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  • 1.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Nguyen, Thanh Thuy
    Malmö Academy of Music.
    Arrival Cities: Hanoi2019In: Voices, Bodies, Practices / [ed] Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells., Leuven: Leuven University Press , 2019Chapter in book (Refereed)
    Abstract [en]

    This chapter outlines the role of subjectivity and intersubjectivity in the creation of Arrival Cities: Hanoi, a piece of experimental music theatre with documentary film. The piece seeks a new format for politically informed theatre which is responsive to the challenges of a globalized society. A central concept for the dramaturgy was to make the individual memories of the performers a cornerstone for each situation. Hence, similarly to how the script in verbatim theatre is drawn from interviews with people’s experience of a real-life situation (Forsyth & Megson, 2009), the dramaturgy emerged, as it were, from the creation of situations that would evoke the lived experience of the performers. The stage is set up so that the three performers either play their instruments or tell stories in a position at the front of the stage, where three microphones on stands are placed. The storytelling was developed from memories of encounters with people in migration zones in Hanoi, but would even more draw on personal memories from the city.

    Arrival Cities: Hanoi aims to create a space where the boundary between fiction and documentary is dissolved.  While it has been essential to remain in what the performers perceive as the authentic experience in the storytelling, the audience cannot really know whether the stories told by the performers are authentic experiences or scripted dialogues. In  the piece, the documentary material forms part of a multi-layered narrative, without laying out the footage as a documentation. The storytelling places the performers on stage as individuals rather than as actors, an approach which is essential to the political aims with the production. This presence in the moment of performance accompanies the images of the street vendors and other people in the documentary.

    Empathy and the sharing of individual life stories became the central nodes in the making of Arrival Cities: Hanoi. It is a piece of music theatre without a script, but with a musical and dramaturgical structure. The role of the documentary is manifold. It is a means for a political engagement but also creates memories and images that can be shared and transformed in the performance. Intercultural music and theatre operate in a liminal space between traditions. Aesthetic choices are therefore difficult to negotiate. Without trust and empathy, these negotiations cannot reach beyond the surface. Intercultural collaboration always demands from each individual to give up a piece of the self. In ArrivalCities: Hanoi, composer, director, and performers were all engaged in such learning processes.

  • 2.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gorton, David
    Royal Academy of Music, London.
    Austerity Measures I: performing the discursive voice2019In: Voices, Bodies, Practices / [ed] Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells., Leuven: Leuven University Press , 2019Chapter in book (Refereed)
    Abstract [en]

    This chapter approaches the question of subjectivity in the musical practice of composer and performer through a discussion of the emergence of ‘voice’. Part 1 describes a theoretical model by which the subjectivities of performer and composer can be understood in terms of this emergence, arguing that a musician’s ‘voice’ is continually defined through interaction with cultural and psychological tools, such as scores, compositional systems, and musical instruments. These ‘voices’ are explored through the ways they combine within a collaboration to form a ‘discursive voice’. Part 2 presents an analysis of four video recordings made of Austerity Measures I for ten-string guitar by David Gorton, performed by Stefan Östersjö at the ORCiM Research Festival in 2014. This composition requires the solo guitar player to cut materials away across a series of repetitions, replacing them with silence. The analysis draws on quantitative measures of timing and performer movements, and qualitative measures of perceived phrasing structures and performance gestures. While each of these analytical methods alone provides some insight into the performance strategies in the recordings, in the shaping of phrases as materials are cut away, and the structural significance of bodily movement, a much richer understanding is sought through their combination. In doing so the analysis aims to shed light on the interrelations between the embodied knowledge of the performer and the musical structures in the score, and further, between the subjectivities of composer and performer unfolded through the composition and performance of Austerity Measures I. Ultimately this chapter aims to provide analytical evidence for the ‘discursive voice’ within the artistic practice of the authors.

  • 3.
    Högberg, Fredrik (Composer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Baboon Concerto: for bassoon and orchestra2019Artistic output (Unrefereed)
    Abstract [en]

    Baboon Concerto is a orchstral work for bassoon soloist and full orchestra. It was commissioned by the Danish National Orchestra, Gothenburg Symhony Orchestra (GSO) and Swedish Radioo P2 as a part of Stora Solistpriset. It was first performed in Gotheburg by solosist Sebastian Stevensson and conductor Tung-CHieh Chuang.

