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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.
    Almqvist, Cecilia Ferm
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    The Music Teacher in the Nexus of Art Origin2017In: Finnish Journal of Music Education, ISSN 1239-3908, Vol. 20, no 1, p. 45-58Article in journal (Refereed)
    Abstract [en]

    Artists are not born – they become. Artists are created by art, art that they have created. This twisted helix is conceptualised as ‘the origin of art’ by Heidegger. If an artist is to originate within musical educational settings, we claim that the musical educator has an inevitable role to play in this art origin. The problem of the investigation at hand are a question of how the educator can relate to this involvement; guiding the student toward the nexus of this origin without standing in the way for the originating of art nor to become a part of the origin of art as a part of the artist’s artistry. The complex phenomenon consisting of relations between art, student(s) and teacher are investigated, and in order to understand how teachers can organize their teaching towards an artistry achievement of their students, we seek to explore a number of phenomenological concepts; Heidegger’s notion of a work of art, the idea of Lifeworlds, musical intersubjectivity, responsibility in asymmetrical relationships and finally, dwelling. The conclusion are that teacher can relate to this situation in three different modes; (i) by enriching the Lifeworld of the student, (ii) by preparing for the unexpected to occur and (iii) direct the intentionality towards the nexus of artness originating instead of the artness itself.

  • 3.
    Bjerstedt, Sven
    et al.
    Lund University, Malmö Faculty of Fine and Performing Arts.
    Fossum, Hanne
    Norwegian Academy of Music, Oslo.
    Leijonhufvud, Susanna
    Örebro University.
    Lonnert, Lia
    Lund University, Malmö Faculty of Fine and Performing Arts.
    The musical present: A polyphonic philosophical investigation2017In: Nordisk musikkpedagogisk forskning: årbok 17 / [ed] redaksjon: Eva Georgii-Hemming..., Oslo: Norges musikkhøgskole , 2017, Vol. 17, p. 9-39Chapter in book (Refereed)
    Abstract [en]

    How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understanding of the comprehension of tonality. Discussions of Bakhtin’s concepts of utterance and chronotope demonstrate that the need for experiencing and understanding music arguably poses a challenge for current music education in schools with regard to its predominant ways of dealing with time. With reference to Ricoeur’s analysis of time and narrative, it is suggested that musicians’ need for multi-directedness in the musical present calls for a rich learning ecology framework. In conclusion, it is argued that reflection on musical practice in general would benefit from taking the shape of polyphonic philosophical investigations.

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  • 4.
    Burkart, Patrick
    et al.
    Texas A&M University.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    The Spotifyication of public service media2019In: The Information Society, ISSN 0197-2243, E-ISSN 1087-6537, Vol. 35, no 4, p. 173-183Article in journal (Refereed)
    Abstract [en]

    This article investigates contemporary cultural policy reforms enabled by paid digital media distribution services, taking the case of the integration of Spotify into the Swedish public media system. Specifically, it reflects on the conflicts arising over the prioritization of digital distribution over cultural preservation, during the gradual substitution of the Spotify digital services for the services provided by the traditional material media archive, the Grammofonarkivet. It considers the factors influencing changes in the Swedish cultural policy environment and the nature of the complaints and human rights claims made by employees of the Grammofonarkivet to UNESCO regarding its structural transformation. It also postulates a “Spotification” model of public service media emerging in Sweden but potentially affecting other countries with public media systems served by traditional media archives.

  • 5.
    Falthin, Annika
    et al.
    Kungliga musikhögskolan i Stockholm.
    Mars, Annette
    Malmö universitet.
    Asp, Karl
    Borgström Källén, Carina
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Nyberg, Johan
    Zadig, Sverker
    Ferm Almqvist, Cecilia
    Vad kan det musikpedagogiska forskningsfältet erbjuda framtidens musiklärarutbildningar?2019In: Nordic Network for Researchin Music Education: Abstracts / [ed] Ronny Lindeborg; Erkki Huovinen, Royal College of Music in Stockholm , 2019, p. 12-13Conference paper (Refereed)
  • 6.
    Ferm Almqvist, Cecilia
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ekberg, Niclas
    Luleå University of Technology, Department of Arts, Communication and Education, Education, Language, and Teaching.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Evolving musical Bildung in streaming media – Spotify as a case: Reflections upon a pilot study2018In: Konferensbidrag: Vart är musiken på väg? Perspektiv från forskning, bransch och politiker, Mirac (Music Focused Interdisciplinary Research & Analysis Center) , 2018, p. 10-11Conference paper (Refereed)
    Abstract [en]

