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  • 1.
    Anders, Lind
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Voyage One - Mobile Phone Orchestra 2020 Conducted by Animated Notation2018Conference paper (Refereed)
  • 2.
    Arvidsson, Alf
    Umeå University, Faculty of Arts, Department of culture and media studies.
    High culture in the tradition archive: Swedish jazz history as a tradition archive topic2018In: Visions and Traditions: Knowledge Production and Tradition Archives / [ed] Harvilahti, L; Kjus, A, O´Carroll, C; Öesterlund-Pötzsch, S; Skott, F; Treija, R, Suomalainen Tiedeakatemia-Academica Scientarium Fennica , 2018, no 315, p. 160-176Chapter in book (Refereed)
  • 3.
    Arvidsson, Alf
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Political Rock2016In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 35, no 3, p. 436-438Article, book review (Other academic)
  • 4. Davies, Matthew
    et al.
    Madison, Guy
    Umeå University, Faculty of Social Sciences, Department of Psychology.
    Silva, Pedro
    Gouyon, Pabien
    The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms2013In: Music perception, ISSN 0730-7829, E-ISSN 1533-8312, Vol. 30, no 5, p. 497-510Article in journal (Refereed)
    Abstract [en]

    GROOVE IS A SENSATION OF MOVEMENT OR WANTing to move when we listen to certain types of music; it is central to the appreciation of many styles such as Jazz, Funk, Latin, and many more. To better understand the mechanisms that lead to the sensation of groove, we explore the relationship between groove and systematic microtiming deviations. Manifested as small, intentional deviations in timing, systematic microtiming is widely considered within the music community to be a critical component of music performances that groove. To investigate the effect of microtiming on the perception of groove we synthesized typical rhythm patterns for Jazz, Funk, and Samba with idiomatic microtiming deviation patterns for each style. The magnitude of the deviations was parametrically varied from nil to about double the natural level. In two experiments, untrained listeners and experts listened to all combinations of same and different music and microtiming style and magnitude combinations, and rated liking, groove, naturalness, and speed. Contrary to a common and frequently expressed belief in the literature, systematic microtiming led to decreased groove ratings, as well as liking and naturalness, with the exception of the simple short-long shuffle Jazz pattern. A comparison of the ratings between the two listener groups revealed this effect to be stronger for the expert listener group than for the untrained listeners, suggesting that musical expertise plays an important role in the perception and appreciation of micro timing in rhythmic patterns.

  • 5.
    Edberg, Lorentz
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Skolmusikalen: om möten, makt och musik i två skolmusikalprojekt i årskurs nio2019Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The two school musical theatre projects in this case study were carried out in 2011-2012 in Year 9 at two Swedish secondary schools, Annebäckskolan and Bäråskolan, as a part of the subject “Elevens val” (Student’s Elective). The purpose of the study was to analyse how pedagogy, power and control appeared in the projects, based on the following research questions: How can the influence of the local community and leisure discourses on education be understood through the two school musical theatre projects? What pedagogical codes appear in the projects and how do they relate to time and space? What power relations are produced and why? The study was conducted through participatory observations and interviews and dialogues with participating students and teachers. The analysis had a hermeneutical approach, and the theoretical starting points were Basil Bernstein's theory and concepts, such as recontextualisation, code, classification, framing, and singular, regional and generic discourses. These theories were supplemented by a space perspective based on David Harvey and his concept of the absolute, relative and relational space. The study showed that educational traditions and relations with the local community were of importance for the production of the school musical theatre discourses. The Annebäck project was characterised by teaching in relation to the pop and rock music and theatre discourse of the municipal youth centre and a local aerobics and dance discourse. These relations provided the prerequisites for a school musical theatre project with an integrated code, open to most of the students in Year 9. The Bärå project had a collection code and was characterised by teaching related to the school’s music class, as well as to the municipal music school discourse and a local theatre and dance discourse. These relations provided the prerequisites for a project mainly open to students in the school’s music class, or to students who had chosen theatre or dance as an elective subject. The activities of the Annebäck project strengthened social cooperation between the municipal youth centre and the secondary school, while the Bärå project, as a result of its collaboration with aesthetic institutions in the local community where most of the musical students were already enrolled, broadened the school's music profile. Both projects strengthened the existing orientation of the two schools’ activities, thus contributing to and reinforcing the focus and the ideas on which they were based. 

