborg : Makadam. - 9789170612329 ; , s. 279-298
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Bokkapitel (refereegranskat)abstract
- The book concludes with dialogue between the participants about the reimagined research archive that has grown out of the project.
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| 24. |
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| 25. |
- Brosius, Christiane, et al.
(författare)
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Out of Space
- 2019
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Ingår i: Seismograf. - 2245-4705. ; 21
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- An academic journal is a special place – even more so an online journal. On the one hand, it is surely one of the main stages of professional qualification, presentation and academic discourse, though regulated through its gatekeeping structures of peer review, official invitation, of academic critique and corrections: it represents an open and accessible, yet not unregulated public space in the best way thinkable. On the other hand, the individual articles in an academic journal can delve into the most remote, often forgotten, if not illegitimate, informal or ephemeral and intangible issues and practices.This Seismograf Fokus differs from our previous as it presents material in collaboration with the special issue Out of Space of the international journal in historical anthropology Paragrana. It was conceived, written, edited and produced from a wide array of physical locations on this planet; besides the research locations of the individual articles that comes from Kathmandu or Hong Kong as well as Braunschweig or Berlin, the editorial work was done in Nepal, Australia, Germany and Denmark.
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| 26. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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Expanding the role of the instrument
- 2011
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Ingår i: Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway. - Oslo. ; , s. 511-514
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Konferensbidrag (refereegranskat)abstract
- The traditional role of the musical instrument is to be the working tool of the professional musician. On the instrument the musician performs music for the audience to listen to. In this paper we present an interactive installation, where we expand the role of the instrument to motivate musicking and co-creation between diverse users. We have made an open installation, where users can perform a variety of actions in several situations. By using the abilities of the computer, we have made an installation which can be interpreted to have many roles. It can both be an instrument, a co-musician, a communication partner, a toy, a meeting place and an ambient musical landscape. The users can dynamically shift between roles, based on their abilities, knowledge and motivation.
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| 27. |
- Hedling, Olof, et al.
(författare)
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Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
- 2008
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Ingår i: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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| 28. |
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| 29. |
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Innovation in Music : Technology and Creativity
- 2024
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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| 30. |
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Innovation in Music : Cultures and Contexts.
- 2024. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Innovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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| 31. |
- Karlsson, Katarina A., 1958
(författare)
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The Golden Age of Drugs : Englands guldålder - droger
- 2014
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Ingår i: Sveriges Radio 2014-12-14. - Göteborg : Sveriges Radio.
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Jakob den förste och konsten att supa sig redlös. I program nummer två, “Drugs”, handlar det om medicin, kvacksalveri och alkohol. Förmodligen var de flesta människor mer eller mindre konstant berusade under Shakespeares tid och den som spelar Shakespeares dramer måste vara beredd att spela full på scen. Operasångaren Anders Lorentzon visar hur det går till. Den rakitiskrumme Jakob I lärde sig konsten att supa skallen av Kristian IV av Danmark. Sir John Harrington var närvarande vid det kungliga besöket och skrev ned sina intryck. Åderlåtning, kräkmedel och laxermedel var de vanligaste medicinerna. Mindre obehagligt, kladdigt och smärtsamt var musik som medicin. Och kanske mer verksamt? På GOArt, Göteborgs orgelcentrum, byggs både instrument och forskas i hur den kan ha spelats. Vi besöker orgelforskaren Joel Speerstra i GOArts bibliotek där han både förevisar sitt nybyggda dubbelklavikord och berättar om 1600-talets medicinska fundament; humoralpatologin. Enligt den måste de fyra vätskorna gul galla, svart galla, blod och slem balanseras för att en människa skall vara frisk och detta kan göras genom att ta ett bad i musik. I programmet hörs 1500- och 1600-tals musik från England och Tyskland samt Trevor Morris’ musik till tv-serien The Tudors. Medverkande: professor i engelsk renässanslitteratur David Lindley, orgelforskare Joel Speerstra, operasångare Anders Lorentzon. Uppläsare är Dan Berglund och Torben Kulin. Producent och programmakare Katarina A Karlsson, ljudtekniker Karin Blomqvist.
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| 32. |
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Norden i Europa: Rörelse, resor, föreställningar 1945-2014
- 2015
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Genom historien har skilda föreställningar om Norden skapats och uttryckts i olika delar av Europa. De har påverkat beskrivningarna av både Europa och Norden som specifika kulturella rum, och de har bidragit till att politiska, ekonomiska och filosofiska intressen och värderingar kopplats till bestämda geografiska områden. Det finns därför en spännande mångtydighet i själva begreppet Norden, och denna mångtydighet vill bokens olika artiklar belysa. Norden ses här omväxlande som en rent politisk enhet, en geografisk plats, ett kulturellt rum, och ett inre tillstånd. Genomgående fungerar Norden dock som en projektionsyta för strömningar och föreställningar, ofta positiva sådana, varför det också utgör ett mål för drömmar och resor. Men vi finner även en rörelse mot en mörkare och mer kritisk Nordenbild som löper som en röd tråd genom flera av bidragen.
