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  • 151. Fornäs, Johan
    et al.
    Lindberg, Ulf
    Hansson, Lars
    Tältprojektet: Vi äro tusenden1977In: Tekla: Teori och klasskamp, ISSN 0348-7253, no 3/4, p. 94-104Article in journal (Other academic)
  • 152.
    Forsler, Ingrid
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    On trying to feel at home2017In: Self Trackers: Eight Personal Tales of Journeys in Life-Logging / [ed] Morris Villarroel & Alberto Frigo, North Charleston: CreateSpace Independent Publishing Platform , 2017, p. 29-37Chapter in book (Other (popular science, discussion, etc.))
  • 153.
    Forsman, Michael
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    There must be one more sides to the coin: Countefeit as performance2014Conference paper (Refereed)
    Abstract [en]

    “Our whorer of a King”. That was imprinted on coins that emerged around Sweden in the summer of 2012. This prank obviously played on widely spread rumors about the Swedish kings meetings with ‘coffee girls’ during private dinners with the Swedish (male) elites. The false coins impressed experts and left the media baffled. “The Royal Coin” became a prattle in mass media and social media during the summer news dry of 2012. Who was behind this?  And, most important: what was The message? These false coins did not seem to be part of an ordinary counterfeit; rather it seemed to be some sort of anti royal statement. Soon speculations about its begetter turned towards the art world. The man behind this performance came forward in a press conference held during an avantgarde art fair in Stockholm in September 2012. It turned out that the architect behind this intriguing set up came from the PR-sector, and he stated that it could not reasonably be his responsibility to declare ‘the meaning of this piece, being, as he said, an ’amateur artist’. The press conference gathered hordes of journalists, but they did not get their main question answered (What was your aim/What was your purpose?). After a while the instigator fled his own press conference, leaving the journalist astound. The media system was short circuited, and what was to follow was the media systems ultimate punishment: Silence.

    In this paper I will discuss ‘The Royal Coin’ as a performance, with reference to previous works of artists who have used ‘The media’ and its logics as a studio and stage (think Warhol) for their artistic work. In my discussion I use concepts taken from Jean Baudrillard, such as non event and objective irony, to pinpoint this (among others) strategy for avant gard(ish) techniques as a form of media criticism in a non escapable hyper reality. 

  • 154.
    Forsman, Michael
    et al.
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Reich, Carina
    Stockholms konstnärliga högskola.
    Who Made Me Kill The Fish?: Narrativ performance som lärande2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 355-374Chapter in book (Refereed)
  • 155. Frandsen, Finn
    et al.
    Vigsö, Orla
    Artists Sharing without Frontiers - Networking in the Enlargement Process: Report from a conference in Bucharest, Romania, 5-7 September 20032003Conference proceedings (editor) (Other academic)
  • 156. Frandsen, Finn
    et al.
    Vigsö, Orla
    Borderless vs national perspectives in the fields of art and culture: art for sale? : report from a conference in Viségrad, Hungary : October 5-7, 20012001Conference proceedings (editor) (Other academic)
  • 157. Frandsen, Finn
    et al.
    Vigsö, Orla
    Kunstpolitisk forum: kunstens pris : om kunst, etik og økonomi : rapport fra møde på Snoghøj Folkehøjskole 3.-5. marts 20002000Conference proceedings (editor) (Other academic)
  • 158. Frandsen, Finn
    et al.
    Vigsö, Orla
    Media, artists and democracy: report from a conference in Skarrildhus, Denmark, 18-20 October 20022002Conference proceedings (editor) (Other academic)
  • 159. Frandsen, Finn
    et al.
    Vigsö, Orla
    Public service: for dannelse eller fordummelse? : kunst og kultur i de elektroniske medier : rapport fra høring på Christiansborg mandag den 17. januar 20002000Conference proceedings (editor) (Other academic)
  • 160.
    Fredricson Flodin, Fia
    Södertörn University, School of Culture and Education, Aesthetic Learning Processes. Södertörn University, School of Culture and Education, Teacher Education.
    Improvisation som estetisk lärprocess2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 217-232Chapter in book (Refereed)
  • 161.
    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)
  • 162.
    Garberding, Petra
    Södertörn University, School of Historical and Contemporary Studies, Ethnology.
    Recension av: Ricarda Kopal: Herbert von Karajan: Musikethnologische Annäherung an einen "klassischen" Musikstar2018In: Puls, ISSN 2002-2972, Vol. 3, p. 80-83Article, book review (Other academic)
  • 163.
    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)
  • 164.
    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, E-ISSN 2002-021X, Vol. 101Article 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.