    The presentation will share experiences of and reflections upon a pilot study based on stimulated recall interviews aiming to explore the meaning and function of streaming media as a facilitator of musical Bildung. It can be stated that new technology has the possibility to provide information and education for everyone. Today, most people can access the same information for "free", which is interesting from a democratic perspective. Access to music in relation to the new, transformed music industry has been studied from technological and economical perspectives. Even listening habits and listening frequencies, have been investigated through analyses of Big Data. Hence, we stated a need to reflect upon and discuss the meaning and function of streamed music in people's lives, taking as a starting point the affordances and constraints of the music streaming services. Using Spotify as a case, based on phenomenological perspectives of Bildung, a cross disciplinary project was created. In the presentation we want to answer share preliminary results from a pilot stimulated interview study. A netnographic oriented approach where chosen, given its focus on distinguishing meanings and human practice in varied contexts, and combined with shadowing and individual interviews, supported by stimulated recall. The participants gathered their user activities that took place during a limited period of time, and also in what ways these were shared and expressed in varied social media. The stimulated recall interviews were documented through the use of a web based videoconference application, transcribed and subjected to qualitative content analysis. The paper presentation aims to share and discuss the use of methods as well as preliminary results, which hopefully can contribute with insights when it comes to how streamed music functions, and can be used consciously, within the field of music education.

  • 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, SusannaLuleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre. Stockholms Musikpedagogiska Institut (SMI). Kungl. Musikhögskolan (KMH).Ekberg, NiclasLuleå University of Technology, Department of Arts, Communication and Education, Education, Language, and Teaching.
    Explorativ bildning i strömmande medier: Spotify som ett case2020Collection (editor) (Refereed)
    Abstract [en]

    What educational processes take place in people's Spotify use? It turns out that such use is closely linked to musical as well as digital competences. With a focus on the educational processes that take place in the interplay between people, technology and music, the understanding of what a streaming music service like Spotify can offer is challenged.

    "Evolving Bildung in the nexus of streaming services, art and users - Spotify as a case" is a cross-disciplinary project that shows how the processes of human education and self-formation are conditioned, challenged and made possible by the streaming media development. This book can be used in educations in music pedagogy, musicology, music production, audio engineering, pedagogy, cultural studies, sociology, and media and communication science.

  • 8.
    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.

  • 9.
    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)
  • 10.
    Ferm-Almqvist, Cecilia
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ekberg, Niclas
    Luleå University of Technology, Department of Arts, Communication and Education, Education, Language, and Teaching.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Allan, Jon
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    Burkhart, Patrick
    Evolving Bildung in the Nexus of Streaming Services, Art andUsers : Spotify as a Case 2017Conference paper (Refereed)
    Abstract [en]

    The changed landscape of media, with digital distribution as a keyfactor, creates new conditions for people’s access to cultural expressions. This has mainly been studied through technical and financial perspectives, focusing on the record industry, file sharing, human–technology interaction, and click frequency. New questionsare necessary for an understanding of what functions streamed musicand art expressions can have in people’s lives, and how companies such as Spotify relate to these functions.The aim of the study is to explore Bildung in the nexus of streaming services, art and users, with Spotify as a case study. Research questions: How and to what extent do technical, legal, economic, and ethical factors control possibilities for meaningmaking in the interaction between streaming media such as Spotify, arts, and human beings? How does the quality of art/music distributed through streaming influence opportunites for Bildung? How do users make meaning in the specific contexts? To what extent is the user involved in her own Bildung via the algorithms making up the participation?

    To achieve this aim and address the research questions an interdisciplinary study is needed, which makes it possible to understand the complex phenomena of a streaming media platform in relation to Bildung. Technicians and researchers from the humanities and social sciences will approach the research problem and form a holistic understanding of streaming media in relation to human beings, art, and technology. Hence, combinations of methodological approaches are required. Big-data analysis will provide access to how varied demographics use Spotify. The Spotify users’ activities, experiences of streaming media interactions, and meaning-making will be accessed through qualitative netnographical observations, shadowing, and interviews. Sound quality analysis will clarify what aesthetic values are involved in the most appreciated listening experiences, which will be related to Bildung.

