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  • 1.
    Andersson, Jonas
    Södertörn University, School of Culture and Communication, Media and Communication Studies.
    Popmusikens retroideal har nått vägs ände2011In: Svenska Dagbladet, ISSN 1101-2412, no 23 novArticle in journal (Other (popular science, discussion, etc.))
  • 2.
    Andersson, Jonas
    Södertörn University, School of Culture and Communication, Media and Communication Studies. Goldsmiths, University of London.
    The metamorphosis of music-listening and the (alleged) obliteration of the aura2010In: Sounds of the Overground: Selected papers from a postgraduate colloquium on ubiquitous music and music in everyday life / [ed] Nedim Hassan & Holly Tessler, Turku (Åbo): International Institute for Popular Culture , 2010, p. 58-71Chapter in book (Refereed)
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  • 3.
    Dubus, Gaël
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    An overview of sound and music applications for Android available on the market2012In: Proceedings of the 9th Sound and Music Computing Conference, 2012, p. 541-546Conference paper (Refereed)
    Abstract [en]

    This paper introduces a database of sound-based applications running on the Android mobile platform. The longterm objective is to provide a state-of-the-art of mobile applications dealing with sound and music interaction. After exposing the method used to build up and maintain the database using a non-hierarchical structure based on tags, we present a classification according to various categories of applications, and we conduct a preliminary analysis of the repartition of these categories reflecting the current state of the database.

  • 4. Edling, Anders
    et al.
    Wallrup, ErikSödertörn University, School of Culture and Education, Aesthetics.
    Emil Sjögren: en vägvisare2022Collection (editor) (Other academic)
  • 5. Ekman, Joakim
    Gogol Bordello: Ukrainsk punkcabaret!2003In: Inblick Östeuropa, ISSN 1404-014X, no 2/3, p. 30-Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Elblaus, Ludvig
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Unander-Scharin, Carl
    Univ Coll Opera, Stockholm.
    Artistically Directed Prototyping in Development and in Practice2012In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 377-387Article in journal (Refereed)
    Abstract [en]

    The use of technology in artistic contexts presents interesting challenges regarding the processes in which engineers, artists and performers work together. The artistic intent and goals of the participants are relevant both when shaping the development practice, and in defining and refining the role of technology in practice. In this paper we present strategies for structuring the development process, based on iterative design and participatory design. The concepts are described in theory and examples are given of how they have been successfully applied. The cases make heavy use of different types of prototyping and this practice is also discussed. The development cases all relate to a single artifact, a gestural voice processing instrument called The Throat. This artifact has been in use since it was developed, and from that experience, three cases are presented. The focus of these cases is on how artistic vision through practice can recontextualize technology, and, without rebuilding it, redefine it and give it a new role to play.

  • 7.
    Elblaus, Ludvig
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Unander-Scharin, Carl
    University College of Opera, France .
    Exploring the design space: Prototyping “The Throat v3” for the Elephant Man opera2011In: Proceedings of the Sound and Music Computing Conference, SMC 2011, Sound and music Computing network , 2011, p. 141-147Conference paper (Refereed)
    Abstract [en]

    Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process. In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations. The focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called tacit knowledge could be activated and brought into the development process.

  • 8.
    Ferm Almqvist, Cecilia
    Södertörn University, School of Culture and Education, Education.
    An Aesthetico-Political Approach to Music Education: Transformation Beyond Gender2019In: The Road Goes Ever On: Estelle Jorgensen’s Legacy and Music Education / [ed] Allsup, R. & Benedict, C., London, Ontario Canada: Western University , 2019, p. 79-88Chapter in book (Refereed)
    Abstract [en]

