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  • 1.
    Allan, Jon
    et al.
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    Leijonhufvud, Susanna
    Royal College of Music, Stockholm, Sweden.
    Listener Preferences in Streamed Music2022In: Journal of The Audio Engineering Society, ISSN 1549-4950, Vol. 70, no 3, p. 156-176Article in journal (Refereed)
    Abstract [en]

    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.

  • 2.
    Backlund, Alice
    Luleå University of Technology, Department of Social Sciences, Technology and Arts.
    Localization and panning of musical sources within the context of a musical mix2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In recent years, the research on the localization of audio objects within a stereo context has started to include musical audio objects. This study seeks to explore a research gap: localization ability whilst hearing multiple sounds. This study aims to investigate listeners’ ability to localize panned musical audio objects within a musical context. Subjects listened to two different versions of the same mix and were asked to simultaneously pan musical audio objects with different characteristics. When comparing the results from the different mixes, both mixes gave similar results. Therefore, the differences between the mixes had no impact on localization accuracy. Additionally, this study was able to reconstruct previous findings indicating that localization blur affects localization accuracy of wide-panned audio objects.

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  • 3.
    Bäckman, Mikael
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    How does playing chromatic affect my diatonic playing & vice versa2017Conference paper (Other (popular science, discussion, etc.))
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    Schema workshops
  • 4.
    Bäckman, Mikael
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    The Real McCoy: Tracking the development of Charlie McCoy’s playing style2022In: International Country Music Journal 2022 / [ed] Don Cusic, Nashville,TN: Brackish Publishing , 2022, p. 184-231Chapter in book (Other academic)
  • 5.
    Christophersen, Catharina
    et al.
    Bergen University College, Faculty of Education, Norway.
    Gullberg, Anna-Karin
    Luleå University of Technology, Department of Health, Learning and Technology, Education, Language, and Teaching.
    Popular music education, participation and democracy: Some Nordic perspectives2016In: The Routledge Research Companion to Popular Music Education / [ed] Gareth Smith; Zack Moir; Matt Brennan; Shara Rambarran; Phil Kirkman, Taylor and Francis , 2016, p. 425-437Chapter in book (Other academic)
  • 6.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, Sweden.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Ekberg, Niclas
    Luleå University of Technology, Department of Health, Learning and Technology, Education, Language, and Teaching.
    Spotify as a case of musical Bildung2021In: Nordic Research in Music Education, E-ISSN 2703-8041, Vol. 2, no 1, p. 89-113Article in journal (Refereed)
    Abstract [en]

    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.

  • 7.
    Ferm Almqvist, Cecilia
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre. Södertörns Högskola. Stockholms musikpedagogiska institut.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre. Stockholms Musikpedagogiska Institut (SMI). Kungl. Musikhögskolan (KMH).
    Ekberg, Niclas
    Luleå University of Technology, Department of Arts, Communication and Education, Education, Language, and Teaching.
    Spotify, ett sätt att vara – om musikaliskt blivande och dess förutsättningar2020In: Explorativ bildning i strömmande medier: Spotify som ett case / [ed] Cecilia Ferm Almqvist, Susanna Leijonhufvud, Niclas Ekberg, Huddinge: Södertörns högskola, 2020, 1, p. 115-136Chapter in book (Refereed)
  • 8.
    Hedelin, Fredrik
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Levande musik: Ritornellen och musikens skapande2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Many years of working with electroacoustic music evoke the question in what sense one can talk about life in music. The question does not concern traces of the composer's life in the work, vivifying performances or musical experiences full of life, but rather the life of music itself.In order to find an answer to the question I examine three solo concertos in the light of the philosophy of Deleuze and Guattari. The concertos, for flute, violin and piano respectively, with chamber ensemble, were composed within the frame of the dissertation and emanate from the ritornello form as found in Vivaldi. The ritornello concept is also present in Deleuze and Guattari, especially in the book A Thousand Plateaus, in which it serves as a collector and transformer of forces and connections that affect its surroundings. With the ritornello as a bridge between this philosophy and the music, I undertake a close reading of the three solo concertos with the philosophy as a companion.With the ritornello and other related concepts in Deleuze and Guattari, such as assemblage, chaos, territorializing and deterritorializing, I force my way past the musical structure in order to uncover the creational forces of music. In the flute and the flute concerto it is about establishing a fragile point in chaos; in the violin and the violin concerto all is centred around the ground, the earth and the territory; and in the piano and the piano concerto it is a matter of a single drawn-out leave-taking. These three moments -- entrance, deepening and dissolution -- simultaneously operate at a large number of levels, and together they form a single large ritornello of musical life.Contemplating music and musical instruments through the ritornello gives several new perspectives on the music and the composing, among them a view of instruments as upholders of different aspects of the ritornello, the composer as a preserver of the creational forces of music, and the musical structure as a network of forces and connections.