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    Abstractbok
  • 11.
    Gullberg, Anna-Karin
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    The Equalizer – Amplifying Artistic Resonance and Reducing Mental Dissonancein Artistic Processes2019In: The Science of Consciousness 2019: Conference booklet, Collegium Helveticum , 2019, p. 177-177Conference paper (Refereed)
    Abstract [en]

    Understanding of cognitive strategies in supporting artistic expressions, reducing stress, performance anxiety and emotional blockings are of paramount importance to empower students’ and prepare for a sustainable work life as musicians. How can we aid musical artists to cope and master their emotional and mental dissonances in order to empower creative and artistic progressions in a sustainable way within higher music education?

    This pilot has several aims including investigating possibilities for higher education to interact with societal artistic communities as well as students’ DIY culture using available technology in order to analyse and co-create a professional development including artistic competence, holistic awareness and personal balance. The project will explore transformative technologies; HRV, Muse (EEG), Soma Mat & Breathing Light (heat and breath feedback), and the ARK-crystal, which differ regarding presented data (biofeedback) and function. Further, how these devices relate to research theory and methodology. We pose the critical question: Can these applications contribute to the identification, interpretation, and organization of the First Instrument, the students’ own aesthetic sensory information, embodied behaviours and cognitive strategies?

    This presentation will include methodological challenges discussed and interpreted in the transdisciplinary research group SANE – embracing researchers in art, quantum physics, medicine, sustainability learning, and biology.

  • 12.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Affordances of Music Streaming based on Exploratory Media Archaeology: A presentation of the completed PhD-project Liquid Streaming focusing the affordance of musicking for the public via the Spotify streaming service with an emphasis on method2018Conference paper (Refereed)
    Abstract [en]

    In my dissertation, I have accounted for the affordances of musicking brought about by streamed music with the case example of Spotify. In order to perform a study orbiting the realm of music streaming, mainly digital sources have been used; Internet sources and software program of the streaming service. In the presentation, I will focus on issues concerning those two major roots. Within the latter I will present, problematize and conclude how; the Internet can be used as a field of sources, and on what terms the Internet can be regarded as an Archive. Also, what alternatives researchers can depend on when practising research within the realm of the Internet. The sources have, over time, been shown to change content, update, disappear, change resolution or package, which means that digital sources such as source material as well as methodology operating in such a field need to be problematized. First of all, I will account for how a phenomenon such as the Spotify streaming service is a multidimensional feature where appearance and featured functions depend on a number of things such as geographical market zone, subscription zone, the digital device used for access, and previous user-generated history. Researching a platform based software program like this brings particular issues for the researcher. I will present how these issues have been recognised and managed in my research. Secondly, I will address Internet as a base for research. The Internet provides a plethora of available sources, and as such Internet brings the affordance of accessing a tremendous amount of data opening up for possibilities that were not available prior to digitalisation. For instance, interviews and talks by interesting people might be available on-line whereas the same persons may be difficult or impossible to reach in ordinary life. Contemporary culture on the Internet, characterised by free culture and shared content further supply massive amount of data to be researched. Further, many services on the Internet provide access to local archives where content can be searched for, and a great number of sources can be screened regarding particular content. The popular phrase: “Once on the Internet, always on the Internet” has been found to be a truth with modification. I will present four different examples of issues concerning using the Internet as an archive and how such issues can be tackled within research concerning questions of reliability and trustworthiness. The first (i) example is how content many times are personalised, why an "objective" or public view can be impossible to gain. Further, it can be impossible to gain access to how personalisation is conducted. The second (ii) example is how sources, such as music, can be limited to certain geographical restrictions and thus only accessed from certain IP-addresses for the researcher. The third (iii) example is how sources may be removed and deleted. This is the case with some personal information as individuals have a right to be forgotten. Another example is how documents from the government offices are removed when there is a new government in office. The fourth (iv) example addresses the issue where a source might remain on the Internet but presented in a different digital format than the original content.