  • 4.
    Eriksson, Sara
    et al.
    Kungliga tekniska högskolan.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Trichon, Vincent
    Kungliga tekniska högskolan.
    Unander-Scharin, Carl
    Karlstad universitet.
    Kjellström, Hedvig
    Kungliga tekniska högskolan.
    Höök, Kristina
    Kungliga tekniska högskolan.
    Dancing With Drones: Crafting Novel Artistic Expressions Through Intercorporeality2019Conference paper (Refereed)
    Abstract [en]

    Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together.

  • 5.
    Östersjö, Stefan (Composer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Hogg, Bennett (Composer)
    University of Newcastle.
    Snell, Merrie (Videographer)
    University of Newcastle.
    Devil's Water: audio and video installation2019Artistic output (Refereed)
    Abstract [en]

    Devil’s Water is a piece of ecological sound art recorded by Bennett Hogg and Stefan Östersjö at Devil's Water, Northumbria, 21-22 Maj 2013. On site, Hogg and Östersjö built a sculpture of a guitar placed in a tree, strung with fishing line to trees down by the shore. The recordings feature Hogg playing violins, bowed by sinking the body into the current, and Östersjö performing on the guitar-violin-tree sculpture. Mixed and edited at The Music Studiosand at Culture Lab, University of Newcastle.  The video was created by Merrie Snell, using documentary footage from 2013 as well as additional shootings made with Hogg and Östersjö at Devil's water in August 2016. A first film version was premiered at Panora cinema, during the Transistor Festival in Malmö in May 2017. This audio and video installation, using the same material, was premiered at Cheeseburn Sculpture Gardens, and screened in the Chapel on June 29-30 2019.

    The production of the soundscape recording in 2013 was carried out by Hogg and Östersjö within a two year artistic research project with The Landscape Quartet, funded by the Arts and Humanities Research Council, headed by University of Newcastle. A DVD with the film version of the piece will be released in the Orpheus Institute series, Leuven Univertsity Press in 2020. 

  • 6.
    Kjekshus, Helge (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Fading Time2019Artistic output (Unrefereed)
  • 7.
    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: A Festschrift for Prof. Kerala J. Snyder / [ed] Johan Norrback, Joel Speerstra and Ralph P. Locke, Göteborg: Göteborgs universitet, 2019, p. 1-21Chapter 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.

  • 8.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Brooks, William
    University of York.
    Wells, Jeremy
    University of York.
    Footnotes2019In: Voices,. Bodies, Practices / [ed] Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells., Leuven: Leuven University Press , 2019Chapter in book (Refereed)
    Abstract [en]

                This chapter discusses the agencies of composer, performer and sound engineer respectively, and further of non-human agents such as score, instruments (widely defined), the concept of authenticity in the making of the premiere recording of William Brooks composition entitled Footnotes, composed  between 1983 and 1985, but never performed in its entirety before this recording by Stefan Östersjö. With the collaboration of Jez Wells, sound engineer, and William Brooks, a 45-minute LP was produced which aim to reconstruct the historical sound of certain musicians and recording technologies. The entire working process was documented on video and analysed using qualitative research methods. Early in their work it became evident to the three collaborators that the overall project required the construction of a set of different identities for six types of participant: guitar, guitarist; score, composer; hardware, engineer. This chapter—itself an intertangled multilogue of mutable voices—traces the construction of, distinction between, and eventual representation of, those identities in the final recordings, but most of all, through an analysis of the extended collaborative process.  

  • 9.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Himmelsk och jordisk kärlek2019Artistic output (Unrefereed)
    Abstract [sv]

    S:t Jacobs Kammarkör har vunnit flera av Europas främsta körtävlingar, bland annat det europeiska körpriset European Grand Prix samt Guidoneumpriset från Fondazione Guido D´Arezzo (Italien). Kören har även deltagit i ett stort antal festivaler såsom Sagra Musicale Umbra (Italien), Tolosa (Spanien), Arezzo (Italien), Debrecen (Ungern), Europeiska radiounionen EBU:s Let the peoples sing, Polyfollia (Frankrike), De Internationale Koorbiënnale Haarlem (Holland) och representerat Sverige vid det sjätte IFCM Världssymposiet för körmusik i Minneapolis (USA) där Eric Ericson talade om, och kören demonstrerade ”the Swedish Choral Miracle”.