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  • 9.
    Hogg, Bennett
    et al.
    University of Newcastle.
    Östersjö, Stefan
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Patterns of Ecological and Aesthetic Co-evolution: Tree-guitars, River-violins and the Ecology of Listening2015In: Contemporary Music Review, ISSN 0749-4467, E-ISSN 1477-2256, Vol. 34, no 44, p. 335-349Article in journal (Refereed)
    Abstract [en]

    The move ‘outside’ of the concert hall has repercussions for listening and creative practice beyond simply resituating ‘music’. The building of an environmentally specific instrumentarium draws onin situexploration and cultivation of affordances, but also on the embodied pre-existent knowledge of the artists concerned. A sense of space/place and strategies of listening work together both to situate emergent creative practices within a landscape and to take the affordances of that landscape, the instruments constructed there, and embodied musical experience forward into completed artistic and musical works.

  • 10.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Albert Lindström (1853−1935)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Biografi med verkförteckning över tonsättaren och organisten Albert Lindström (1853–1935). 

  • 11.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Celebrating Lutheran music: Scholarly perspectives at the Quincentenary2020In: Årsbok för svenskt gudstjänstliv, ISSN 0280-9133, Vol. 95, no 1, p. 222-228Article, book review (Other academic)
  • 12.
    Jullander, Sverker
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    "Det finns ej make!": Om Emil Sjögren och orgeln2022In: Emil Sjögren – en vägvisare / [ed] Anders Edling, Erik Wallrup, Möklinta: Gidlunds förlag, 2022, p. 77-101Chapter in book (Other academic)
    Abstract [en]

    The chapter offers a broad picture of the composer Emil Sjögren’s  (1853–1918) lifelong relationship with the organ. It argues that the organ was Sjögren’s main instrument as a performer, although his output of organ music as a composer is relatively small. Sjögren had studied in Berlin with Carl August Haupt (organ) and Friedrich Kiel (composition and counterpoint) and was a noted interpreter of J.S. Bach’s works. In later years, however, his fame as an organist rested exclusively on his improvisations in connection with church services, which were regarded as unique and attracted large audiences. The article includes separate sections on the Stockholm organs from various epochs that Sjögren played, as well as discussions on his main organ compositions, including the three preludes and fugues and Legender, perhaps the first collection of organ pieces in all keys. His influence on the following "Stockholm school" of organist-composers is also briefly outlined. 

  • 13.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Fantasia and Fantasy: Two Homonymic Genres of German Chorale-Based Organ Music2019In: Festschrift for Prof. Kerala J. Snyder / [ed] Johan Norrback, Joel Speerstra and Ralph P. Locke, Göteborg: Göteborgs universitet, 2019Chapter in book (Other academic)
    Abstract [en]

    The chapter deals with chorale-based organ works by German composers from the early 17th century to the late 19th century that have been given the title of fantasia or Fantasie, either by the composer or by later generations. The emphasis is twofold: the use of the term for baroque pieces, including the history of the label “chorale fantasia” for compositions of the north German baroque, and the emergence of the modern (“romantic”) chorale fantasy around the middle of the 19th century. The(im)possibility of a relationship between these two types of chorale-based works is also discussed.

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  • 14.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Gregorianik i Svenska kyrkans mässa 1897–20182019In: Svensk pastoraltidskrift, ISSN 0039-6699, Vol. 61, no 20, p. 590-595Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln ger en överblick över gregorianikens ställning i svensk mässmusik under mer än hundra år ovh blickar även framåt. Är gregorianiken i mässan överspelad? Har den haft sin tid? Med Den svenska mässboken I (1942) kom det stora genombrott för gregoriansk sång i det officiella gudstjänstmaterialet. Med 1986 års handbok var gregorianiken i stort sett intakt, men ganska snart därefter kom kritik mot att gregorianiken dominerade på bekostnad av nyskriven musik eller musik från andra traditioner. Så speglar nya kyrkohandboken den tilltagande pluralismen i Svenska kyrkans liturgiska musik, nykomponerade mässpartier likaväl som gregorianska ordinariepartier.

  • 15.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Gregoriansk sång i evangelisk tidegärd under 100 år2019In: Signum : katolsk orientering om kyrka, kultur, samhälle, ISSN 0347-0423, Vol. 45, no 6, p. 38-43Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln är en kortfattad historik över bruket av gregoriansk sång i tideböner inom Svenska kyrkan från slutet av 1800-talet till våra dagar.

  • 16.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf Carlman (1906–1958)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren, organisten, körledaren och musikpedagogen Gustaf Carlman.

  • 17.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Herman Asplöf2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Biografi med verkförteckning över tonsättaren och organisten Herman Asplöf (1881–1959).