  • 6.
    Emmoth, Niklas
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Elevers erfarenhet av digitalt musikskapande: En kvalitativ studie med elever i årskurs 92012Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats beskriver några elevers erfarenheter av digitalt musikskapande. Sammanlagt har fyra halvstrukturerade fokusgruppsintervjuer genomförts   där de fått berätta om sina erfarenheter av digitalt musikskapande. Resultatet visar att eleverna har olika erfarenhet av digitalt musikskapande såväl i som utanför skolan. De har definierat digitalt musikskapande som musik som är skapat i en dator eller inspelad musik som är redigerad. Eleverna har sett att lärarens intresse och kunskap, samt skolans ekonomi påverkar digitalt musikskapande i skolan. De har även beskrivit fördelar så som möjligheten till att skapa musik på egen hand och att det är ett billigt sätt att få tillgång till mängder av instrument. De har även sett att det finns en risk att den vanliga instrumentalundervisningen i skolan blir lidande om det blir för mycket digitalt musikskapande och att digital musik inte har samma känsla av "äkthet" som det traditionella musikskapandet. 

  • 7. Eriksson, Jan-Anders
    et al.
    Marner, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Tim Buckley- ett popmonster i udda takter1979In: Hjärnstorm, ISSN 0348-6958, Vol. 7-8, p. 28-33Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Eriksson, Maria
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Close Reading Big Data: The Echo Nest and the Production of (Rotten) Music Metadata2016In: First Monday, ISSN 1396-0466, E-ISSN 1396-0466, Vol. 21, no 7Article in journal (Refereed)
    Abstract [en]

    Digital music distribution is increasingly powered by automated mechanisms that continuously capture, sort and analyze large amounts of Web-based data. This paper traces the historical development of music metadata management and its ties to the growing of the field of ‘big data’ knowledge production. In particular, it explores the data catching mechanisms enabled by the Spotify-owned company The Echo Nest, and provides a close reading of parts of the company’s collection and analysis of data regarding musicians. Doing so, it reveals evidence of the ways in which trivial, random, and unintentional data enters into the data steams that power today’s digital music distribution. The presence of such curious data needs to be understood as a central part of contemporary algorithmic knowledge production, and calls for a need to re-conceptualize both (digital) musical artifacts and (digital) musical expertize.

  • 9.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Cultural cooperation between a regional government and idea-driven organisations: seven music projects applications2016In: Proceedings of the 18th International Seminar of the ISME Commission on Music Policy: Culture, Education, and Mass Media / [ed] Hung-Pai Chen, Patrick Schmidt, International Society for Music Education , 2016, p. 169-188Conference paper (Refereed)
    Abstract [en]

    In recent years, the culture department of the regional government in Dalarna has earmarked some of the funding for non-formal education to finance grants for musical projects, which can be applied for by “idea driven organisations”. It is often music professionals that initiate these projects, backed by the organisation. Theoretically informed by Michel de Certeaus concepts of tactic and strategy (Certeau, 1984) this paper discusses how musicians and organisations position themselves and their projects in relation to government strategies when applying for these grants.

  • 10.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Musiklandskap: musik och kulturpolitik i Dalarna2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis, I study how conditions for music-making can be developed, maintained and challenged through government support processes in the Swedish region Dalarna. The research questions focus on the ways music, policy and governance relate to each other, what kinds of musicians and ways of making music are favored in these relations, and the agency and meaning of place. The study is made through participant observation of musical events, cultural policy meetings, and the everyday practice of cultural policy officials; interviews with musicians, organizers and cultural policy officials; cultural policy documents as well as musicians’ and organizers’ public documents such as concert posters and websites.