  • 165.
    Goldenzwaig, Gregory
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Music Consumption Practices in the Age of the Cloud: Listening to Russia2014In: World of Media: Yearbook of Russian Media and Journalism Studies, ISSN 2307-1605, Vol. 2013, p. 39-59Article in journal (Refereed)
    Abstract [en]

    The cross-cultural study ”Music in the Digital Age”  focuses on the impact of the Internet on music in everyday life. This article presents the first results from the Russian segment of the study: we look into how the growing Internet access affects the patterns of music-related practices in Russia.  Music is now ubiquitous in the everyday life of young people. It is strongly incorporated in the daily routine, and it is primarily associated with mood regulation and adaption to urban environments. Predictably, the effects of broad access to music result in the integration of online and offline-activities related to music. However, we also observe a contrast of the utilitarian effects of wide access, and the growing demand for materiality and privacy in music.

  • 166.
    Goldenzwaig, Gregory
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Феномен «музыки-в-облаке» в российских реалиях: проблематика ценности [Music in the Cloud in Russia: the Problematics of Value]2014In: Вестник Московского университета. Серия 10. Журналистика (Vestnik Moskovskogo Universiteta. Seria 10, Journalistika), ISSN 0320-8079, no 2Article, book review (Other academic)
    Abstract [en]

    The research project "Music Use in the Online Media Age" focuses on the impact of the Internet on music use. Whereas the user practices related to music shift from offline to online, from album to single song listening, from recorded to live, from file-sharing to social media platforms, the users’ understanding of music and its role is dramatically evolving. The study reveals that the music-related activities in Russia are mainly concentrated on the social networking website VKontakte. Practices related to this and other platforms form complex folksonomies of online and offline listening, intertwined with experiences of live music. The early findings shed light on the effects of the ubiquity of digitised music on the Internet: the integration of online and offline activities, the decay of emotional investment in music, the diversification of music listening patterns. The debate about the value of music is reflected in the discussion about payment models where locally established consumption practices conflict with moral aspects and where the rejection of the authority of the music industry is combined with the respect for the artistic labour.   

  • 167.
    Gradskova, Yulia
    et al.
    Stockholms universitet.
    Sandomirskaja, Irina
    Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Petrusenko, Nadezda
    Södertörn University, School of Historical and Contemporary Studies, History. Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Pussy Riot: Reflections On Receptions: Some Questions Concerning Public Reactions in Russia to the Pussy Riot’s Intervention and Trial2013In: Baltic Worlds, ISSN 2000-2955, Vol. 6, no 1, p. 56-Article in journal (Refereed)
  • 168.
    Graf, Heike
    Södertörn University, Avdelning 3, Media and Communication Studies.
    Die Metamorphose der Stadt Berlin in der Dokumentarfilmen von Bo Bjelfvenstam2002Report (Other academic)
  • 169. Granath, Sara
    Hercules i Lund - bakom kravallstaket och poliser1996In: Svenska Teaterhändelser 1946-1996 / [ed] Lena Hammergren, Karin Helander, Willmar Sauter, Stockholm: Natur och kultur , 1996, p. 50-88Chapter in book (Other academic)
  • 170. Granath, Sara
    Interaction acteur/public dans un groupe de théâtre libre dans les années 1970 et 19801995In: L'annuaire théâtral-Revue québécoise d'études théâtrales, ISSN 0827-0198, no 18, p. 75-92Article in journal (Other academic)
    Abstract [sv]

    Om olika slags publikkontakt som en svensk fri teatergrupp ägnade sig åt under 1970- och 80-talen. Om förändrade maktrelationer mellan skådespelare och publik. Gruppen hette först Proteus, sedan Mercurius, under ledning av Ulf Gran

  • 171.
    Granath, Sara
    Stockholms universitet.
    Käket & Moralen: teatersällskapet Proteus/Mercurius från studentteater till länsteater1997Doctoral thesis, monograph (Other academic)
    Abstract [sv]

    The aim of this dissertation is to study the development of a so called free theatre group in the south of Sweden. This group, here called Proteus/Mercurius, started out as a travelling amateur theatre, emanating from the Student Theatre of Lund, in 1965, and waas finally established as the regional theatre of the county of Skaraborg, in 1988. The group' s leadeer and director Ulf Gran became the head of the new theatre.