  • 18.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Johann Sebastian Bach’s Clavierübung III: An exercise in musical form and symbolism2019In: Lutherske perspektiver på liturgisk musikk / [ed] Harald Rise, Oslo: Novus Forlag, 2019, p. 141-173Chapter in book (Other academic)
    Abstract [en]

    This chapter discusses some of the different contexts of Clavierübung III, as well as its organization and content. Special attention is given to the title page of the original print and to the question of whether it is justified to describe the collection as an ‘organ mass’, as has often been done. The main purpose is not to present new findings or put forward new hypotheses, but to give an overview of the collection based on the present state of research.

  • 19.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Oscar Blom2015Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Biografi med verkförteckning över tonsättaren och organisten Oscar Blom (1877–1930). 

  • 20.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Otto Olsson (1879–1964)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren, organisten och musikpedagogen Otto Olsson.

  • 21.
    Jullander, Sverker
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    På väg mot en perfekt symbios?: Om gregoriansk sång och svenskspråkig sjungen tidegärd under 1900-talet2021In: Årsbok för svenskt gudstjänstliv, ISSN 0280-9133, Vol. 96, p. 53-96Article in journal (Refereed)
    Abstract [en]

    The study dels with different approaches to the use of Gregorian chant with Swedish texts in the Divine Office, from the 1920s onward, with particular focus on psalmody. In 1924, the clergymen Arthur Adell and Knut Peters published Evangelisk tidegärd, the first modern Swedish-language service order for the Office using exclusively Gregorian melodies. The official Vesperale and Psalterium of 1925, using mainly Gregorian melodies, was severely criticized by Peters, who, together with Adell, sought to establish principles for the use of Swedish texts to Gregorian psalmody.

    How such principles ought to be formulated and applied was discussed intermittently in the following decades. While all prticipants in these debates agreed that using Gregorian chant to Swedish texts entailed special difficulties, opinions on how to handle these problems varied widely, and, especially from the 1980s, it was questioned whether the Swedish language was at all suitable for Gregorian chant. The Laurentius Petri Society, founded by Adell and Peters, maintained that original Gregorian melodies could – and should – be used, whereas the Roman-Catholic diocese in Sweden advocated a modified psalmody, albeit still based on the traditional psalm tones. These differences, reflected in the respective editions, still perist as different ideals and principles, although a converging tendency may be observed in recent years.

  • 22.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Retaining the Fine Bouquet: Otto Olsson’s Use of Plainsong in Organ Music2017In: Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings / [ed] Peter Peitsalo, Sverker Jullander and Markus Kuikka, Helsinki: Sibelius Academy, 2017, p. 209-244Chapter in book (Refereed)
    Abstract [en]

    Otto Olsson (1879–1964), professor of organ at the Conservatory ofthe Royal Academy of Music, Stockholm, and a prolific composer of organ and choral music in particular, was the first – and for a long while, only – Swedish composer to use Gregorian and other medieval church melodies in organ music. Olsson used plainsong material in two collections of short pieces (Gregorianska melodier and Six Pieces on Old Church Songs) as well as in two larger works (Ten Variations on the Dorian Plainsong ‘Ave Maris Stella’ and the second organ symphony, Credo Symphoniacum), all composed between 1910 and 1918. Olsson’s use of plainsong themes, largely unknown in Sweden at the time, can be related to international developments in church music aesthetics originating in the nineteenth century, which saw an increasingly important distinction between sacred and secular music. Both the use of melodies from the Old Church and their musical setting were central to Olsson, whose goal was to create music that could be recognized as ‘church music and nothing else’. Olsson’s settings vary considerably in form and character, ranging from free recitative to strict polyphony, and even attempts to combine the two approaches. The free treatment of the chant melody in the Ave maris stella variations (probably the first of his ‘Gregorian’ works) stands in contrast to the unchanged cantus firmus in the other compositions. In most pieces, text-related musical symbolism is not prominent, the exception being Credo Symphoniacum, in which the composer makes varied use of eight melodies to represent the Christian Creed and the Trinity.

  • 23.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ruben Liljefors (1871–1936)2016Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren och dirigenten Ruben Liljefors.