    The musical landscape of Dalarna is summarized as a complex web with pathways that reach far beyond the geographical borders of the region. The cultural cooperation model works as a hierarchy from center to periphery, from the national government, through agencies, regional government, musical institutions and organizers, musicians and audiences. We can analyze all these practices as being part of music, as musicking. But we could also describe them another way, where the practice of cultural policy is dependent on and conditioned by the musical practices it is set to govern. In this way, musicians are always in some way also creating policy.

    I discuss genre hierarchies and further argue that music can, or should, not always be motivated by its effects on regional development or its social impact, it also needs to be allowed to be unhealthy and unprofitable. When we support music, we should be aware that it can be a hobby as well as a business, a serious artistic endeavor as well as play. And more often than not, music is all of these things at the same time.

  • 11.
    Holmberg, Jimmy
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Musik i fritidshemmet2011Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
  • 12.
    Holmqvist Sten, Katrin
    Umeå University, Faculty of Social Sciences, Centre for Regional Science (CERUM). Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Tidlös opera möter framtiden2015In: Folkbladet, ISSN 1104-0238, no 27 februariArticle, book review (Other (popular science, discussion, etc.))
  • 13. Krantz, Göran
    et al.
    Merker, Björn
    Madison, Guy
    Institutionen för psykologi, Uppsala universitet.
    Melodic intervals and body movement2003In: Dance and Education. Proceedings of the 17th International Congress on Dance Research, Athens, Greece: IOAFA , 2003, p. 141-148Conference paper (Refereed)
  • 14.
    Kuuse, Anna-Karin
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    ”It’s so easy to feel inadequate": music teachers’ discussions regarding music education and social aims2019In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 19, p. 25-52Article in journal (Refereed)
    Abstract [en]

    The aim of the present article is to discuss the social aspects of music education for children and young people. Societal challenges such as social vulnerability and increasing segregation have highlighted general educational aims such as fostering democracy, equality, social justice and inclusion. The empirical material comprises a focus group interview with teachers working in El Sistema, a music education programme that has both musical and social aims. Analyses of verbal constructions reveal the way teachers negotiate and legitimise their work through affective repertoires and subject positioning. A discursive practice is constructed, in which two different, often incompatible, positions emerge: the music teacher and the social worker. Among different subject positions available, those specifically constructed to fit the claim of a social commission prevail. Finally, the study ́s result is discussed in relation to the conceptualisation of music education as a social practice, and music teachers ́ understanding of their professional commitment towards both social and musical learning.

  • 15.
    Kuuse, Anna-Karin
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    ”Konstnären”, ”Fostraren”, ”Tjänstemannen” och ”Rebellen”: musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokratiManuscript (preprint) (Other academic)
  • 16.
    Kuuse, Anna-Karin
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    ”Liksom ett annat uppdrag”: iscensättning av social rättvisa i musikundervisningens retorik och praktik2018Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    The aim of this thesis is to identify, describe, and problematize constructions of social justice in Swedish music education. The thesis has an ethnographic design, and presents four empirical studies. The studies, in the shape of four scientific articles, emblematise musical practices in community schools of music and art, as well as in elementary schools. The conceptual framework of the concept of social justice precipitates a focus on the prime object of study, El Sistema. Music education as organised by El Sistema explicitly communicates social aims, and the programme operates in both Swedish community schools of music and art, and in elementary schools. All together, the empirical data consist of marketing material (films and written documents), observational field-notes and sound recordings from one semester’s fieldwork in a children’s music educational group (ages 7-9), as well as sound-recorded focus group interviews with music teachers from both community schools of music and art and elementary schools. Article I shows how different conceptions of music, children, emotions, and social transformation are constructed to legitimate El Sistema in the Swedish community schools of music and art. Here, the objects of study are films and written texts published on El Sistema’s Swedish website. Article II elaborates how musical agency is performed by participating children in relation to conceptions of music education and social justice constructed in the educational practice. Articles III and IV elaborate teachers’ negotiations and constructions of teacher roles and the educational task in relation to conceptions of social justice. Within a comprehensive social constructionist perspective, participants’ opportunities for action and negotiation, in practice, are perceived as determined by societal, institutional and local preconditions, and by overarching and established conceptions that are typical for certain eras. With this theoretical point of departure, both local and societal conceptions of the musical subject, its objectives, means, and aims, as well as conceptions about accessibility, equality, democracy and social justice, are constantly negotiated. Thus, apparently natural and established ideas can be problematized. Based on all studies’ results, relations between established conceptions, structural preconditions, and social relations are scrutinised from the way they influence performances of the music educational practice. The final discussion encompasses consequences for teachers’ ability to reflect, as well as children’s and young peoples’ meaning making through musical actions. The thesis’ critical perspective aims at evoking new questions, and generating new knowledge concerning the preconditions and the content of institutionally financed music education.