    This chapter takes Jorgensen’s thoughts regarding how music education can contribute to a better world, developed in Transforming Music Education, as a starting-point. Based on her statements, I elaborate upon possibilities for equal music education. The picture of transformed music education, as I interpret Jorgensen’s work, is based on a dialectic approach, including mutual curiosity and respect. Through my research where I have interviewed female electric guitar playing upper secondary music students, shows though, that transformation of music education has to continue. For example, the analysis of their expressed experiences shows that they are diminished, quieted, encouraged to care, and seen as the other musical sex. Therefore, the chapter communicates a philosophical exploration of how an aesthetic-political understanding of democracy, based on Arendt, Merleau-Ponty and Ranciere, could be used to go beyond gender, and imply in what ways music education could offer equal dialectical spaces of musical wonder. My hope is that voices of philosophical scholars, within the field of music education, will continue open-ended collegial discussions based in friction and friendship in Jorgensen’s spirit in deliberative scenes. That could be one contributor towards a professional discussion towards equal music education. The aesthetico-political voice could be one that aims to encourage both music teachers and students to be and become themselves, in music educational settings, where all individuals are heard and listened to, in intersubjective musical activities.

  • 9.
    Ferm Almqvist, Cecilia
    Södertörn University, School of Culture and Education, Education.
    How to become a guitar playing human being in the situation of ensemble courses – independent of sex: An episode of the radio show Music and Equality2019In: European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 1, no 4, p. 141-171Article in journal (Refereed)
    Abstract [en]

    The article will shed light on both the challenges to and possibilities for growth as an ensemble guitarist within upper secondary popular music ensemble courses in Sweden. The paper is a critique of an un-reflected view of popular music as a preferred situation for musical learning in schools. It is intended both as a thought-provoking speech directed to ensemble teachers aiming for equal music education, and as a philosophical exploration of female experiences of ensemble education. The article is based on an existential–philosophical way of thinking, mainly in line with the thoughts of Simone de Beauvoir, both when it comes to the view of human beings independent of sex1 and as a base for how to communicate scientific results in a sensitive situated way. Hence, the format of the article, drawing on Arts-based research philosophy, is constituted as an imagined radio show episode, including a programme leader (PL), two young female guitarists – Anna and Lucy – and one prominent philosopher: Simone de Beauvoir (SdB). The article consists of text as well as a sounding dialogue and drawings. The dialogue is based on interview material combined with studies of primary and secondary Beauvoir literature. Issues that will be explored in the conversation have emerged in an earlier study of the story of one female guitarist: an upper secondary student at a specialist music programme. Issues chosen for the current article shown to be crucial from an equality perspective are; Transcending boys and immersing girls, the male gaze, relations to patriarchal repertoire, possible projects and the role of the teacher.

  • 10.
    Ferm Almqvist, Cecilia
    Södertörn University, School of Culture and Education, Education.
    Recension av Maria Westvalls bok:  (Gidlunds 2016). : Musiker och folkbildare. Fem porträtt av musiker som började sin bana inom militärmusiken2018In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, no 1Article, book review (Other academic)
  • 11.
    Ferm Almqvist, Cecilia
    Södertörn University, School of Culture and Education, Education.
    Towards a possible geometry of (music) educational relations: situated (musical) bodies2019In: The 12th Symposium on the Philosophyof Music Education: June 5-8, 2019 [pre-conference June 3-5, 2019] Don Wright Faculty of Music atWestern UniversityLondon, Ontario, Canada / [ed] Western University Press, International Society for the Philosophy of Music Education , 2019, Vol. 12, p. 16-Conference paper (Refereed)
    Abstract [en]

    Towards a possible geometry of (music) educational relations – situated (musical) bodies Cecilia Ferm-AlmqvistIn my PhD-work (Ferm, 2004, 2006) I was interested in interaction that made musical among 10-12 years old possible. The phenomenon of music teaching and learning interaction showed to be constituted by five themes, namely how the teachers related to the incorporated musical knowledge of the pupils; in which ways the teachers were open to the initiatives of the pupils; how musical experience was made possible; how the acts of the pupils were handled; and finally, which symbols that were used in the interactions. The philosophical base for the study was mainly Merleau-Ponty ́s phenomenological thinking, where human beings are seen as living bodily subjects. The bodily aspect of interaction in the music classroom, was only one part, or aspect, of the result though. In later studies, focusing female guitar playing students in upper secondary school ensemble education, it has become obvious though, that girls behave, and are encouraged to behave in more immanent ways than boys. They seem to have been, and be, less encouraged to stretch their bodies, and become musical human beings. Instead they become the second musical sex (Ferm-Almqvist, 2017 a, b; Ferm-Almqvist & Hentschel, 2019). During my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually been wondering about how to create educational rooms, and educational relations in ways that let all pupils, independent of sex, to run their projects, transcend as musical bodies, and become what they already are. I have been approaching this theme from different philosophical angels, and at the same time taken part of on-going studies regarding educational relations that have encouraged my wonder even more.