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  • 13.
    Leijonhufvud, Susanna
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Liquid streaming  : an actor-network analysis of streamed music with the case of Spotify   2017Conference paper (Refereed)
    Abstract [en]

    Currently music streaming services are starting to dominate the music industry. Streaming out rule physical records as well as digital download, and by doing so music streaming has contributed to shift ownership of artefacts with access to ditto. This presentation aims to describe the affordances and surplus values that are connected to such an access service taking the Swedish founded company of Spotify as a case example. By employing Zygmunt Bauman’s concept of Liquid Modernity as a way to comprehend contemporary society in an encounter with Bruno Latour’s Actor-Network Theory (ANT) I will show how and in what ways accessed music streaming indeed are an networked actor of a liquid nature.

     

    The presentation will focus one main part of my forthcoming thesis Liquid Music Streaming, namely the actor – the Spotify streaming service. According to the ANT analysis, the feature of music streaming needs a number of networked actors in order to act as a music-streaming actor. Foremost music streaming needs an actor e.g. a company that can create a practice of musicking. The analysis of the Spotify Company and its service shows in summary how the company management structure is agile with autonomous working squads that constantly update the service based on user-generated data. Hence the Spotify music streaming are a runaway object, to use Yrjö Engeström’s terminology, a result of subject’s activity and impossible to master or overview from any single point of lookout. Secondly, music streaming needs the actor of distribution channels to reach its primary final cause – the end-user. Distribution of musical goods, e.g. musical files, are networked by Internet Service Providers (ISP) as well as providers of digital devices, the right holders of music and political jurisdictions. Besides these major actors the service is associated to yet other services and products, developers and public institutions, not to forget the end-user. These entities are not solid and static but constantly changing and reshaping. The conclusion will present the Spotify streaming service as an liquid actor that are inescapably intertwined and dependent on several other liquid actors in order to preform its liquid service of streaming.

     

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    Liquid streaming – an actor-network analysis of streamed music with the case of Spotify
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    Abstractbok
  • 14.
    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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  • 15.
    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.

  • 16.
    Leijonhufvud, Susanna
    Stockholms Musikpedagogiska Institution.
    Sammusicerande på distans med Avancerad medieteknik2019In: Vad är livemusik idag och vart är den på väg?  : Perspektiv från forskning och musikbransch. , 2019Conference paper (Other academic)
    Abstract [sv]

    Hösten 2019 har ett projekt startat upp där Stockholms Musikpedagogiska Institut (SMI) har anslutit sig till arbetet med avancerad medieteknik, genom sammanslutningen NCDP, som verktyg vid sammusicerande över långa distanser. Susanna kommer att presentera deltagande aktörer i detta projekt; upphovsmännen Mats Erixon och Mårten Frojdo och NCDPs etablering i norden. Därefter presenteras även initiativtagaren Ian Plaude, rektor på SMI, som har knutit tekniken till SMI som första musikpedagogiska institution. Tanken med projektet är att lärare och elever vid SMI skall vara med och utveckla teknikens musikpedagogiska utmaningar för ett sammusicerande där tekniken smälter in och försvinner i det musikaliska sammanhanget. Tanken är här att Sveriges kommuner skulle kunna investera i tekniken för att på så sätt kunna erbjuda elever en musikutbildning även på geografiska orter där lärarkompetens saknas. De frågeställningar som fokuseras ur ett musikpedagogiskt perspektiv är:

    -      Vilka är de tekniska utmaningarna för att tekniken ska smälta in i ett musikaliskt sammusicerande?

    -      Vilka ekonomiska och praktiska möjligheter och begränsningar finns för att tekniken ska kunna verka för ett ökat musicerande även för individer utanför de större städerna?

  • 17.
    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. 

  • 18.
    Leijonhufvud, Susanna
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Allan, Jon
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    The Sound of Streamed Music2018Conference paper (Refereed)
    Abstract [en]

    …the majority of consumers seem to be unaware of this, or of the audio quality

    they’re missing out on! They spend endless hours experiencing audio at sub-

    128kbps bit rates, at the mercy of whoever uploaded the material, without

    knowing what it should sound like, without realising how bad it sounds, and

    unaware of the artefacts they’re hearing that shouldn’t be there.