  • 24.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    "Till gammalkyrkliga texter": Latinet i Otto Olssons kyrkliga vokalmusik2020In: Svensk pastoraltidskrift, ISSN 0039-6699, Vol. 62, no 20, p. 590-596Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln behandlar Otto Olssons (1879–1964) latinskspråkiga kyrkliga vokalmusik. Inledningsvis översikt av annan latinskspråkig svensk kyrkomusik från 1800-talet och fram till ca 1930, vilken visar att Olsson var nära nog ensam i sin generation om att komponera till latinska texter. Olssons först och även största latinska komposition var Requiem (1901–1903), som dock förblev okänt fram till efter tonsättarens död. Desto mer känt och ofta spelat blev hans Te Deum (1906). Dessa verk behandlas kortfattat i särskilda avsnitt, liksom, mer utförligt och analytiskt, Sex latinska hymner (1912–1913), det av de egna verken som Olsson satte högst. I det sistnämnda verket använder Olsson mindre kända texter ur det romerska officiet. Under 1930-talet komponerade Olsson några enstaka sånger med latinsk text, dels för blandad kör, dels för damkör, med texter dels ur det romerska officiet, dels ur Piæ cantiones. Så sent som på 1940-talet arbetade Olsson med ett oratorium, baserat på Petrus Damianis "De gloria paradisi", vilket dock aldrig fullbordades. Avslutningsvis diskuteras orsakerna till Olssons i den svenska kontexten ovanligt flitiga bruk av latin i sina kompositioner. Här finns ett tydligt samband med hans syn på kyrkomusik, där gregorianik och äldre vokalpolyfoni var viktiga inspirationskällor, något som tydligt märks i hans kompositioner, framför allt Sex latinska hymner. Även hans orgelmusik över gregorianska teman kommer in i detta sammanhang, framför allt inspirationen från Charles-Marie Widors bruk av gregorianik i orgelsymfonier. Olsson såg den gregorianska melodiken som ett sätt att få till stånd "Kyrkan värdiga orgelstycken", och han torde ha haft en liknande syn på latinet som sångspråk.

  • 25.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Liquid Streaming: The Spotify Way To Music2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    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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  • 26.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Researching Music Streaming by Using Liquid Sources2019In: Musikforskning idag 2019: Program och abstrakt, Svenska samfundet för musikforskning , 2019, p. 30-30Conference paper (Refereed)
    Abstract [en]

    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.

  • 27.
    Leijonhufvud, Susanna
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Allan, Jon
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    Affordances of Musical Sound: Listening to the Spotify Streaming Service2020Conference paper (Refereed)
    Abstract [en]

    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. 

  • 28.
    Leijonhufvud, Susanna
    et al.
    Stockholms Musikpedagogiska Institut/University College of Music Education in Stockholm.
    Hedell, Kia
    Uppsala universitet.
    Musikarvets digitalisering: Panelsamtal kring utmaningar och möjligheter för samtida och framtida musikforskning2020In: Musikforskning idag 2020, Lund, 2020Conference paper (Other (popular science, discussion, etc.))
    Abstract [sv]

    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?

  • 29.
    Lillsebbas, Marcus
    Luleå University of Technology, Department of Social Sciences, Technology and Arts.
    En teknisk-instrumentell och pragmatisk kunskapssyn på ensembleundervisning?: En sammanställning av svensk musikpedagogisk forskning inom grundskola och gymnasium2021Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna studie var att sammanställa aktuell och relevant forskning inom ensembleundervisning på grundskola och gymnasium. Vidare så ämnade studien att genom detta identifiera den i den sammanställda forskningen mest framträdande lärandeteorin. För att uppnå syftet enligt ovan, formulerades följande frågeställningar: Hur framställs ensembleundervisning på grundskola och gymnasium i svensk, musikpedagogisk forskning? Vilka epistemologiska perspektiv blir synliga i svensk, musikpedagogisk forskning om ensembleundervisning i grundskola och gymnasium i Sverige? Frågeställningarna besvarades genom att genomföra en systematisk litteraturstudie, där forskning valdes ut och sammanställdes efter tydliga kriterier för att sedan tolkas med hjälp av en hermeneutisk analysmetod. Samtliga av de inkluderade forskningsstudierna visade på ett eller annat sätt att den svenska ensembleundervisningens natur främst grundar sig i musiklärarnas erfarenheter av att arbeta som musiker, samt att ensembleundervisningen medvetet eller omedvetet utformas för att förbereda eleven för musikerns roll, uppgift och arbete i samhället. En sådan utformning av undervisningen visar sig såväl gynna som missgynna elever på ett betydande sätt. När ovan beskrivna musikerkontext som grund för undervisningen sattes i relation till tidigare forskning, läroplansteori och kunskapsteori, synliggjordes epistemologiska perspektiv på ensembleundervisningen i form av en teknisk-instrumentell kunskapssyn, social effektivitet, techne samt pragmatism.

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    En teknisk-instrumentell och pragmatisk kunskapssyn på ensembleundervisning?
  • 30.
    Minors, Helen Julia
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater. School of the Arts, York St John University, UK.
    Club Inégales, Curation, and Processes of Public Musicology2023In: The Routledge Companion to Applied Musicology / [ed] Chris Dromey, Taylor and Francis , 2023, 1, p. 98-107Chapter in book (Other academic)
    Abstract [en]

    This chapter offers a cultural and contextual overview of a series of events curated at London's Club Inegales in 2019. It offers applied definitions of public engagement, accessibility, and public musicology in the context of curating such events, with a specific focus on artist-audience interaction through pre-concert panel discussions and artist question-and-answer sessions. The chapter then outlines the nature of the events and their aims, before reflecting on their creation and reception. Beyond chronicling the processes of creating such a series, it also comments on the connections, real and latent, between contemporary music-making and musicology. Although the reach and cultural capital of musical events such as “Women's Voices” tend to be proportional to their size, all such events have the power to challenge and influence musical practice from the perspective of musicians and concertgoers alike. Musicology is an active, applied practice through which to reflect, advocate, and enact change in the music industries and in society at large.