  • 12.
    Fleischer, Rasmus
    Södertörn University, School of Gender, Culture and History, Institute of Contemporary History.
    Musikens politiska ekonomi: lagstiftningen, ljudmedierna och försvaret av den levande musiken, 1925-20002012Doctoral thesis, monograph (Other academic)
  • 13. Fornäs, Johan
    Framtiden i det som hittills varit1984In: Tvärspel: trettioen artiklar om musik: festskrift till Jan Ling, Göteborg: Musikvetenskap, Göteborgs universitet , 1984, p. 197-213Chapter in book (Other academic)
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  • 14. Fornäs, Johan
    Limits of musical freedom2002Report (Other academic)
  • 15. Fornäs, Johan
    Till kritiken av myterna om den populärmusikaliska konspirationen1980In: Nordisk musik och musikvetenskap under 1970-talet: En kongressrapport / [ed] Anders Carlsson & Jan Ling, Göteborg: Musikvetenskap, Göteborgs universitet , 1980, p. 40-59Conference paper (Other academic)
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    FornäsTillKritiken1980
  • 16.
    Fornäs, Johan
    Göteborgs universitet.
    Tältet i pressen: Rapport om tidningarnas recensioner av “Tältprojektet – Vi äro tusenden”1981Report (Other academic)
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  • 17.
    Garberding, Petra
    Södertörn University, School of Gender, Culture and History, Ethnology.
    Musik, Moral und Politik: Richard Strauss, Kurt Atterberg und der Ständige Rat für die internationale Zusammenarbeit der Komponisten2011In: Richard Strauss Jahrbuch 2011: Richard Strauss im europäischen Kontext / [ed] Richard Strauss Institut, Garmisch-Partenkirchen, Wien/Garmisch-Partenkirchen: Hans Schneider Verlag, Tutzing , 2011, p. 235-250Chapter in book (Other academic)
  • 18.
    Garberding, Petra
    Södertörn University, School of Historical and Contemporary Studies, Ethnology.
    Strauss und der Ständige Rat für die internationale Zusammenarbeit der Komponisten2014In: Richard Strauss Handbuch / [ed] Walter Werbeck, Stuttgart/Weimar: Verlag J. B. Metzler, 2014, p. 42-47Chapter in book (Refereed)
  • 19.
    Garberding, Petra
    et al.
    Södertörn University, School of Historical and Contemporary Studies, Ethnology.
    Rosengren, Henrik
    Lunds universitet.
    Geisler, Ursula
    Linnéuniversitetet.
    "Jag ser till att bli uppfattad som en vanlig DDR-medborgare": Musikforskaren Gerd Schönfelder, Kungliga Musikaliska Akademien och Stasi2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 101, p. 103-135Article in journal (Refereed)
    Abstract [en]

    This article is a case study of the contacts between the music sector in Sweden and the GDR in the 1970s, 1980s and 1990s. The case is the activities of the East-German musicologist and music administrator Gerd Schönfelder (1936–2000) in Sweden at that time, and the debate that arose in the early 1990s when he was accused of having worked for the East German security service, Stasi. The purpose is to provide insight into how music-aesthetic and musicological aspects interacted with politics and ideology in the relations between Sweden and the GDR. In the early 1990s, the availability of material in the Stasi archive was still very limited, and so it was difficult to find out whether it was true that Schönfelder had worked for Stasi, what tasks he had received from the security service and what these tasks meant for his work with Swedish colleagues in the music field. In our article, we try to find answers to these questions by examining how Schönfelder established contact with the Swedish music sector, who were his closest partners in Sweden, and why they were of interest to him. Throughout, we explore Schönfelder’s relationship to Stasi and his work as an ”unofficial employee” for Stasi in Sweden. Finally, we offer a sociological perspective on Schönfelder’s activities in Sweden and the GDR, using Pierre Bourdieu's concepts of field and capital.