    Mattias Wager (född 1967) är domkyrkoorganist i Storkyrkan i Stockholm och verksam som konsertorganist och pedagog. Han studerade kyrkomusik vid Kungliga Musikhögskolan där han också tog solistdiplom i orgelspel och improvisation. Sedan följde tre förstapriser i internationella orgeltävlingar bl a St Albans, England (interpretation) och Paris (improvisation), vilket ledde till en internationell verksamhet med konserter och masterclasses. Mattias Wager ägnar sig gärna åt ensembleimprovisation och experiment med annorlunda konsertformer, framför allt som medlem av trion WÅG (med Anders Åstrand, slagverk, och Gary Graden, sång). Han har också gjort musik till ett antal teaterproduktioner. Mattias Wager är ledamot av Kungliga Musikaliska akademien.

  • 10.
    Weissglas, Erik (Musical director, Musician, Composer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Internationella minnesdagen för Förintelsens offer2019Artistic output (Unrefereed)
  • 11.
    Östersjö, Stefan (Composer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Hultqvist, Anders (Composer)
    Högskolan fölr scen och musik, Göteborgs universitet.
    Berg, Jan (Sound designer)
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    Invisible Sounds: Piteå Port2019Artistic output (Refereed)
    Abstract [en]

    Invisible sounds is a soundscape composition created in the studios at Luleå University of Technology. It is based on field recordings collected in Piteå Port in September 2018, in collaboration between Östersjö and the composer Anders Hultqvist and Jan Berg, assistant professor of Sound engineering at Luleå University of Technology. The project draws out sonic layers from the site that are beyond human perception using sensor technology and hydrophones. The project constitutes an output from the senior research project "A shrinking Emptiness", funded by VR and headed by Hultqvist at University of Gothenburg. The premiere took place on April 27 during the international electronic music festival Intonal, produced by Inkonst, EMS and Inter Arts Center. 

  • 12.
    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.

  • 13.
    Weissglas, Erik (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Lisbeth Diers Ensemble2019Artistic output (Unrefereed)
  • 14.
    Myhr, David (Singer, Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre. Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lucky Day tour of Japan 20192019Artistic output (Unrefereed)
    Abstract [ja]

    90年代、日本でも一大ブームとなったスウェディッシュ・ポップシーンの中、デビューアルバム『No Sleep 'til Famous』からのシングル曲 "Monument of Me" でその存在を大きく知らしめたバンド The Merrymakers。続く2ndアルバム『Bubblegun』では Jellyfish の Andy Sturmer をプロデューサーに迎え "Saltwater Drinks" "Superstar" といったスマッシュヒットを連発。その後バンドは活動休止となるが、メンバーの David Myhr は PUFFY の "ハッピーバースデイ" "Boom Boom Beat" などの楽曲提供をはじめ、フジファブリックの4thアルバム『CHRONICLE』(ストックホルムにある David の所有スタジオ "monogram recordings" で録音)ではプロデューサーの一人として名を連ねるなど、日本の音楽シーンとのつながりも深い。また David 自身も2012年発表のアルバム『Soundshine』よりソロとしての活動をスタート。そして2018年、今や人気プロデューサーとして引っ張りだこの Brad Jones とタッグを組み、アメリカ・ナッシュビルで録音した2ndアルバム『Lucky Day』をリリース。今回そのアルバム発売に伴い、およそ7年ぶりとなる単独来日公演が実現。

  • 15.
    Östersjö, Stefan (Instrumentalist)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Karpen, Richard (Composer)
    University of Washington.
    Nam Mai/Strandlines2019Artistic output (Refereed)
    Abstract [en]

    Nam Mái (2014-15) and Strandlines (2006-7) are cornerstones of the most recent work of American composer Richard Karpen, presented on this recording with stunning clarity by the Seattle Symphony Strings and the Six Tones. The two works share a radical approach to musical composition, which has brought Karpen into intense collaborations with a number of musicians from very different traditions over the past fifteen years. With a wish to explore forms of musical creation emerging from the very fabric of the sounding material – rather than from the abstraction of the written score – this music is largely conceived through joint exploration, and through the kind of responsive listening often associated with the processes of composing electronic music.

    Strandlines, a large-scale piece for 6-string guitar and computer, was vital in this development. The piece was created in 2006 and 2007 through an extensive collaborative process, involving Richard Karpen and the guitarist Stefan Östersjö.

    Nam Mái is the third and most ambitious work with the Six Tones in which Karpen employs these methods of collaboration with a larger group of performers. Nam Mai is a triple concerto, premiered with the Seattle Symphony in April 2014.