    The quote stems from a journalist writing in the music recording magazine of Sound on Sounds

    and highlights issues concerning on-line music and the affordance such music brings for the

    listeners. Currently, music may be accessed via real-time streaming, accessed in complex

    conglomerates side by side with other types of content via computers, mobile phones, tablets,

    televisions, car stereos and soon to be accessed via new technology housed by the Internet of

    Things (IoT). Up until now, the technology of streaming has focused on access, robustness,

    interoperability between devices and extensive additional service augmenting the realm of

    musicking. Issues of the musical sound qualities and how aspects of sound quality interplay with

    the affordance of listening have more or less been neglected in favour of accessibility. From what

    we have learned from scholars accounting for digital formats and bit reduction as well as

    compression of dynamics in sound, there are some aspects concerning this field that is missing

    and as it seems neglected for the masses of music consumption.

    The development of smart technology orbiting music has just recently returned to issues of high

    fidelity and home stereo equipment. This development could be interpreted as a renaissance for

    the affordance of music listening. However, the quality of sound, which embeds the music, is

    not solely depending on the recording, the mix or the mastering engineers. It also depends on

    the adaptation of sound streams for the final playback device. In addition to these traditional

    delimiting nodes of sound quality, streamed music is constituted by numerous things and aspects

    such as broadband access, broadband capability, the robustness of the broadband system, the

    digital format and the velocity of transmission.

    This presentation, which is a part of a larger research project focusing the streaming company of

    Spotify as an actor of musical Bildung, will outline a suggestion for a designed method where

    different categories of participators will be selected to research the affordance of sound qualities

    of streamed music. Affordance of listening should be understood as the nexus between sound

    engineering and music cognition bridged by music education. The research should focus

    traditional aspects of perception and cognition but also socialisation that constitutes taste and

    preferences, and finally educational aspects as conceptualisation, learning and awareness. Four

    main themes are emphasised in this presentation; (i) developing methods to describe and measure

    sensation quantities when it comes to describing sound quality and the affordance of perceptual

    coding, (ii) selecting various types of listeners regarding age, gender, music educational

    background when studying stimulus quantities of streamed music, (iii) using the listeners preferred

    music to complement music from a control sample of tunes, and (iv) attributes used to

    communicate quality of sound and music within various communities.

    Download full text (pdf)
    fulltext
  • 19.
    Leijonhufvud, Susanna
    et al.
    Örebro Universitet, Musikhögskolan.
    Ferm, Cecilia
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Music as Art – Art as Being – Being as Music: A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking2015In: Philosophy of Music Education Challenged: Heideggerian Inspirations: Music, Education and Personal Development / [ed] Frederik Pio, Øivind Varkøy, Dordrecht: Springer Netherlands, 2015, p. 113-128Chapter in book (Refereed)
    Abstract [en]

    Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music possesses the power to strike us and hence throw us into Being. The chapter communicates an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. The chapter presents an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. To structure the philosophical investigation two lines were drawn; one investigating Art as an opener to Being and the other line investigating the inescapable nexus of how the Artist makes the Work of Art simultaneously as the Work of Art makes the Artist. The results show that there is an overrepresentation of phenomena connected to what Heidegger refers to as Earth and an underrepresentation of what he refers to as World. According to Heidegger, the phenomenon of art will not reveal itself unless both Earth and World are present, connected to each other through strife; a state of tension where Being comes forth. Being, in the Heideggerian sense, has the power to change history and hence constitute history on both a collective and an individual level. Although not explicitly stated in the music syllabus, our results suggest that there are possibilities for art as Being to be expressed in the subject of music.