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  • 20.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism.
    Leadership in live television broadcasts of sporting events2015Conference paper (Refereed)
  • 21.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism.
    Leadership in Music Production in the Internet Age2014Conference paper (Refereed)
  • 22.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism. Kungl. Musikhögskolan.
    Sonic Signature Aspects in Research on Music Production Projects2014Conference paper (Refereed)
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  • 23.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism.
    Vilka egenskaper eller förmågor behövs i ett förändrat musiklandskap?2014In: Ett förändrat musiklandskap / [ed] Thomas Florén, Stockholm: Mirac , 2014Conference paper (Refereed)
    Abstract [sv]

    Vilka egenskaper eller förmågor behövs i ett förändrat musiklandskap?

    Syftet med detta konferensbidrag är att ge en kort presentation av en idé för ett kommande forskningsprojekt där syftet är att identifiera och undersöka möjliga särskilda individuella eller kollektiva egenskaper eller förmågor som kan bidra till individers eller kollektivs framgång i musikbranschen.

    Det är rimligt att anta att de som är framgångsrika i den svenska musikindustrin har särskilda egenskaper eller förmågor som starkt har bidragit till deras framgång. Men då det i tidigare forskning inte är väl undersökt vilka egenskaper eller förmågor som är särskilt värdefulla i detta avseende och då dessutom musikindustrin under senare år förändrats mycket är det en utmaning att i högre utbildning utveckla och bedriva utbildning som är inriktad på att förbereda studenter för framtida arbete i musikindustrin.

    Fram till åren kring millennieskiftet var det i Sverige fram för allt musikhögskolorna som erbjöd utbildning för musiker och andra i musikrelaterade yrken. Men det ökade intresset under senare år bland studenter för musik och musikskapande har resulterat i att många svenska lärosäten numera erbjuder utbildning med relevans för musikindustrin, som till exempel utbildning i musikproduktion.

    Sedan den första svenska högskoleutbildningen i musikproduktion startade 1983, vid Musikhögskolan i Malmö, har stora förändringar skett inom såväl produktion som distribution och konsumtion av musik. Och detta har resulterat i ett förändrat musiklandskap. När det gäller produktionen av musik kan en viktig förändring beskrivas som en demokratiseringsprocess.  Musikproduktion, för till exempel fonogram, har utvecklats från att ha varit en verksamhet som mycket få hade teknisk kompetens eller tillgång till nödvändig inspelningsutrustning för att arbeta med till att bli något som de flesta som äger en dator, surfplatta eller smartphone har möjlighet att ägna sig åt. Sådana möjligheter till musikskapande i digitala miljöer har också resulterat i att många ägnar sig att skapa musik. Detta kan förklara att allt fler gör anspråk på upphovsrättslig ersättning för sin musik.  Stim, Svenska tonsättares internationella musikbyrå, har numera drygt 70 000 anslutna medlemmar och det gör att alltså knappt en procent av den svenska befolkningen är upphovsrättsinnehavare i musikbranschen. 

    Men den digitala revolutionen har också resulterat i att konsumtionen av musik har genomgått stora förändringar och även detta kan ses som en demokratiseringsprocess och källa till ny kunskap för många. Den ökade tillgängligheten har resulterat i förändrade konsumtionsmönster som gjort att många lyssnar mycket på musik. Därför är det rimligt att anta att de flesta som växt upp efter millennieskiftet genom sitt myckna musiklyssnande också har skaffat sig särskilda kompetenser som ingen tidigare generation har haft. Detta antagande nyanserar den bild av att skolungdomar ofta har omfattande kunskapsluckor jämfört med tidigare generationer. En bild som inte minst betonats i medierapporteringen av till exempel resultat från genomförda kunskapstest som till exempel Pisaundersökningen. Det är kanske så att unga som växer upp idag har andra egenskaper eller förmågor jämfört med tidigare generationer men också att det kanske är just sådana egenskaper som kan vara värdefulla för dem som vill vara verksamma i musikindustrin?