    Credits

     

    Nam Maí 

    Conductor: Stilian Korov

    Seattle Symphony recorded in October 2014 by Dmitriy Litay at Benaroya Hall, Seattle. 

    The Six Tones recorded in August 2015 by Silas Bieri at Malmö Theatre Academy

    Edited and mixed by Stefan Östersjö, Doug Niemela and Richard Karpen. 

     

    Strandlines

    Recorded in March 2016 by Doug Niemela in the Meany Studio Theater, University of Washington, Seattle. 

    Edited and mixed by Stefan Östersjö and Martin Svensson. 

  • 16.
    Ek, Robert (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education.
    New Europe 20192019Artistic output (Unrefereed)
  • 17.
    Johannesson, Tomas (Musician, Sound designer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Wedin, Anna (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Lundqvist, Mathias (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Holmberg, Leo (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Bäckman, Mikael (Musician)
    Eriksson, Ronny (Musician)
    Tjerngren, Stefan (Musician)
    Wedin, Anders (Musician)
    Pettersson, Katarina (Musician)
    Norrbotten blues: CD-produktion av Ronny Eriksson och Ramblin' Minds2019Artistic output (Unrefereed)
  • 18.
    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: Göteborgs universitet 12-14 juni 2019, Göteborg: Göteborgs universitet, 2019Conference 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.

  • 19.
    Weissglas, Erik (Musical director, Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Seven Songs From The 70:s: Sundsvalls IX Gitarrfestival 20192019Artistic output (Unrefereed)
  • 20.
    Weissglas, Erik (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Johannesson, Tomas (Sound designer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Henrysson, Svante (Musician)
    Backenroth, Hans (Musician)
    Ekberg, Joakim (Musician)
    Seven Songs From the 70s: Weissglas, Henrysson, Backenroth, Ekberg2019Artistic output (Unrefereed)
  • 21.
    Myhr, David
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    SIXTIES DELUXE med Lalla Hansson, David Myhr.: Eskilstuna Ölkultur 21/42019Artistic output (Unrefereed)
  • 22.
    Myhr, David (Singer, Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    The Story of The Beatles: Möllegården Kultur i Åkarp, 21 mars2019Artistic output (Unrefereed)
  • 23.
    Ek, Robert (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education.
    the Turn2019Artistic output (Unrefereed)
  • 24.
    Myhr, David
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    ”Top Ten of the Fab Four” and ”Abbey Road Live in Concert", West Coast Fab Fest, Vaasa2019Artistic output (Unrefereed)
  • 25.
    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). 

  • 26.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Voices from the North2019Artistic output (Unrefereed)
  • 27.
    Högberg, Fredrik (Composer)
    Luleå University of Technology, Department of Arts, Communication and Education.
    Absent Illusions: a Hunt For The Eluded Muses : for violin/viola and orchestra2018Artistic output (Refereed)
  • 28.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Amor Vita Mors2018Artistic output (Unrefereed)
    Abstract [sv]

    Fonogrammet Amor Vita Mors släpptes 18 oktober 2018 och innehåller över två timmar vokalmusik. Amor Vita Mors släppte endast digitalt men till fonogrammet producerades även en bok med texter, verkkommentarer och konceptkonst.

  • 29.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Arctic Male Voices: Life – premiärkonsert2018Artistic output (Unrefereed)
    Abstract [sv]

    Konsert i Umeå stads kyrka den 18 november 2018 med den nybildade manskören Arctic Male Voices. Kören bildades på initiativ av Erik Westberg efter möjligheten att samarbeta i en workshop med The King´s Singers.

  • 30.
    Weissglas, Erik (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education.
    "Celebrating Dizzy": en hyllning till Dizzy Gillespie och hans kompositioner2018Artistic output (Refereed)
  • 31.
    Frödin, Kerstin
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Champs d’étoiles: Studying gestural interaction in contemporary musical performance2018Conference paper (Other academic)
    Abstract [en]

    Background

    As a performer, on recorders and historical oboes, I use my own artistic activity as research laboratory. My project, situated in a contemporary Western art music context, deals with questions related to the score and its impact on how musicians work with gestures and communication. A live music performance is a multimodal experience where several layers of communication are at work simultaneously, and where structural and emotional meaning is conveyed through embodied practice.