  • 17.
    Lagnemyr, Linn
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education). Umeå University, Umeå School of Education (USE).
    Musikinstrument i förskolan: En studie av förskollärares uppfattningar om användning av musikinstrument i förskolan bland barn i åldrarna 3 till 5 år2012Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Abstract

    This study was meant to cast a light on the use of music-instruments that exists in preschool environments today. Furthermore the purpose was to find out if instruments first and foremost, actually did exist, and what thoughts had been put behind that decision. The focus was directed towards the preschool teachers and their attitudes towards music instruments among preschool children, at the ages 3 to 5 years. The purpose of the study was to understand how preschool teachers thought of activities where music instruments where used. The study was made from interviews with six different preschool teachers from different preschools. The interviews showed that the preschool teachers thought highly of the use of music instruments among children. They expressed instruments to be important for a number of things that developed different skills within the children.  The study also showed that the six preschools that the teachers represented used some sort of instrument in activities with the children. The teachers talked about the curriculum when explaining how they planned these activities, which also was meant to have an important role in this study. 

  • 18.
    Larsson, Anna
    Umeå University, Faculty of Teacher Education, Department of Teacher Education in Swedish and Social Sciences.
    Musik, bildning, utbildning: ideal och praktik i folkbildningens musikpedagogiska utbildningar 1930-19782007Book (Other academic)
  • 19. Larsson, Leif
    et al.
    Marner, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Position Alpha -: ett steg bakåt ...och två steg framåt!1985In: Orkesterjournalen : aktuella nyheter för dansorkestrar, ISSN 0030-5642, no sept, p. 9-10Article in journal (Other (popular science, discussion, etc.))
  • 20. Larsson, Leif
    et al.
    Marner, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Position Alpha: ett steg bakåt och två steg framåt1985In: Hjärnstorm, ISSN 0348-6958, no 23, p. 35-38Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Lewy, Susanna
    Umeå University, Faculty of Arts, Department of language studies.
    Publik musikkritik: En textanalys av musikrecensenters språkanvändning i förhållande till sina läsare2015Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 22.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Animated Notation for Mixed Orchestra2016Other (Other academic)
  • 23.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Animated notation in multiple parts for crowd of non-professional performers2018In: Proceedings of the international conference on new interfaces for musical expression, The International Conference on New Interfaces for Musical Expression, 2018, p. 13-18Conference paper (Refereed)
    Abstract [en]

    The Max Maestro – an animated music notation system – was developed so as to enable the exploration of artistic possibilities for composition and performance practices within the field of contemporary art music, more specifically, to enable a large crowd of non-professional performers regardless of their musical background to perform fixed music compositions written in multiple individual parts. Furthermore, the Max Maestro was developed in order to facilitate concert hall performances where non-professional performers could be synchronised with an electronic music part. This paper presents the background, the content and the artistic ideas behind the Max Maestro system and gives two examples of live concert hall performances at which the Max Maestro was used. An artistic research approach with an auto ethnographic method was adopted for the study. This paper contributes new knowledge to the field of animated music notation.