  • 20.
    Leijonhufvud, Susanna
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gullberg, Anna-Karin
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Researching Transformative Technology and its Affordance for Students within Higher Music Education2019In: Musikforskning idag 2019: Program och abstrakt, Svenska samfundet för musikforskning , 2019, p. 31-31Conference paper (Refereed)
    Abstract [en]

    Since the autumn 2018 a research project concerning Transformative Technology (TT) for the increase of wellbeing and the reduction of mental dissonance has been launched at the School of Music in Piteå. Seed money has enabled a pilot project where students within higher music education can use different types of TT. This poster will show the different types of TT used in the pilot project and some preliminary result from the user experiences. The technology in use are (i) the Heart Rate Variability (HRV) sensors and Heart Math application, (ii) the Muse headband and meditation app, (iii) the Soma Mat and Breathing Light developed at SICS and KTH, as well as the (iv) ARK-crystal developed at the Torus Tech lab. The purpose of the pilot study is to investigate how students respond to different kinds of sensors and actuators used in this TT and most importantly how the students find the technology transformable in regard to amplifying their well-being, empowering and refining their aesthetic resonance and diminishing stress and anxiety blocking them in their musical performance and development.

    Download full text (pdf)
    fulltext
  • 21.
    Leijonhufvud, Susanna
    et al.
    Stockholms Musikpedagogiska Institut/University College of Music Education in Stockholm, Sweden.
    Hedell, Kia
    Uppsala universitet, Sweden.
    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?

  • 22.
    Leijonhufvud, Susanna
    et al.
    Örebro Universitet, Musikhögskolan.
    Nyberg, Johan
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Assessment of musical quality: a case study of achieving a World Champion title in chorus singing2014Conference paper (Refereed)
    Abstract [en]

    In 2013 the World Champion title in female barbershop singing was awarded the Swedish chorus Rönninge Show Chorus (RSC). This achievement was historical not only because the winning score was the highest ever in the history of the competition , but foremost because it was made by a non-American chorus in an American tradition. This achievement has triggered our interest in researching this event concerning the assessment protocol of the competition, and how such criteria has guided the pedagogical work of the chorus.The project presented is based on interviews, our own experiences and knowledge from the field as well as written material related to regional and international competitions such as assessment criteria and score sheets. The interview was performed in Swedish, therefor all the quotes in this presentation are our translations. In our presentation we will start by presenting the RSC as well as a brief presentation of the female barbershop community Sweet Adelines and its field of praxis. We will focus on the assessment of musical qualities of the competition environment and in addition to this, our presentation will describe the underlying choral work based on interviews with the two conductors of the RSC. Finally, we will discuss the barbershop learning practice in relation to an overall musical educational context.

  • 23.
    Thorgersen, Cecilia Ferm
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Falthin, Peter (Contributor)
    Kungliga Musikhögskolan Stockholm.
    Mars, Annette (Contributor)
    LTU.
    Ideland, Jens (Contributor)
    Göteborgs universitet.
    Dahlbäck, Katharina (Contributor)
    Göteborgs universitet.
    Leijonhufvud, Susanna (Contributor)
    Örebro universitet.
    Asp, Karl (Contributor)
    Musikhögskolan i Malmö, Lunds Universitet.
    Hellgren, Joakim (Contributor)
    Luleå kommun.
    Nyberg, Johan (Contributor)
    LTU.
    Perspektiv på praktiknära musikpedagogisk forskning: Utkomster av en forskarskola2013Collection (editor) (Other (popular science, discussion, etc.))
    Download full text (pdf)
    FULLTEXT01
  • 24.
    Thorgersen, Cecilia Ferm
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    The Music Teacher in the Nexus of Art Origin2015Conference paper (Refereed)
  • 25.
    Zandén, Olle
    et al.
    Department of Music and Art, Linnaeus University, Linnéuniversitetet.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    Thorgersen, Cecilia Ferm
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Bewertung von Schülerleistungen beim Klassenmusizieren: Ûber ein schwedisches System zur Unterstützung bei der angemessenen Bewertung musikpraktischer Kompetenzen2015In: Musikunterricht 2: Bildung Musik Kultur – Horizonte öffnen / [ed] Dorothee Barth; Ortwin Nimczik, Mainz: Bundesverband Musikunterricht , 2015, p. 58-64Conference paper (Refereed)
    Download full text (pdf)
    fulltext
  • 26.
    Zandén, Olle
    et al.
    Department of Music and Art, Linnaeus University, Linnéuniversitetet.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    Thorgersen, Cecilia Ferm
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Wie lassen sich Schülerleistungen beim Klassenmusizieren angemessen bewerten?: Über ein schwedisches System zur Unterstützung bei der Bewertung musikpraktischer Kompetenzen2015Conference paper (Refereed)
1 - 26 of 26
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