    En möjlig väg att undersöka vilka särskilda egenskaper eller förmågor som är särskilt viktiga för att vara verksam i musikindustrin är att undersöka vilka som är verksamma nu på viktiga positioner och undersöka deras bakgrund, hur de har fått den position de har och hur de själva och andra kring dem värderar deras särskilda egenskaper eller förmågor. Det finns tidigare studier som till exempel Gustavsson, Börjesson & Edling (2012) som möjligen kan fungera som en metodologisk utgångspunkt. Men framför allt ser jag det som värdefullt att under konferensen få diskutera denna idé med andra forskare och tillsammans överväga hur och om ett sådant här projekt kan gå vidare. 

  • 24.
    Gullö, Jan-Olof
    et al.
    Södertörn University, School of Social Sciences, Journalism. Kungl. musikhögskolan.
    Holgersson, Per-Henrik
    Kungl. musikhögskolan.
    Attityder och förhållningssätt bland unga och oerfarna respektive etablerade och erfarna musikproducenter2015In: Konferensbidrag Vidgade vyer över musiken: Stockholms universitet november 2015, Stockholm: Music focused interdisciplinary research & analysis center , 2015, p. 13-14Conference paper (Refereed)
  • 25.
    Gullö, Jan-Olof
    et al.
    Södertörn University, School of Social Sciences, Journalism.
    Holgersson, Per-Henrik
    Kungl. musikhögskolan.
    Education in popular music production based on scholarship or artistic practice2014Conference paper (Refereed)
  • 26.
    Gullö, Jan-Olof
    et al.
    Södertörn University, School of Social Sciences, Journalism.
    Holgersson, Per-Henrik
    Kungl. musikhögskolan.
    Magic mirror in my hand, who is the coming producer in the land?2015Conference paper (Refereed)
  • 27.
    Gullö, Jan-Olof
    et al.
    Kungl. musikhögskolan.
    Höglund, Ivan
    Kungl. musikhögskolan.
    Jonas, Julia
    Kungl. musikhögskolan.
    Näslund, Anton
    Kungl. musikhögskolan.
    Persson, Joakim
    Kungl. musikhögskolan.
    Four studies on creativity in music production2015Conference paper (Refereed)
  • 28.
    Gullö, Jan-Olof
    et al.
    Kungl. musikhögskolan.
    Höglund, Ivan
    Kungl. musikhögskolan.
    Jonas, Julia
    Kungl. musikhögskolan.
    Näslund, Anton
    Kungl. musikhögskolan.
    Persson, Joakim
    Kungl. musikhögskolan.
    Lindetorp, Hans
    Kungl. musikhögskolan.
    Nobel Creations2015In: , 2015Conference paper (Refereed)
  • 29.
    Hallberg, Therese
    Södertörn University, School of Culture and Education, Aesthetics.
    ‘Pain is the Great Connector’: Nature and Womanhood in the Songs of Chelsea Wolfe2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis explores the conception and embodiment of nature in the songs of American folkmusic/doom metal singer-songwriter Chelsea Wolfe. Through the theoretical perspective of ecocritical feminism that emphasise the interconnectedness of the subjugation of women and the environment, this study delves into how Wolfe’s songs relate to nature and the feminine in relation to voice and song. I employ the methodology of Critical Musicology as described by Lawrence Kramer, to provide an understanding of the relationship between song, text and language. And to further facilitate a comprehensive understanding of gender and vocal expression, I utilise the feminist vocal philosophy of Adriana Cavarero where the logocentric division of speech and sound is scrutinised.

    Alongside this study’s primary focus on Wolfe’s vocal expression, attention to how ideas are musicalized and conveyed through sound and textual inclusions contribute to a richer and more nuanced understanding of how the relationship with nature is embodied in Wolfe’s songs.