  • 24.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Fire Alarms and Orchestra2012Other (Other academic)
  • 25.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Large-scale music compositions and novel technology innovations: Summarizing the process of Voices of Umeå, an artistic research project2016In: HumaNetten, E-ISSN 1403-2279, no 37, p. 107-139Article in journal (Refereed)
    Abstract [en]

    Voices of Umeå was a three-year interdisciplinary artistic research project initiated in 2012 by the author. The main aim with the project was to explore new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, artistic possibilities, which arises when non-professional performers regardless musical backgrounds enables to participate in the composition and performance processes. The idea was to develop and explore new pedagogical methods to involve non-professional performers by using new technology and combining knowledge from the fields of artistic and educational practices. Different aspects of participatory art were embraced in the artistic processes aiming towards three compositions, including two concerts and one exhibition. An action research model in three steps –planning, action and analysis of results inspired the methodology, where the analysis and experiences of each cycle within the project were affecting the further cycles of the project.

    This article reports from selected parts of the process of the project and contributes with new knowledge to the fields of animated music notation and participatory art.

  • 26.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Mobilephoneorchestra.com2019Conference paper (Refereed)
    Abstract [en]

    MobilePhoneOrchestra.com is an online web application developed as a platform to enable performances of fixed polyphonic contemporary art music for mobile phone orchestra. The ambition is to create a new performance paradigm for fixed electronic music in multiple parts to be performed in concert halls as stand-alone electronic orchestral music or in combination with soloists or traditional orchestra settings. The participants of a mobile phone orchestra are using their mobile phones or tablets and are performing on specially developed music instruments provided online on the MobilePhoneOrchestra.com website. Animated music notation gives performance instructions and conducts a performance and are also provided on MobilePhoneOrchestra.com. A mobile phone orchestra should for best performance consist of approximately 20-60 people or more regardless their musical background and age. 60 minutes of rehearsal are needed before a performance.

  • 27.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Put your hands together2015Conference paper (Other academic)
    Abstract [en]

    THE MAX MAESTRO is an animated music notation system created within the artistic research project VOICES OF UMEÅ by composer Anders Lind. By using simple animated graphics presented on a screen, instead of a complex notated score the main idea was to enable a crowd of common people without score reading knowledge to perform a complex music composition, synchronized with an electronic music part and with very limited rehearsal time.

    During the workshop THE MAX MAESTRO will be presented and finally tested with a performance of PUT YOUR HANDS TOGETHER for handclapping crowd (24-2400 people) and electronics.

  • 28.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Put Your Hands Together for Animated Music Notation!: Music in 24 Individual Parts Performed by Schoolchildren2016Conference paper (Other academic)
    Abstract [en]

    Put Your Hands Together is a 6-minute composition written in 24 individual parts for handclapping people and electronics, by the author. The Max Maestro - an animated music notation system, which enables non-professional performers including school children to perform complex musical structures with no rehearsal time needed, conducts the performance. The sounds and the animated music notation of the composition are embedded in a single video file available online, to make it suitable for easy use in an educational setting together with schoolchildren. The main aim with Put Your Hands together, from an educational perspective, is to enable schoolchildren to perform and learn about complex musical structures used in contemporary art music, by using new technology. The development process of the Max Maestro – an animated music notation used in the composition is a work in progress, which was started within the artistic research project Voices of Umeå in 2012. The development process was and is based on the artistic ideas, experiences and knowledge from the author as a composer/ researcher, inspiration from animated music notation systems created by other composers/ researchers and analyses of performances and workshop sessions, where the animated music notation system was and is adopted. An action research model in three steps –planning, -action and -analyse of results has primarily been and is further used as a method in the process. This paper aims to; - present the content and ideas of the composition Put your hands together and the background of the Max Maestro –an animated music notation system, and set future visions and ideas related to animated music notation from an educational perspective.