  • 31.
    Minors, Helen Julia
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater. School of Arts, York St John University, United Kingdom.
    Music speaks: The role of emotional expression in music for sci-fi fantasy films2022In: Intersemiotic Perspectives on Emotions: Translating across Signs, Bodies and Values / [ed] Susan Petrilli, Meng Ji, Taylor and Francis , 2022, 1, p. 332-348Chapter in book (Other academic)
    Abstract [en]

    This chapter explores how music expresses emotions by illustrating how music is able to translate the content of texts, narratives and cultures. In particular, in order to demonstrate how music can express emotion, it situates how music means and how it might “speak” to its listener (Albright 2009). If meaning is “emergent” (Cook 2001) in the experience of the sound, then what supplementary role does music play within expressing emotions within the context of film? Music is used in a variety of ways in film, often to speak on behalf of a character or culture, when words are not sufficient. It is a vital component of the film media, and is often accredited as contributing the emotional heart to the film. Whereas language in film can be dubbed or subtitled, the music remains, projecting its message across cultural boundaries. If music is able to express emotion, then it has an emotive response and significant impact on the narrative of a film and its spectator. Can music make us “shiver when listening to Vivaldi’s Winter concerto from the Four Seasons?" (Chanan, in Minors 2013). In illustrating music’s emotional capacity, this chapter takes a model of expressive potential from popular music studies (Moore 2016), which charts the four relational dimensions (intimate space, private space, social space, public space) which enable the listener to interpret meaning from nonverbal gestures. Two main examples drawn from Sci fi/fantasy films show how music contributes to the expression of emotions. Two contemporary fantasy movies with newly composed music are: The Shape of Water (2017) with music by Alexandre Desplat and Arrival (2016) with music by Jóhann Jóhannsson.

  • 32.
    Olsson, Carolina
    Luleå University of Technology, Department of Arts, Communication and Education.
    Ett könsbalanserat musikliv?: En studie om genusmedvetet arbete hos musiklärare inom gymnasieskolan.2021Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna studie är att undersöka vad fyra musiklärare har för inställning och åsikter kring genusmedvetenhet i undervisningen. Samtliga lärare arbetar på gymnasiet med inriktning mot musik. Jag har med hjälp av kvalitativa forskningsintervjuer kunnat samla ihop den data jag behövde för att uppnå ett resultat.

    Resultatet visar att majoriteten av lärarna är eniga om att genusmedvetenhet är viktigt i lärandesammanhang men tycker att man pratar för lite om problematiken som uppstår vid lärares uteblivna självrannsakan i ämnet. De flesta menar att man omedvetet och ofrivilligt bidrar till stereotypa könsroller.

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  • 33.
    Pantelidis, Christopher
    Luleå University of Technology, Department of Social Sciences, Technology and Arts.
    Understanding Reification in the Composition of New Concert Music2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works (such an exercise is both impossible and pointless), the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works.

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    Understanding Reification in the Composition of New Concert Music
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    The Beauty Behind the Meme (Audio Paper)
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    Obsessions (Audio Paper)
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    Obsessions
  • 34.
    Peitsalo, Peter
    et al.
    Sibelius Academy, University of the Arts, Helsinki.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Kuikka, Markus
    Sibelius Academy, University of the Arts, Helsinki.
    Introduction2017In: Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings / [ed] Peter Peitsalo, Sverker Jullander and Markus Kuikka, Helsinki: Sibelius Academy, 2017, p. 7-16Chapter in book (Other academic)
    Abstract [en]

    An introduction to the eleven essays in the collection, presenting the main themes of the book as well as the content of the individual contributions.

  • 35.
    Peitsalo, Peter
    et al.
    Sibelius Academy, University of the Arts, Helsinki.
    Jullander, SverkerLuleå University of Technology, Department of Arts, Communication and Education, Music and dance.Kuikka, MarkusSibelius Academy, University of the Arts, Helsinki.
    Liturgical Organ Music in the Long 19th Century: Preconditions, Repertoires and Border-Crossings2017Collection (editor) (Refereed)
    Abstract [en]

    The essays in the anthology Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings deal with various forms of liturgical organ music and liturgical organ-playing in the long nineteenth century: solo repertoires, accompaniment of congregational singing, plainchant and other liturgical vocal music, as well as non-liturgical organ music echoing liturgical practices. Important thematic strands in the volume include: Historical preconditions: the forms and practices of organ music in relation to the various kinds of liturgical singing, influential liturgical and aesthetic ideals, as well as theological, philosophical, ideological and social contexts; Border-crossing: how liturgical-musical practices and repertoires transcended confessional, regional and national boundaries. Special attention has been given to the central, northern and eastern regions of Europe.