     

    Main Contribution 

    Qualitative analysis of gesture is an emerging practice, which has proven to efficiently provide insight into artistic process (Spissky, 2017, Östersjö, 2016). My research method builds on analysis of video documentation from which gestures and communication between musicians are categorized and coded. My method also includes stimulated recall sessions, music analysis and comparisons between rehearsals and concerts.

     

    The video documentation that will be presented here was collected from the rehearsal process and performances of Champs d’étoiles, a suite for baroque instruments by the Swedish composer Kent Olofsson, composed 2008 – 2016 for the ensemble ‘Lipparella’. The composition is multilayered, inspired by period music for the instruments but, is at the same time, clearly situated in a contemporary art music tradition.

    With a duration of more than 70 minutes, Champs d’étoiles has become a cornerstone in the repertoire of the ensemble, which has performed it on numerous occasions over the years.

     

    This long process has afforded the ensemble valuable insights, both on the micro level, such as bodies, movements and communication, and the macro level, such as events, productions and projects (Fleishman 2012). As a member of the ensemble studied, I approach the material from an insider perspective: that of my own embodied experience of the interaction within the group.

     

    Conclusion

    This unusually long and close collaboration between composer and ensemble has enabled us to further develop both these micro and the macro perspectives. Further, the insider research perspective, in combination with detailed analysis of the use of gestures and non-verbal communication in the ensemble, offers deeper insights than can be obtained merely through a rehearsal process. The new knowledge acquired through the research takes the work of the ensemble to a higher level that can be described as a verbalized collective awareness of the embodied perspective. The research thus provides refined tools that can feed back into the artistic process and the musical interpretation. 

  • 32.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Commotio-inspildninger – en oversigt2018In: Organistbladet, ISSN 0107-2927, no 1, p. 6-11Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    A presentation of recordings of Carl Nielsen's organ work "Commotio", with a list of recordings 1954–2016 and discussions on certain aspects of interpretation, mainly tempo issues.

  • 33.
    Westberg, Erik
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    En Himmelsk konsert2018Artistic output (Unrefereed)
  • 34.
    Lundqvist, Mathias
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    För kännedom2018Artistic output (Refereed)
  • 35.
    Westberg, Erik
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Förklädd gud2018Artistic output (Unrefereed)
  • 36.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Förklädd gud: Sverige möter Israel2018Artistic output (Refereed)
    Abstract [sv]

    Turné genom Israel 27 juni – 7 juli i samarbete med trombonisten tillika dirigenten Christan Lindberg och Israel Netanya Kibbutz Orchestra.

  • 37.
    Myhr, David (Composer, Musician, Musical director, Singer, Instrumentalist)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    "Jealous Sun" (single)2018Artistic output (Unrefereed)
    Abstract [en]

    The song, which is the lead track of the upcoming album is called “Jealous Sun” and is a song I wrote together with the fantastic songwriter and artist, Bleu! I had had the melody lying around for years. Actually already since before my recording session in Abbey Road. Then producer Brad Jones to my surprise suggested deleting the verse, and instead let the pre-chorus should be my verse! Brad sure knows what he’s doing. Turned out great!

  • 38.
    Bäckman, Mikael (Musical director, Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lundqvist, Mathias (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    John Henry @ New Orleansfestival: New Orleansfestival i Mannaminne2018Artistic output (Unrefereed)
  • 39.
    Westberg, Erik (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Klanger från Norden och Baltikum2018Artistic output (Unrefereed)
  • 40.
    Kjekshus, Helge (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Klassisk i Börsen: Danser og Romanser2018Artistic output (Refereed)
  • 41.
    Weissglas, Erik (Musical director)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Konsert i Cagliari, Italien: Erik Weissglas Jazzensemble2018Artistic output (Unrefereed)
  • 42.
    Sundkvist, Petter (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Konsert Kalvfestivalen med Norrbotten NEO och Pierluigi Billone: Pierluigi Billone - Dike Wall (2012)2018Artistic output (Refereed)
    Abstract [sv]