  • 29.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    The Drawer Septet: An interactive musical instrument2013Other (Other academic)
    Abstract [en]

    The Drawer Septet – a novel musical instrument comprising a bureau with seven drawers was created using off-the-shelf components and visual programming in Max/MSP. The use of everyday objects sought to enable people to quickly master the instrument, regardless of their musical backgrounds, and collectively create cluster musical textures in a participatory art context. 

  • 30.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    The Drawer Septet: an interactive musical instrument2013Other (Other academic)
    Abstract [en]

    The Drawer Septet – a novel musical instrument comprising a bureau with seven drawers – was created using off-the-shelf components and visual programming in Max/MSP. The use of everyday objects sought to enable people to quickly master the instrument, regardless of their musical backgrounds, and collectively create musical cluster textures in a participatory art context. 

  • 31. Lind, Anders
    The Tap Quartet: An interactive musical instrument2013Other (Other academic)
    Abstract [en]

    The Tap Quartet – a novel musical instrument comprising four watertapswas created using off-the-shelf components and visual programming in Max/MSP. The use of everyday objects sought to enable people to quickly master the instrument, regardless of their musical backgrounds, and collectively create musical textures in a participatory art context. 

  • 32.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    The Wheel Quintet: An interactive musical instrument2013Other (Other academic)
    Abstract [en]

    The Wheel Quintet – a novel musical instrument comprising four bicycle wheels and a skateboardwas created using off-the-shelf components and visual programming in Max/MSP. The use of everyday objects sought to enable people to quickly master the instrument, regardless of their musical backgrounds, and collectively create polytempic musical textures in a participatory art context. 

  • 33.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    U-PAINT!: An interactive voice recording installation2013Other (Other academic)
  • 34.
    Lind, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Voltage Controlled Ensemble2015Other (Other academic)
  • 35.
    Lundberg, Emil
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Antagning via färdighetsprov eller betyg?: En kvalitativ studie av musiklärares upplevelser av elevers musikaliska ambitionsnivå och färdighetsnivå2012Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte var att undersöka om gymnasielärare upplever skillnader mellan elever som antagits till det estetiska programmet, gren musik via betyg och via färdighetsprov. Det har bedrivits tidigare forskning inom områden som jag behandlat i min rapport men inte med samma inriktning. För att kunna svara på syftet och frågeställningarna har jag gjort en kvalitativ undersökning genom analys av fokusgruppsintervju. Resultatet har baserats på analysen av empirin och har sedan diskuterats kategorivis utifrån frågeställningarna. I min rapport har jag kommit fram till att lärare ser få skillnader mellan elever som antagits via betyg och elever som antagits via färdighetsprov. Ur musikalisk synvinkel kan detta bero på att färdighetsprovet endast mäter den musikaliska färdighet elever har vid provtillfället och att det snarare är ambitionsnivån under gymnasietiden som styr elevers musikaliska utveckling.

  • 36.
    Mannberg, Tomas
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Ensemblespel i skolan: En studie av musiklärares syn på ensemblespel som undervisningsform och deras roll i den2012Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats beskriver tre olika lärares uppfattning om hur ensemblespel som undervisningsform ökar elevers kunskaper i musik, vilka roller de tar som lärare och hur skillnaderna mellan dessa roller påverkar elevernas lärande. En intervju har gjorts med varje lärare och ett antal observationer har gjorts på deras lektioner. Intervjuerna visar att samtliga lärare ser ensemblespel som ett grundläggande och omfattande moment som inkluderar viktiga beståndsdelar i musik som finns i kursplanen såsom instrumentkunskap, rytm och samspel och att praktiskt spelande är det bästa sättet att lära sig detta. De visar också att samtliga lärare strävar efter att ha en roll där eleverna klarar sig själv så mycket som möjligt. Observationerna visade två huvudsakliga lärarroller; en hjälpande roll där läraren coachar eleverna genom spelandet men låter dem mest spela själva i en liten grupp, och en styrande roll där läraren styr hela processen med en större grupp. Lärandet hos eleverna skilde sig mellan de olika lärarrollerna på så sätt att det förekom en betydande del kommunikation, informellt lärande och samarbete mellan eleverna i de mindre grupper där läraren hade en hjälpande roll, men inte alls lika mycket i de större grupperna där läraren hade en styrande roll.