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  • 30.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology, Sound and Music Computing.
    Expressivity and musical shape in turntablism: Response to Greasley and Prior2013In: Empirical Musicology Review, E-ISSN 1559-5749, Vol. 8, no 1, p. 44-47Article in journal (Refereed)
    Abstract [en]

    This commentary to Greasley and Prior's paper "Mixtapes and turntablism: DJs' perspective on musical shape" extends the findings of the study by looking at the turntablism perspective. First, a general discussion on the study's method and background is given. Then, the role of turntables as musical instruments in creating musical shape is outlined. Finally, some relationships between turntablism techniques, expressive performances and musical shape are presented. In general, the findings in the study support previously published studies in this insufficiently researched area.

  • 31.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    The Skipproof Virtual Turntable for High-level Control of Scratching2010In: Computer music journal, ISSN 0148-9267, E-ISSN 1531-5169, Vol. 34, no 2, p. 39-50Article in journal (Refereed)
  • 32.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    Use of soundscapes for providing information about distance left in train journeys2012In: Proceedings of the 9th Sound and Music Computing Conference, 2012, p. 79-84Conference paper (Refereed)
    Abstract [en]

    This paper presents a study in the framework of the ISHT Interior sound design of high-speed trains project. During a train journey between the cities of Stockholm and Gï¿œvle, Sweden, 9 travellers participated in a listening experiment to evaluate the use of sonification to convey non-speech based information about the travel. We tested sonification for communicating the distance between two stations in the train journey. The participants could activate an iconographic representation of the sound in the landscape outside and listen to it through headphones in three conditions: with music, with a soundscape or with silence. Their interaction was logged, and ratings of their stated sense of knowing where the train was between the departure and arrival stations were recorded. Preliminary results show that our sonification helped participants to get an idea of the distance left for reaching the next station, and also that listening to the sonification was experienced as an engaging and pleasant activity.

  • 33.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Dravins, Christina
    Riga Stradins Univ, Riga, Latvia.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    Active Listening and Expressive Communication for Children with Hearing Loss Using Getatable Environments for Creativity2012In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 365-375Article in journal (Refereed)
    Abstract [en]

    This paper describes a system for accommodating active listening for persons with hearing aids or cochlear implants, with a special focus on children at an early stage of cognitive development and with additional physical disabilities. A system called the Soundscraper is proposed and consists of a software part in Pure data and a hardware part using an Arduino microcontroller with a combination of sensors. For both the software and hardware development it was important to always ensure that the system was flexible enough to cater for the very different conditions that are characteristic of the intended user group. The Soundscraper has been tested with 25 children with good results. An increased attention span was reported, as well as positively surprising reactions from children where the caregivers were unsure whether they could hear at all. The sound synthesis methods, the gesture sensors and the employed parameter mapping were all simple, but they provided a controllable and sufficiently complex sound environment even with limited interaction. A possible future outcome of the application is the adoption of long-time analysis of sound preferences as opposed to traditional audiological investigations.

  • 34.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Hiraga, Rumi
    Tsukuba University of Technology, Tsukuba, Japan.
    Li, Zheng
    KTH Royal Institute of Technology.
    Wang, Hua
    KTH Royal Institute of Technology.
    Music Puzzle: an Audio-Based Computer Game That Inspires to Train Listening Abilities2013In: Advances in Computer Entertainment: 10th International Conference, ACE 2013, Boekelo, The Netherlands, November 12-15, 2013. Proceedings / [ed] Reidsma, Dennis, Haruhiro, Katayose, Nijholt, Anton, Springer, 2013, Vol. 8253, p. 540-543Conference paper (Other academic)
  • 35. Lilja, Agneta
    August Bondeson och den folkliga vissången1988In: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, p. 9-24Article in journal (Other academic)
  • 36. Lilja, Agneta
    [Recension av:] Anders Björklund & Gunnar Nordlinder, Visor och verser från haven1981In: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, p. 102-104Article, book review (Other academic)
  • 37. Lilja, Agneta
    [Recension av:] Bengt R. Jonsson (red.), Sveriges medeltida ballader I1984In: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, p. 146-147Article, book review (Other academic)
  • 38. Lilja, Agneta
    [Recension av:] Bengt R. Jonsson (red.), Sveriges medeltida ballader II1987In: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, p. 143-144Article, book review (Other academic)
  • 39. Lilja, Agneta
    [Recension av:] Bengt R. Jonsson (red.), Sveriges medeltida ballader IV: 1–21997In: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, p. 241-243Article, book review (Other academic)
  • 40.
    Mattsson, Douglas
    Södertörn University, School of Historical and Contemporary Studies, The Study of Religions. Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Mellan förverkligande och förtryck, kvinnliga svartmetallfans i Turkiet2020In: Kvinnligt religiöst ledarskap: En vänbok till Gunilla Gunner / [ed] Simon Sorgenfrei & David Thurfjell, Huddinge: Södertörns högskola, 2020, p. 113-122Chapter in book (Other academic)
    Download full text (pdf)
    Mellan förverkligande och förtryck, kvinnliga svartmetallfans i Turkiet
  • 41.
    Muchitsch, Veronika
    Södertörn University, School of Culture and Education, Gender Studies.
    “Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming2023In: IASPM@Journal, E-ISSN 2079-3871, Vol. 13, no 3, p. 48-65Article in journal (Refereed)
    Abstract [en]

    Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies. 

  • 42.
    Muchitsch, Veronika
    Södertörn University, School of Culture and Education, Gender Studies.
    Listening to Anohni's variously vibrating voice: studying transfeminine vocality in 21st-century popular music culture through the concept of vocal figurations2023In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 42, no 1, p. 59-78Article in journal (Refereed)
    Abstract [en]

    This article examines the work and reception of singer-songwriter Anohni to investigate sonic and discursive negotiations of transfeminine vocality in 21st-century popular music culture. Developing Haraway's concept of feminist figurations, it introduces the concept of vocal figurations, which articulates a performative, relational and multiply mediated understanding of voice, wherein gendered voice takes shape through processes of voicing and listening. I initially examine Anohni's reception to analyse how biologist, trans-exclusionary and othering discourses surrounding voice and gender inform emergent discourses of transfeminine voices in the first decades of the 21st century. Subsequently, I build on trans and queer theorisations of voice and listening to engage Anohni's variably vibrating voice as a vocal figuration that may challenge biologist and marginalising constructions of transfeminine vocality. I suggest that it may attune us to recognise all gendered voices as thoroughly situated yet changeable configurations of sounding voices, bodies, and subjects.

  • 43.
    Olsson, Susanne
    Södertörn University College, School of Gender, Culture and History, Study of religions.
    Från hymn till extas: religion och musik2008In: Re:Orient HöstArticle in journal (Other (popular science, discussion, etc.))
  • 44. Saxonberg, Steven
    et al.
    Waligorska, Magdalena
    Klezmer in Krakow: Kitsch, or catharsis for Poles?2006In: Ethnomusicology, ISSN 0014-1836, E-ISSN 2156-7417, Vol. 50, no 3, p. 433-451Article in journal (Refereed)
  • 45.
    Schuback, Marcia Sá Cavalcante
    Södertörn University, School of Culture and Communication, Philosophy.
    Om ljudkonst2007In: Nutida Musik, ISSN 1652-6082, p. 39-47Article in journal (Other (popular science, discussion, etc.))
  • 46.
    Sjöberg, Mikael
    Södertörn University College, School of Communication, Media and it.
    "Hur känd kan jag bli på fem veckor?": En studie om distribution av musik via Internet.2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Internet and the digital channels for distribution have meant big changes for the musicindustry. The physical record that has been symbolising this market for a long time is slowlybeing replaced by digital based music. The technical progress during the last ten years has ledto a democratization of music production. The amateur musicians of today can produce highquality music on their laptops and later distribute it via free music sites. MySpace andYouTube are two of the biggest sites for this free distribution and is therefore my main choiseof study.

    The purpose of this essay was to find out how and if these changes have made a difference formusicians without a record deal to reach an audience by themselves. In order to find this out Iconducted three qualitative personal interviews with both established and amateur musiciansworking in the music business.