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| 33. |
- Olsson, Dan, 1963
(författare)
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Johanna (Jeanna) Elisabeth Åkerman
- 2020
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Ingår i: Svenskt kvinnobiografiskt lexikon. - Göteborgs : Göteborgs universitet. - 9789163975943
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 34. |
- Zandén, Olle, 1956-
(författare)
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Samtal om samspel. Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this thesis is to analyse music teachers’ collegiate discourses on ensemble playing with regard to dialogically expressed criteria and conceptions of quality, and to relate these criteria and conceptions to the national governing documents for upper secondary ensemble education. The study has two theoretical perspectives, that is, a didactical perspective and a dialogical perspective. The research setting as well as the research questions are clearly didactical, whilst dialogical theory is used both as a foundation for the research method and as an ontology against which the findings are interpreted. Topic analysis, which is based on a dialogical theory of sense-making according to which meaning is constituted in a double dialogical process between interactants, situation and socio-cultural traditions is the method used. Four groups of music teachers have discussed video excerpts of popular music ensembles from ensemble classes, and these discussions have been analysed with respect to topics displaying conceptions of musical and didactical quality. Topics are created through communicative projects, in which two or more people display a mutual understanding of what they are talking about. Thus, all conceptions of quality elicited from the participant groups of ensemble teachers are the result of intersubjective sense-making. The results show that the ideal of informal music-making is so strong that the groups describe teacher intervention as detrimental to musical progress. Very little is said about the sounding music, whereas physical expressivity, autonomy and joy of playing are prominent topics. The apparent lack of music-specific, “contextual” criteria and the low valuation of the teachers’ work are discussed as possible threats to the existence of music as a subject in the national curriculum.
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| 35. |
- Bergman, Åsa, 1972, et al.
(författare)
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Specific projects or gender mainstreaming? Discourses within a Swedish culture organisation with an outspoken gender-equality ambition
- 2018
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Ingår i: Music and Gender in Balance, 5-6 April, Tromsø.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The lack of female representation in various music practices has attracted attention in research since the 1970s (Bayton 1989, Whitely 2000, Leonard 2007). In this presentation, based on a study of a culture organisation with an outspoken gender-equality ambition, focus is directed towards what ideas on music, gender, feminism and equality are articulated by different actors within the organisation. The preliminary result shows a negotiation taking place regarding what activities should be organised in relation to the stated ambition. While some actors promote specific gender-equality projects, others advocate that all music activities be permeated by a gender-equality perspective, and while some actors propose that gender equality should be considered in relation to a broader diversity work, others point to the risk that gender issues might be neglected when several equality aspects are lumped together.
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| 36. |
- Billing, Björn, 1965
(författare)
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Spännande vandring i musikens rum
- 1995
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Ingår i: Göteborgsposten. ; 1995:11 september
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Rec av Catharina Dyrssen, Musikens rum (avhandling)
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| 37. |
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| 38. |
- Cappelen, Birgitta, et al.
(författare)
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Co-created staging : situating installations
- 2011
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.
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| 39. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Spotify as a case of musical Bildung
- 2021
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
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| 40. |
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Grief : Sonic Expressions of loss, pain, and sadness
- 2023
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Ingår i: Seismograf. - 2245-4705. ; :29
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Annan publikation (refereegranskat)abstract
- This special issue has invited scholars to reflect upon the theme of »grief« in the format of an audio paper. This format, we thought, would offer authors a possibility to present their research in sound, in a way that gives the theme of grief the opportunity to be heard firsthand, not only described in text.
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| 41. |
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| 42. |
- Munthe, Christian, 1962
(författare)
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Who is the player?
- 2022
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Ingår i: In: Gustafsson, M & Lugo, T (2022). VERTICAL. Baltimore, MD: Superpang records. [Vinyl album phonogram]. - Baltimore, MD : Superpang records.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Linear notes to a vinyl LP music album, reflecting on the role of AI's in improvised music.
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| 43. |
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| 44. |
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| 45. |
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| 46. |
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| 47. |
- Andersson, Anders-Petter
(författare)
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Interactive Music Composition
- 2012
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Doktorsavhandling (populärvet., debatt m.m.)abstract
- This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.
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| 48. |
- Andersson, Anders-Petter, et al.
(författare)
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Vocal and tangible technology for music and health
- 2013
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Our voice and body are important parts of our self-expression and self-experience. They are also essential for our way to communicate and build relations cross borders like abilities, ages, locations, backgrounds and cultures. Voice and tangibility gradually become more important when developing new music technology for the Music Therapy and the Music and Health fields, due to new technology possibilities that have recently arisen. For example smartphones, computer games and networked, social media services like Skype. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project. The goal is to improve health for families, adults and children with severe disabilities through use of collaborative, musical, tangible sensorial media. We build on use of voice in Music Therapy and studies by Lisa Sokolov, Diane Austin, Kenneth Bruscia and Joanne Loewy. Further we build on knowledge from Multi-sensory stimulation and on a humanistic health approach. Our challengeis to design vocal and tangible, sensorially stimulating interactive media, that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross- media techniques, to create rhythms, melodies and harmonic chords to stimulate body- voice connections, positive emotions and structures for actions. The reflections in this paper build on action research methods, video observations and research-by-design methods. We reflect on observations of families and close others with children with severe disabilities, interacting in three vocal and tangible installations.
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| 49. |
- Arvidson, Mats, et al.
(författare)
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Intermedial combinations
- 2022
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Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 106-137
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Bokkapitel (refereegranskat)abstract
- Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.
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| 50. |
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