  • 37.
    Mannberg, Tomas
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Ensemblespel i skolan: En studie av musiklärares syn på ensemblespel som undervisningsform och deras roll i den2012Independent thesis Basic level (university diploma), 20 credits / 30 HE creditsStudent thesis
  • 38.
    Marner, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Jazzrock1981In: Hjärnstorm, Vol. 13, p. 15-25; 44Article in journal (Other (popular science, discussion, etc.))
  • 39.
    Marner, Anders
    et al.
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Eriksson, Jan-Anders
    Thr Doors1976In: Musikens Makt, ISSN 0345-8229, no 1, p. ?-Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Morén, Sol
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    N-appar2012In: Cultural encounters: Starting the Dialogue in Arctic Sustainable Arts / [ed] Timo Jokela, Elina Härkönen, Rovaniemi: University of Lapland , 2012, p. 9-9Chapter in book (Other academic)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 41.
    Morén, Sol
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Nostalgica Utopica Futura2013In: Relate North: Engagement, Art and Representation 2013 / [ed] Elina Härkönen, Timo Jokela, Ásthildur Jónsdóttir, Rovaniemi: University of Lapland , 2013, p. 23-23Chapter in book (Other academic)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 42.
    Odh, Anton
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Digitala verktyg och musikskapande2013Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I denna undersökning studeras hur digitala verktyg används på två högstadieskolor i årskurs 8 och hur dessa verktyg möjligtvis kan inverka på elevers musikskapande. Undersökningen är av kvalitativ art och grundar sig på deltagande observationer och semistrukturerade fokusgruppsintervjuer i projekt där elever på olika sätt skapar musik med digitala verktyg. Den genomsyras av ett medieekologiskt- och sociokulturellt perspektiv där empiri grundar sig på utsagor och erfarenheter från tio observationstillfällen och sex intervjuer. I undersökningen framkommer det att digitala verktyg används sällan och i begränsad omfattning i musikundervisningen på de två skolorna. Digitala verktyg erbjuder en direktlänk mellan det klingande ljudet och den visuella representationen, något som ligger i linje med tidigare forskning. Framstående i resultatet är också att flera av eleverna upplever att teknologin på olika sätt står i vägen för dem i musikskapandet. Undersökningen visar också att användandet av digitala verktyg skapar nya förutsättningar för musikskapande och samarbete och att teknologin möjliggör ett mer individanpassat musikskapande som motiverar fler elever. När vi använder digitala verktyg för att skapa, spara och kommunicera ett musikaliskt budskap visar undersökningen att eleverna blir beroende av dessa verktyg för att klara uppgiften. Tillgången till teknologin blir på så vis en förutsättning för att eleverna ska lyckas. Forskningsresultatet visar även att uppgiften som eleverna får inverkar och styr i deras val av produktioner, något som är avgörande för huruvida eleverna uppfattar de digitala verktygen som hjälpmedel i musikskapandet. Både lärare och elever i denna undersökning beskriver en rädsla och oro för en undervisning allt för präglad av digitala verktyg. De menar att det skulle minska utrymmet för ensemblespel och ta bort känslan i musiken som de får från att spela riktiga instrument tillsammans med andra.

