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  • 1.
    Leijonhufvud, Susanna
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Gullberg, Anna-Karin
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Researching Transformative Technology and its affordance for students within Higher Music Education2019Konferensbidrag (Refereegranskat)
    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.

    Ladda ner fulltext (pdf)
    fulltext
  • 2.
    Burkart, Patrick
    et al.
    Texas A&M University.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik, medier och teater.
    The Spotifyication of public service media2019Ingår i: The Information Society, ISSN 0197-2243, E-ISSN 1087-6537, Vol. 35, nr 4, s. 173-183Artikel i tidskrift (Refereegranskat)
    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.

  • 3.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    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 method2018Konferensbidrag (Refereegranskat)
    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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  • 4.
    Ferm Almqvist, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ekberg, Niclas
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Evolving musical Bildung in streaming media – Spotify as a case: Reflections upon a pilot study2018Ingår i: Vart är musiken på väg?: Perspektiv från forskning, bransch och politiker, 2018Konferensbidrag (Refereegranskat)
    Abstract [en]

    Evolving musical Bildung in streaming media – Spotify as a case: Reflections upon a pilot study

    Cecilia Ferm Almqvist, Niclas Ekberg & Susanna Leijonhufvud (Luleå tekniska universitet)

    The presentation will share experiences of and reflections upon a pilot study based on stimulatedrecall interviews aiming to explore the meaning and function of streaming media as a facilitatorof musical Bildung. It can be stated that new technology has the possibility to provideinformation and education for everyone. Today, most people can access the same informationfor "free", which is interesting from a democratic perspective. Access to music in relation to thenew, transformed music industry has been studied from technological and economical 11perspectives. Even listening habits and listening frequencies, have been investigated throughanalyses of Big Data. Hence, we stated a need to reflect upon and discuss the meaning andfunction of streamed music in people's lives, taking as a starting point the affordances andconstraints of the music streaming services. Using Spotify as a case, based on phenomenologicalperspectives of Bildung, a cross disciplinary project was created. In the presentation we want toanswer share preliminary results from a pilot stimulated interview study. A netnographic orientedapproach where chosen, given its focus on distinguishing meanings and human practice in variedcontexts, and combined with shadowing and individual interviews, supported by stimulatedrecall. The participants gathered their user activities that took place during a limited period oftime, and also in what ways these were shared and expressed in varied social media. Thestimulated recall interviews were documented through the use of a web based videoconferenceapplication, transcribed and subjected to qualitative content analysis. The paper presentation aimsto share and discuss the use of methods as well as preliminary results, which hopefully cancontribute with insights when it comes to how streamed music functions, and can be usedconsciously, within the field of music education.

  • 5.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Liquid Streaming: The Spotify Way To Music2018Doktorsavhandling, monografi (Övrigt vetenskapligt)
    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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  • 6.
    Leijonhufvud, Susanna
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Allan, Jon
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Medier ljudteknik och upplevelseproduktion och teater.
    The Sound of Streamed Music2018Konferensbidrag (Refereegranskat)
    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.

    Ladda ner fulltext (pdf)
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  • 7.
    Ferm-Almqvist, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ekberg, Niclas
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Allan, Jon
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Medier ljudteknik och upplevelseproduktion och teater.
    Burkhart, Patrick
    Evolving Bildung in the Nexus of Streaming Services, Art andUsers : Spotify as a Case 2017Konferensbidrag (Refereegranskat)
    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.

    Ladda ner fulltext (pdf)
    Abstractbok
  • 8.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Liquid streaming  : an actor-network analysis of streamed music with the case of Spotify   2017Konferensbidrag (Refereegranskat)
    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
    Ladda ner fulltext (pdf)
    Abstractbok
  • 9.
    Almqvist, Cecilia Ferm
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The Music Teacher in the Nexus of Art Origin2017Ingår i: Finnish Journal of Music Education, ISSN 1239-3908, Vol. 20, nr 1, s. 45-58Artikel i tidskrift (Refereegranskat)
    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.