  • 36.
    Rådelius, Elias
    Luleå University of Technology, Department of Arts, Communication and Education.
    “Shout to the people the reality, and they dance it!”: A case study on the synergies and challenges between music, youth empowerment, sustainable development and social change in the Gambia2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This case study examines the role of music and music-making for the youth in Brikama, the Gambia in terms of freedom of expression, sustainable development and social change. The study is situated within a project where young musicians with different backgrounds wrote and recorded their own songs during workshops with established musicians. The data was collected via interviews with the participants and instructors, observations and song analysis. The study uses Small’s (1998) theory of musicking to analyze the meaning of the musical events in the social context. Furthermore, it uses theories on the relationship between music and sustainability to analyze the role of music for the youth on an individual-, group- and societal level, but also on an organizational level. The study finds that on all four levels music and music-making holds many of the characteristics required for sustainable development and that it can foster resilience through creativity. However, it also shows that this requires the creation of inclusive spaces with an awareness of the cultural narrative and forces (such as limiting traditional values and gender issues) that might limit the capabilities of individuals, and the society, to reap these benefits. The study also shows how music, with its artistic characteristics, can offer pockets of freedom of expression to a certain but limited extent. Finally, the study shows how music can and should be incorporated more extensively by organizations working for sustainable development and social change, both as a tool to achieve other sustainability agendas, but also for the inherent characteristics of resilience and creativity that is found in music-making itself.

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  • 37.
    Verkade, Gary
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    Herr Jesu Christ, ich weiss gar wohl (BuxWV 193)2021In: Buxtehude-Studien, Band 4 / [ed] Matthias Schneider, Jürgen Heering, Bonn, Germany: Musikverlag , 2021, p. 125-143Chapter in book (Refereed)
    Abstract [en]

    The Buxtehude chorale prelude "Herr Jesu Christ, ich weiss gar wohl" is marked by a remarkable plethora of text-related musical-rhetorical figures. These are described in the spirit of understanding the work from a musical performance perspective.

  • 38.
    Wallentén, Siri
    Luleå University of Technology, Department of Arts, Communication and Education.
    Co-writes: En studie av den musikaliska processen i låtskrivning tillsammans med andra.2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Att skriva musik med andra personer påverkar mig både som musiker, låtskrivare och personligt. Efter ett samtal med producenten och låtskrivaren Max Thulin föddes en nyfikenhet i mig kring låtskrivning med andra personer, både okända och för mig kända personer. Jag ville genom mitt arbete undersöka hur den musikaliska processen påverkades av vem jag skrev med och vad det skulle få för effekter på mitt initiativtagande, textförfattande, melodiskrivande och producerande av en låt.

    Jag har i mitt arbete skrivit musik tillsammans med fyra andra musiker, två vänner och två för mig okända personer. Låtskrivningssessionerna har varit under begränsad tid och allt material har skapats på plats under sessionerna.

    Arbetet har resulterat i fyra låtar av olika karaktär och genre. Efter genomlyssning och analysering av låtskrivningssessionerna kan jag dra slutsatsen att mitt musikaliska initiativtagande påverkas starkt av vem jag skriver med. Jag har fått utveckla nya verktyg och tankebanor för att bland annat arbeta med textförfattande tillsammans med en annan låtskrivare, jobba med stämföring där två röster ska sjunga parallellt och bli medveten i vilka musikaliska val jag väljer att ta under en låtskrivningssession.