    To find out how many listeners a amateur musician can generate on their own within a shortamount of time I made a quantitative study during five weeks where I posed as an musicianstarting from scrach with an aim to become famous. During these five weeks I got my songplayed 164 times and got to collaborate with a podcast show from England.

    My hypothesis has been that the future role of the record company will be reduced andpossibly disappear. The theories in this essay argues that this might indeed be the case whenmusicians have accsess to a world o free marketing.

    Download full text (pdf)
    FULLTEXT01
  • 47.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Arendt, Poetry and Music: On Sounding2023In: The Oxford Handbook of the Phenomenology of Music / [ed] Jonathan De Souza; Benjamin Steege; Jessica Wiskus, Oxford: Oxford University Press, 2023, p. C25S1-C25N52Chapter in book (Other academic)
    Abstract [en]

    This chapter focuses on Hannah Arendt’s concept of sounding. It explores Arendt’s focus on music and poetry producing the phenomena of aesthetics and politics. Arendt’s assertion of an intrinsic relationship between music and poetry offers a way of interpreting musical and poetic works as inherently political. Mood, tone, and sounding belong to the world of appearances that hold inherent political capacity by displaying an explosive ability to give voice to the dispossessed. The chapter then considers Arendt’s basic assumption that music and poetry, as artworks, uphold an ontological status of permanence, while also referencing an immersion in emotions and radical subjectivity.

  • 48.
    Tallavaara, Mia
    et al.
    Södertörn University College, School of Business Studies.
    Bayat, Giti
    Södertörn University College, School of Business Studies.
    Hur musikindustrin skapar efterfrågan2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [sv]

    För att en konsument ska köpa musik måste han eller hon uppleva ett medvetet eller omedvetet behov av det. Information och kunskap som rör uppkomsten av musikbehovet hos konsumenten är mycket viktig för den kommersiella musikindustrin. Den kunskapen utgör nyckeln till ett framgångsrikt recept för skapandet av efterfrågan för ny musik och nya artister. Syftet med denna uppsats är att undersöka hur den kommersiella musikindustrin går tillväga för att skapa efterfrågan av musik och artisterna bakom den. Arbetet behandlar aktuella teorier samt kvalitativa intervjuer genomförda med administrativ personal på skivbolaget SonyBMG och tre anonyma låtskrivare. Slutsatsen som vi drog av arbetet med hjälp av de genomförda undersökningarna är att efterfrågan av musik skapas genom en trestegsformad kedjeprocess, där låtskrivare och skivbolag är mycket beroende av varandra. Processen börjar med utformandet av låten och följs sedan av exponeringen av musiken för att till slut leda till att en efterfrågan föds.

    Download full text (pdf)
    FULLTEXT01
  • 49.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Weberns mikrologier2023Other (Other academic)
  • 50.
    Wallrup, Erik
    Södertörn University, School of Culture and Education, Aesthetics. Stockholms universitet, Sverige.
    Blicken i den gustavianska spegeln: Svensk musikvetenskap om tiden under Gustav III2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 101, p. 75-101Article in journal (Refereed)
    Abstract [en]

    The reign of the Swedish king Gustav III (1771–92) was a productive period musically. It has become one of the main fields of research within Swedish musicology: more than 40 scholarly articles have been published and ten book-length studies have been printed since 1920. In the article, these texts are read from a critical perspective in order to scrutinize the foundation of the research and to analyse its conditions, but also to see if a transgression is possible.

    If the ethos of Swedish musicology, with its empirical attitude concerning the survey of sources, can be confirmed in many cases, some examples show that there have been important alternatives: the intention of writing the cultural history of the period (especially Walin and Hedwall), the interest in rhetoric during the 1990s, and investigations of nationalism. The shift from a German to an Anglo-American influence can be discerned during the 1950s, and this change can be the reason why a wider cultural approach became obsolete.

    Yet, responding to the earlier initiatives, it is suggested finally that musicology can and should turn back to the Gustavian era again after a caesura of fifteen years. Recent work within fields such as affectivity, phenomenology and cultural transfer call upon a re-reading of the manifold sources that have been found during a century of research.

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