    The French sociologist Pierre Bourdieu uses the concept of cultural field to characterize the arena,where agents and institutions fight over the correct definition of, in  this case, Good Theatre. My main objective is to find and correlate the various factors contributing to the changing legitimacy of Proteus/Mercurius within the Swedish theatre field.

    Placing myself within this field I have studied the traje´ctory of ProteusMercurius in relation to the other theatre groups that made up the free theatre movement from the mid-sixties onwards.

    I have found that Proteus/Mercurius differed frommany other groups at a time when leftist political declarations were common. It also had a clearly defined leader and director, when team work was the word of the day. When other groups wrote their own plays, Proteus/Mercurius specialized in classics, such as Shakespeare, Marivaux, Strindberg, Holbnerg and so on. It seems to be a matter of timing; Proteus/Mercurius was nevdr in the mainstream of the theatre groups.

    But viewed from a distance many similarities between Proteus/Mercurius and other groups have become evident. One of the reasons for Proteus/Mercurius' changing legitimacy seems to be that various kinds of symbolic capital such as education and social relations proved valuable at different moments.

    When the groups, thanks to generous state subsidies, overflowed the market, factors such as state educated actors became more important. And, even though Proteus/Mercurius actually managed to form the basis of a new regional theatre, its tradition of using amateurs or student actors in productions became an increasingly negative factor.

    Still, I have found that Proteus/Mercurius over the years kept to its initial goal of interacting with the audience in new and unusual ways, often in psaces not ordinarily used for theatre. The most appreciated part of the group' s work was aLWAYS THE OUTDOOR SUMMER performances, REACHING AUDIENCES OUTSIDE THE GROUP OF habitual theatre-goers. The same went for performances for specific groups, such as improvisations with nurses and Winnie-the-Pooh for mentally handicapped children. Even if Proteus/Mercurius did not reach lasting fame within the field, it med with some very appreciative audiences.

  • 172.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Romeo and Juliet at the Power Station2004In: Journal of Korean Theatre Studies Association, ISSN 1229-2877, Vol. 22, p. 25-38Article in journal (Other academic)
  • 173.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Romeo and Juliet at the Power Station2005In: Theatre and space / [ed] Miy-He Kim, Jae-Min Shim, Seoul: Yeongeukwa Ingan , 2005, p. 77-92Chapter in book (Other academic)
  • 174.
    Grönblad Ribjer, Max
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Musikens rum: En kvalitativ studie om när en koncentrerad musikupplevelse kan nås med Spotify2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats syfte ligger i att skapa förståelse för var, när, och hur det är möjligt att uppnå en musikupplevelse som är koncentrerad med Spotify. Tre frågeställningar har tagits fram som behandlar: konstobjektets immateriella form, hur plats och mobilitet kan påverka upplevelsen, och hur detta möjliggör eller försvårar en koncentrerad musikupplevelse. Uppsatsens teoretiska ingång har sin utgångspunkt från Walter Benjamins (2014) tanke om att konsten besitter en aura som påverkas av form och mediering. För att förstå det strömmade musikmediet och konstobjektet används Jay David Bolter & Richard Grusins (1999) remedieringsteori, samt senare teorier om det personliga flödet av Richard Grusin (2009). Tillkommer gör även teorier om musikpraktiker i form av: Lee Marshall (2014) och Eric W. Rothenbuhler & John Durham Peters (1997). Ett fenomenologiskt perspektiv på livet och rummen med medier knyter ihop ramverket och utgår från Scannell (2014), Bakardjieva (2005) och Bengtsson (2007). Ämnet undersöks med en etnografiskt inspirerad metodologi i form av tre kvalitativa forskningsintervjuer med unga, musikintresserade och flitiga användare av Spotify. Det som framkom från intervjuerna var att en koncentrerad musikupplevelse är ovanlig, men inte omöjlig. När allt stämmer kan en djup och nära upplevelse nås. Användarna uttryckte i första hand andra kvalitéter hos det strömmade, det nya ”äkta” ansågs ligga i det personliga och kontrollerade flödet.