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    Person A. 1.1. "Hmm"
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    Person A. 1.2. "Hm" resultat
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    Person A. 1.3. Melodi vers
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    Person A. 1.4. Melodi vers resultat
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    Person A. 1.5. Melodi brygga
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    Person A. 1.6. Melodi brygga resultat
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    Person A. 1.7. Melodi refräng
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    Person A. 1.8. Melodi refräng resultat
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    Person B. 1.1. Jam
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    Person B. 1.2. Intro resultat
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    Person B. 1.3. Vers rytm
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    Person B. 1.4. Vers melodi
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    Person B. 1.5. Vers resultat
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    Person B. 1.6. B-förslag
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    Person B. 1.7. Ref förslag
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    Person B. 1.8. Ref resultat
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    Person B. 1.9. Svar-stämmor 1
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    Person B. 1.10. Svar-stämmor 2
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    Person B. 1.11. Svar-stämmor resultat
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    Person B. 2.1. "KListrar samman oss igen"
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    Person B. 2.2. "Blir ett inuti igen"
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    Person B. 2.3 "Omfamnar varan igen" resultat
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    Person C. 1.1. Ackord
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    Person C. 1.2. Harpa
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    Person C. 1.3. Refräng Synth
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    Person C. 1.4. Vers melodi
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    Person C. 1.5. Vers resultat
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    Person C. 1.6. Brygga melodi
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    Person C. 1.7. Brygga resultat
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    Person C. 1.8. Refräng melodi
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    Person C. 1.9. Refräng rytm
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    Person C. 1.10. Ackordföljd 1
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    Person C. 1.11. Ackordföljd 2
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    Person C. 1.13 Brygga 2 resultat
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    Person D. 1.1. Ackordföljd
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    Person D. 1.2. Melodi förslag 1
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    Person D. 1.3. Melodi förslag 2
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    Person D. 1.4. Vers
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    Person D. 1.5. Vers-variation melodi 1
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    Person D. 1.6. Vers-variation melodi 2
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    Person D. 1.7. Brygga
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    Person D. 1.8. Refräng ackord
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    Person D. 1.9. Refräng melodi och text
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    Natten i mig
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    Storm
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    Du Skaver Mig
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    Faller Du För Mig
  • 39.
    Zbyszyński, Michael
    et al.
    Department of Computing, Goldsmiths, University of London, London, SE14 6NW, UK.
    Di Donato, Balandino
    Informatics Department, University of Leicester, University Road, Leicester, LE1 7RH, UK.
    Visi, Federico Ghelli
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    Tanaka, Atau
    Department of Computing, Goldsmiths, University of London, London, SE14 6NW, UK.
    Gesture-Timbre Space: Multidimensional Feature Mapping Using Machine Learning and Concatenative Synthesis2021In: Perception, Representations, Image, Sound, Music: 14th International Symposium CMMR 2019, Marseille, France, October 14–18, 2019, Revised Selected Papers / [ed] Richard Kronland-Martinet; Sølvi Ystad; Mitsuko Aramaki, Springer Nature, 2021, p. 600-622Conference paper (Refereed)
    Abstract [en]

    This chapter explores three systems for mapping embodied gesture, acquired with electromyography and motion sensing, to sound synthesis. A pilot study using granular synthesis is presented, followed by studies employing corpus-based concatenative synthesis, where small sound units are organized by derived timbral features. We use interactive machine learning in a mapping-by-demonstration paradigm to create regression models that map high-dimensional gestural data to timbral data without dimensionality reduction in three distinct workflows. First, by directly associating individual sound units and static poses (anchor points) in static regression. Second, in whole regression a sound tracing method leverages our intuitive associations between time-varying sound and embodied movement. Third, we extend interactive machine learning through the use of artificial agents and reinforcement learning in an assisted interactive machine learning workflow. We discuss the benefits of organizing the sound corpus using self-organizing maps to address corpus sparseness, and the potential of regression-based mapping at different points in a musical workflow: gesture design, sound design, and mapping design. These systems support expressive performance by creating gesture-timbre spaces that maximize sonic diversity while maintaining coherence, enabling reliable reproduction of target sounds as well as improvisatory exploration of a sonic corpus. They have been made available to the research community, and have been used by the authors in concert performance.

  • 40.
    Östersjö, Stefan
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Musical and Musicianly Listening in Intercultural Practice2018In: Circuits: Musiques Contemporaines, ISSN 1183-1693, Vol. 28, no 1, p. 35-44Article in journal (Refereed)
    Abstract [en]

    This paper discusses the function of listening in intercultural musical collaboration, with reference to a number of examples taken from the author’s practice, within the Vietnamese/Swedish group The Six Tones. Through the lens of Pierre Schaeffer’s concepts of musical and musicianly listening, the paper suggests that inter-cultural exchange takes place in a liminal field between traditions. This demands a particular openness which can be developed by operating musicianly listening, a form of listening which actively seeks to “innovate in the facture of sound objects

  • 41.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Clarke, Eric
    University of Oxford.
    Doffman, Mark
    University of Oxford.
    Gorton, David
    Royal Academy of Music.
    Fluid practices, solid roles?: The Evolution of Forlorn Hope2017In: Distributed Creativity: Collaboration and Improvisation in Contemporary Music / [ed] Eric Clarke and Mark Doffman, rd: Oxford University Press, 2017, p. 116-135Chapter in book (Refereed)
    Abstract [en]

    This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of the piece. The chapter demonstrates how the affordances of both the instrument in the hands of Östersjö and the particular tuning specified by Gorton combined with improvised discoveries, and the ‘filtering’ force of a piece by Dowland, result in a piece whose creative ecology is distributed across a variety of timescales and practices.