    Ur programboken: Dike Wall, för slagverk och ensemble. I det antika Grekland var Dike (Δίκη) den moraliska rättvisans gudinna. Pierluigi Billones musik beskrivs ofta som

    arkaisk. Som minnande om en urkraft, en ockult stämma ur tidens djup. Och det går

    att följa dess klang genom studier av kultiska ritualer, genom schamanen, den tibetanske

    munken – genom antikens tragedier, men också i vår närhet; genom frijazzen, den

    Genom studiet av ritualen som form och tynande eller försvunna musikaliska praktiker är

    det möjligt att betrakta och förstå utvecklingen av den västerländska konceptionen av ljud på ett alternativt vis. Än idag går det i vissa (animistiska) utmarker att ta del av kulturer där konsten inte är en specifik profession, utan en integrerad del av tillvaron och som sådan en formande del, en del som hjälper till att förklara men också förnya verkligheten. Sensibiliteten, hanteringen av klang och överhuvudtaget hur kropp, ljud, rörelse, rum – helt enkelt människans tillvaro – gestaltar ett sammansatt förhållningssätt, som skulle kunna varit vårt, men som nu är stängt för oss inom ramen för vår traditions tänkande.

    Att försöka förstå och tränga in i avlägsna och relativt orörda kulturer, är ändå ett möjligt

    sätt att återupprätta en dialog med det förflutna, men också att bli varse djupare sediment i konsten – och därmed människans väsen. Det är att närma sig en möjlig plats, där dörren till Pierluigi Billones poetik står på glänt.

  • 43.
    Frödin, Kerstin (Musician)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Larson, Chrichan (Musician)
    Büchel, Alexandra (Musician)
    Nilsson, Ivo (Musician)
    Le Nouvel Amour: Das Orchester & Alexandra Büchel2018Artistic output (Unrefereed)
  • 44.
    Myhr, David (Instrumentalist, Musical director, Musician, Singer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Live in Swedish Radio P4 Gothenburg2018Artistic output (Unrefereed)
    Abstract [en]

    Live performance (and interview) of "Jealous Sun" (solo acoustic) in Swedish Radio P4 Gothenburg. 

  • 45.
    Myhr, David (Instrumentalist, Musical director, Musician, Composer, Singer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Live in Swedish Radio P4 Norrbotten2018Artistic output (Unrefereed)
    Abstract [en]

    Live performance in Swedish Radio P4 Norrbotten:

    "Jealous Sun"

    "Room To Grow"

    "The Perfect Place"

  • 46.
    Myhr, David (Musical director, Composer, Singer, Musician, Instrumentalist)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lucky Day2018Artistic output (Refereed)
    Abstract [en]

    Lucky Day is the new album from Swedish songwriter David Myhr. Recorded with Brad Jones in Nashville, the 10 song set features co-writes with Lojinx labelmates Bleu, Bill DeMain & Young Hines, among others. Available on heavyweight 180g LP, gatefold CD and digital download with bonus tracks on the CD only.

    Jones, who has helmed notable recordings by Josh Rouse, Hayes Carll and Jill Sobule, said: “My goal was to show David branching out from youthful power-pop to a more reflective, and more lasting sound.” Comparing Lucky Day to Myhr’s prior album Soundshine, Jones continues: “The idea was to create a warmer circle of sound around David, letting him sing in an easy and natural voice, to invite the listener into his world as it is now.” Ultimately, the album offers what Jones calls “a naturalistic kind of rehearsal-room energy.“

  • 47.
    Myhr, David (Singer, Instrumentalist, Musical director, Musician, Composer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lucky Day Promotional tour of Spain2018Artistic output (Unrefereed)
    Abstract [en]

    Lucky Day Promotional tour (solo acoustic) in Spain:

    June 2, Live at Carabás, Burgos

    June 2, Live at El Límite, Villalba

    June 3, Live at Fotomatón Bar, Madrid

  • 48.
    Myhr, David (Composer, Instrumentalist, Musician, Singer, Musical director)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lucky Day (song)2018Artistic output (Unrefereed)
    Abstract [en]

    Please allow me to present the title track of my new album: "Lucky Day"! Co-written with the album's co-producer Brad Jones who also sings harmony and plays the beautiful bass line. You will also be able to enjoy a lovely drum take (panned right!) from the album’s other co-producer Andreas Quincy Dahlbäck, as well as a soaring pedal steel from Theo Stocks, an acoustic guitar by guitar phantom Pat Buchanan and an Billy Preston-esque organ by Rickard Nilsson.  

  • 49.
    Jullander, Sverker (Musician, Arranger)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lunch concert: Göteborg International Organ Academy2018Artistic output (Refereed)
  • 50.
    Sundkvist, Petter (Conductor)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Marinens Musikkår - Julkonsert2018Artistic output (Unrefereed)
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