  • 175.
    Grönroos, Tove
    Södertörn University College, School of Culture and Communication.
    Ett verk blir kosmopolitiskt: Representerar Louise Bourgeois verk Maman någonting "universellt"?2007Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
  • 176.
    Gullö, Jan-Olof
    Södertörn University, School of Communication, Media and it, Journalism. Kungl. Musikhögskolan.
    A“key” model for education in Music Production2010In: ARP Conference Abstract [online], Leeds: ARP , 2010Conference paper (Refereed)
  • 177.
    Gullö, Jan-Olof
    Södertörn University, School of Communication, Media and it, Journalism.
    Desktop Music Production and the Millennials: a challenge for educators, researchers and the audio equipment and music software industry2009In: 127th Audio Engineering Society Convention 2009: Volyme 2, New York: Audio Engineering Society, Inc., 2009, p. 1146-1152Conference paper (Other academic)
  • 178.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism.
    Leadership in live television broadcasts of sporting events2015Conference paper (Refereed)
  • 179.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism.
    Leadership in Music Production in the Internet Age2014Conference paper (Refereed)
  • 180.
    Gullö, Jan-Olof
    Södertörn University, School of Communication, Media and it, Journalism.
    Music Production with Changing Tools: a Challenge to Formal Education2010In: CROSSING BORDERS: Nordic Research in Music Education in an International Perspective / [ed] Karin Johansson, Malmö: Malmö Academy of Music, Lund University , 2010, p. 18-19Conference paper (Refereed)
  • 181. Gullö, Jan-Olof
    Musikproduktion med föränderliga verktyg: en pedagogisk utmaning2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

  • 182.
    Gullö, Jan-Olof
    Södertörn University, School of Social Sciences, Journalism. Kungl. Musikhögskolan.
    Sonic Signature Aspects in Research on Music Production Projects2014Conference paper (Refereed)
  • 183.
    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. 

  • 184.
    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)
  • 185.
    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)
  • 186.
    Gullö, Jan-Olof
    et al.
    Kungl. musikhögskolan.
    Holgersson, Per-Henrik
    Kungl. musikhögskolan.
    Konstnärliga och vetenskapliga kunskapsvärldar i högre musikutbildning: en beprövad erfarenhet?2015Conference paper (Refereed)
  • 187.
    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)
  • 188.
    Gullö, Jan-Olof
    et al.
    Södertörn University, School of Social Sciences, Journalism.
    Holgersson, Per-Henrik
    Kungl. musikhögskolan.
    När det virtuella blir autentiskt: en analys av tre musikproduktionsprojekt2013Conference paper (Refereed)
    Abstract [sv]

    Syftet med detta paper är att presentera utvalda resultat från analysen av tre musikproduktionsprojekt. Musiken var, i samtliga tre projekt, specialproducerad för särskilda sammanhang: en scenisk musikdramaproduktion, en barnradioteaterproduktion och en filmproduktion. Projekten genomfördes oberoende av varandra av olika musikproducenter som samtliga, vid tiden för produktionernas genomförande, var studenter i högre utbildning i musikproduktion. De tre projekten utfördes på uppdrag av olika klienter: en teatergrupp, ett radioföretag och ett filmproduktionsbolag. Förenande för dessa tre projekt är att musiken till stor del producerades att låta som om den var spelad med riktiga traditionella musikinstrument men att produktionerna främst genomfördes med virtuella instrument och musikproduktionsprogramvara. När riktiga musiker deltog genomgick inspelningarna, med få undantag, bearbetning för att ändra till exempel tonhöjd, rytm, klang eller dynamik. Några tagningar behövde mycket omfattande bearbetning för produktionsmålen skulle nås. Analysen av de tre projekten genomfördes med en tvärvetenskaplig kvalitativ ansats baserad på tidigare forskning om musikproduktion. För att ge ett bredare perspektiv användes även media- och designteori, lärandeteori och immaterialrättsregler i analysen. Datainsamlingsmetoden var främst intervjusamtal med de tre musikproducenterna samt analys av de musikproduktioner som skapades under projekten. Undersökningen generade fyra olika aspekter: 1) upphovsrättsliga frågor, 2) etiska och konstnärliga aspekter, 3) frågor om vilka färdigheter musikproducenter måste ha för att nå uppsatta produktionsmål och 4) frågor om hur den teknik som används för inspelning och bearbetning av inspelad musik påverkar slutresultatet. Resultaten visar att modern mjukvara för musikproduktion i digitala arbetsstationer kan användas för att producera musik med stor noggrannhet och detaljrikedom och att det även för tränade lyssnare kan vara mycket svårt att skilja en inspelning med en äkta levande orkester från en produktion där virtuella digitala musikinstrument har använts. En obesvarad frågeställning som avslutningsvis diskuteras är frågan om vem som egentligen är upphovsman till den musik som skapas med sådana här produktionsmetoder.