  • 42.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Crispin, Darla
    The Norwegian Academy of Music.
    Musical Expression from Conception to Reception2017In: Musicians in the Making: Pathways to Creative Performance / [ed] John Rink, Helena Gaunt and Aaron Williamon, Oxford: Oxford University Press, 2017, p. 288-305Chapter in book (Refereed)
    Abstract [en]

    The word ‘expression’, when applied to music, has a comfortably familiar ring to it. However, on careful scrutiny it turns out to be more elusive than one might think. Intrinsic to musical expression is the idea that within music there is something to be expressed, and that this might be reinforced (or undermined) by the performance strategies adopted. The issue becomes more complicated when one asks whether the ‘something’ in question equates to inchoate feeling, to apprehensible meaning or to both in variable proportions. This chapter reviews historical approaches to musical expression and argues that the concept of Werktreue still shapes much of our thinking and teaching in this area. This leads to a consideration of the respective roles of composer, performer and audience, generating a diagrammatic matrix which is progressively modified throughout the chapter. In its final, most dynamic version, the matrix proposes a ‘field of musical expression’ in which the roles of composer, performer and listener interact. The authors suggest that the time is ripe for more interdisciplinary research on musical expression, where a fusion of approaches—from music psychology and computing to performance studies and artistic research—may be the key to a deeper understanding.

  • 43.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Dahlqvist, Jörgen
    Teaterhögskolan i Malmö.
    Lindwall, Christer
    Topography of the (One): Reflections on Musical Time in Composition and Performance2019In: Aberrant Nuptials: Deleuze and Artistic Research / [ed] Paulo de Assis and Paolo Giudici, Leuven: Leuven University Press, 2019, 1Chapter in book (Refereed)
    Abstract [en]

    This chapter discusses a composition for eleven-stringed alto guitar by the Swedish composer Christer Lindwall. Titled Topography of the (One), this piece may be understood as a meta-composition that reflects on the pre-conditions—both material and philosophical—for its stages of becoming. It thereby holds a special place in the compositional output of Lindwall, whose work has, since the late 1980s, been associated with the practices of New Complexity—composers such as Brian Ferneyhough and Richard Barrett. The conceptual nature of this composition, and its direct quotations from a series of contemporary French philosophers launched an interpretative process that led to a staging that would—as Steven Schick wrote in his discussion of the process of learning Ferneyhough’s Bone Alphabet—“shape and make inevitable an interpretive context which steers the piece in performance” (Schick 1994, 133). The first performance was to take place in a production titled “Words and Music” during the Transistor Festival in Malmö, Sweden, curated by the Swedish playwright and director Jörgen Dahlqvist. A dialogue was launched between Östersjö and Dahlqvist that resulted in a staging that focused entirely on the creation of a sonic framework for the performance. The dramaturgical means were the addition of electronic sound, first by the creation of an introductory tape part, and, second, by doubling up the recited fragments with sampled voice of the same performer, also creating a sonic questioning of the unity of the “one.”[1]The compositional strategies, launched by the composer’s philosophical reflections, in turn become the source for a series of observations regarding musical time, which we address by returning to Deleuze’s writing in Difference and Repetition(1994). 

  • 44.
    Östersjö, Stefan
    et al.
    Malmö Academy of Music, Malmö, Sweden.
    Nguyen, Thanh Thuy
    Malmö Academy of Music, Malmö, Sweden; Vietnam National Academy of Music, Vietnam.
    The politics of listening in intercultural artistic practice2017In: Studies in Musical Theatre, ISSN 1750-3159, Vol. 11, no 2, p. 131-145Article in journal (Refereed)
    Abstract [en]

    This article offers an analysis of the function of listening in the musical practice of the Vietnamese/Swedish group The Six Tones, based on video documentation recorded between 2006 and 2011. A discussion of the function of openness, drawing on Gadamer, and the distinction between ‘musical’ and ‘musicianly’ listening suggested by Pierre Schaeffer provides the ground for an understanding of mutual learning in cross-cultural artistic practice. Östersjö and Nguyễn identify the same principles in the making of two music theatre works, Idioms (2010–11) and Arrival Cities: Hanoi (2014–15) together with the Swedish playwright and director Jörgen Dahlqvist. The authors, who are both performers in the group, argue that true listening must build on trust that also allows the participating artists to accept the opacity of the other. The ethics implied by the notion of the ‘right to opacity’ also become the ground for a discussion of a politics of listening. Here, the authors claim, following Attali, that the political dimensions of intercul- tural musical practice can be traced in the hybridity that characterizes the artistic output.

  • 45. Högberg, Per (Instrumentalist, Researcher, Musician, Musical director, Project director, Creator)
    Vasakyrkans Lundén-orgel: ett restaurativt renoveringsprojekt2020Other (Other academic)
    Abstract [sv]

    Vasakyrkans läktarorgel har under 2020 varit föremål för en restaurativ renovering.

    Syftet med denna presentation är, att i ord och ton presentera min roll som projektets konstnärlige ledare, och som sådan kort beskriva några aspekter på det mångfacetterade bruket av instrumentet i liturgi, konsert, relaterad pedagogik och forskning. Särskilt fokuseras interaktionen mellan orgel, instrument, klang och rumslighet.

     

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