  • 10.
    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 investigation2017Ingår i: Nordisk musikkpedagogisk forskning: årbok 17 / [ed] redaksjon: Eva Georgii-Hemming..., Oslo: Norges musikkhøgskole , 2017, Vol. 17, s. 9-39Kapitel i bok, del av antologi (Refereegranskat)
    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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  • 11.
    Zandén, Olle
    et al.
    Department of Music and Art, Linnaeus University, Linnéuniversitetet.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    Thorgersen, Cecilia Ferm
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Bewertung von Schülerleistungen beim Klassenmusizieren: Ûber ein schwedisches System zur Unterstützung bei der angemessenen Bewertung musikpraktischer Kompetenzen2015Ingår i: Musikunterricht 2: Bildung Musik Kultur – Horizonte öffnen / [ed] Dorothee Barth; Ortwin Nimczik, Mainz: Bundesverband Musikunterricht , 2015, s. 58-64Konferensbidrag (Refereegranskat)
    Ladda ner fulltext (pdf)
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  • 12.
    Leijonhufvud, Susanna
    et al.
    Örebro Universitet, Musikhögskolan.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    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 thinking2015Ingår i: Philosophy of Music Education Challenged: Heideggerian Inspirations: Music, Education and Personal Development / [ed] Frederik Pio, Øivind Varkøy, Dordrecht: Springer Netherlands, 2015, s. 113-128Kapitel i bok, del av antologi (Refereegranskat)
    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.

  • 13.
    Thorgersen, Cecilia Ferm
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    The Music Teacher in the Nexus of Art Origin2015Konferensbidrag (Refereegranskat)
  • 14.
    Zandén, Olle
    et al.
    Department of Music and Art, Linnaeus University, Linnéuniversitetet.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan, Örebro universitet.
    Thorgersen, Cecilia Ferm
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Wie lassen sich Schülerleistungen beim Klassenmusizieren angemessen bewerten?: Über ein schwedisches System zur Unterstützung bei der Bewertung musikpraktischer Kompetenzen2015Konferensbidrag (Refereegranskat)
  • 15.
    Leijonhufvud, Susanna
    et al.
    Örebro Universitet, Musikhögskolan.
    Nyberg, Johan
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Assessment of musical quality: a case study of achieving a World Champion title in chorus singing2014Konferensbidrag (Refereegranskat)
    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.

  • 16.
    Thorgersen, Cecilia Ferm
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Falthin, Peter (Medarbetare/bidragsgivare)
    Kungliga Musikhögskolan Stockholm.
    Mars, Annette (Medarbetare/bidragsgivare)
    LTU.
    Ideland, Jens (Medarbetare/bidragsgivare)
    Göteborgs universitet.
    Dahlbäck, Katharina (Medarbetare/bidragsgivare)
    Göteborgs universitet.
    Leijonhufvud, Susanna (Medarbetare/bidragsgivare)
    Örebro universitet.
    Asp, Karl (Medarbetare/bidragsgivare)
    Musikhögskolan i Malmö, Lunds Universitet.
    Hellgren, Joakim (Medarbetare/bidragsgivare)
    Luleå kommun.
    Nyberg, Johan (Medarbetare/bidragsgivare)
    LTU.
    Perspektiv på praktiknära musikpedagogisk forskning: Utkomster av en forskarskola2013Samlingsverk (redaktörskap) (Övrig (populärvetenskap, debatt, mm))
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  • 17.
    Ferm, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Leijonhufvud, Susanna
    Örebro Universitet, Musikhögskolan.
    Being - is it possible in a space offered by music education?: a philosophical investigation of how music education can embrace the space of being presented at the 'origin of the work of art'2012Ingår i: XVI Nordic Musicological Congress, Stockholm 2012: abstracts / [ed] Jacob Derlert, Stockholm: Department of Musicology and Performance Studies Stockholm University , 2012Konferensbidrag (Refereegranskat)
    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. We will examine Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music.Further, art, as Heidegger describes it, will be focused upon and discussed in relation to how it can exist within music education. How is it possible to relate to music as a work of art with the same distinctions as Heidegger presents for us, by looking upon art as a thing as well as a tool but also as an as an opener to the space that constitutes the gap between earth and world? We argue that the educator has an unquestionable role in this creational space of origin seen as an educational practice.To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main issues to the Swedish national syllabus for the subject music. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embraces and performs Heidegger’s thinking in music educational practice. The presentation ends with a discussion about how music education can offer students a place in Being, and music educators’ roles as parts of the creational origin process of a work of art.

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