  • 189.
    Gullö, Jan-Olof
    et al.
    Södertörn University, School of Social Sciences, Journalism.
    Höglund, Ivan
    Kungl. musikhögskolan.
    Jonas, Julia
    Kungl. musikhögskolan.
    Lindetorp, Hans
    Kungl. musikhögskolan.
    Näslund, Anton
    Kungl. musikhögskolan.
    Persson, Joakim
    Kungl. musikhögskolan.
    Schyborger, Peter
    Kungl. musikhögskolan.
    Nobel Creations: Producing infinite music for an exhibition2015In: Dansk Musikforskning Online, ISSN 1904-237X, E-ISSN 1904-237X, no Special ed., p. 63-80Article in journal (Refereed)
    Abstract [en]

    In 2014 a collaborative artistic music production project gave rise to the development and use of new methods for composition and music production. With a specially de- signed software engine the music productions responded interactively to actions of the visitors at the Nobel Museum in Stockholm. The music was distributed by multi- ple loudspeakers in the museum hall, week after week without interruption through the four months the exhibition lasted. The results of the project show clear evidence, that the romantic ideal, that creativity and creative capacity primarily is individual, in- born and inherent, is not valid. Instead, by combining different art forms, using struc- tured project planning, aiming to develop creative actions, people can create artwork in collaboration, that far exceeds what they individually can achieve. 

  • 190.
    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)
  • 191.
    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)
  • 192.
    Gustavsson, Martin
    et al.
    Handelshögskolan i Stockholm.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Konstens omvända ekonomi: Tillgångar inom utbildningar och fält, 1938–20082012Book (Other academic)
  • 193. Habel, Ylva
    Hollywood Histrionics: Performing “Africa” in The Rose of Rhodesia2009In: Screening the Past, ISSN 1328-9756, no 25Article in journal (Refereed)
  • 194. Habel, Ylva
    Nyfiken vit2008In: Flm, ISSN 1654-711X, no 4, p. 22-31Article in journal (Other (popular science, discussion, etc.))
  • 195. Habel, Ylva
    To Stockholm, with Love: The Critical Reception of Josephine Baker, 1927-352005In: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 17, no 1, p. 125-138Article in journal (Refereed)
  • 196. Habel, Ylva
    You forget where you are: new outlines in the cinematic cityscape of Stockholm, 1930-19312000In: Aura, ISSN 1400-8386, Vol. 6, no 4, p. 47-56Article in journal (Other academic)
  • 197.
    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, ISSN 1559-5749, 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.

  • 198.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    Mapping strategies in DJ scratching2006In: NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression, Paris: IRCAM , 2006, p. 188-191Conference paper (Refereed)
    Abstract [en]

    For 30 years Disc Jockeys have been expressing their musical ideas with scratching. Unlike many other popular instruments, the equipment used for scratching is not built as one single unit, and it was not intended to be a musical instrument. This paper gives an overview of how DJs use their turntable, vinyl record and audio mixer in junction to produce scratch music. Their gestural input to the instrument is explained by looking at the mapping principles between the controller parameters and the audio output parameters. Implications are discussed for the design of new interfaces with examples of recent innovations and experiments in the field.

  • 199.
    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)
  • 200.
    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.

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