  • 43.
    Spolander, Roland
    Umeå University, Faculty of Arts, History and Theory of Art.
    Om mästerverk - än en gång2004In: Shaping space and history = Vormides ruumi ja ajalugu / [ed] Kristi Burman and Roland Spolander, Umeå: Umeå universitet , 2004, Vol. VIII, p. 147-158Chapter in book (Other academic)
  • 44.
    von Wachenfeldt, Thomas
    et al.
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Thorgersen, Ketil
    The Becomings of Satanist Musicianship: a study of how Black metal musicians describe their learning processes2018In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 18, no 2017:8Article in journal (Refereed)
    Abstract [en]

    Research in music education has in the last decades become more attentive to musical learning through informal contexts. This article adds to the body of research by investigating the musical learning in a genre that is considered unacceptable and bad by most of society: black metal. Through interviews with five young black metal musicians from Sweden and Finland an interesting image was revealed of a musical practice that aims to fight evil by being evil, that worships enlightenment and the fulfilment of the individual potential and also detests religious organisations for suppressing people. The sonic is considered only a part of a gesamtkunstwerk where all parts of a performance are sup- posed to work together to create a feeling of fear or horror in the audience. The material opens up for interesting paths in music education when working with musical bildung and criticism of taken for granted truths, but at the same time presents a milieu where what is considered good by society is questioned.

  • 45.
    Zarin, Rouien
    Umeå University, Faculty of Science and Technology, Umeå Institute of Design. Interactive Institute.
    The Voice Harvester: An Interactive Musical Instrument2014Other (Other (popular science, discussion, etc.))
    Abstract [en]

    The Voice Harvester is an exploratory interactive installation that embodies human voice in physical materials. Sound input is amplified and transmitted through audio drivers connected to a thin, flexible membrane that agitates the material on it. The title “Voice Harvester” was derived from the fact that the installation create was able to elicit nonlinguistic, expressive, and naturalistic human vocal sounds to explore the full range of capability of the human voice through use of a novel, playful, and embodied interaction.

    This design exploration took place by a team at Interactive Institute Umeå under the guidance of Artist and Composer Anders Lind. The concepts of human engagement, involvement, and embodiment as well as the creation of a physical tangible thing were central to this design exploration.

    The object elicits curiosity and subsequent interaction utilizing the unusual appearance and leveraging tacit knowledge within users of the purpose of microphones. When a user speaks (or makes any sound) into the microphone they will see the materials in the acrylic tubes animate with the physical embodiment of their voice. The intent was that once this happens users will continue to engage and interact with the Voice Harvester to see the different ways in which they are able to manipulate the materials into action.

    The Voice Harvester is built as part of a series of interactive installations to be shown in Umeå, Sweden as part of the Umeå 2014 Capital of Culture and has already been exhibited at the MADE festival 2013.

    Co-created with Anders Lind, Music Composer and Rouien Zarin

  • 46.
    Örtendahl, Frida
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Musik i fritidshem - Finns det?: En undersökning om musikverksamhet i fritidshemmet.2013Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Jag har i denna undersökning observerat lokaler och intervjuat lärare inom fritidshem för att fastställa användandet av musik. Studien har genomförts på fyra olika fritidshem. Undersökningen fokuserade på vad de besökta fritidshemmen har för musikaktiviteter, hur de genmför musikaktiviteter och varför de har musikaktiviteter. Först observerade jag fritidshemmen för att se om det fanns musik i verksamheterna. Sedan intervjuade jag någon eller några ur personalen. Detta skedde i fritidshemmens personalrum. Syftet med undersökningen var att skapa kunskap kring musikaktiviteter och dess förekomst i fritidshem. Resultatet visade att de besökta fritidshemmen inte arbetade aktivit med musik. Barnen kommer i kontakt med musik om de vill, men fritidshemmen erbjuder inte musikaktiviteter. Lärarna på fritishemmen vill få in mer musik men vet inte hur. Ramfaktorerna spelar en stor roll. Dessa tror de intervjuade fritidspedagogerna och lärare inom fritidshem kan förändras genom att en pedagog vill arbeta aktivit med musik.

  • 47.
    Lind, Anders (Composer, Musical director)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Mobilorkestern: Den Första Resan2019Artistic output (Unrefereed)
  • 48.
    Morén, Sol (Artist)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Morén, Ivan (Artist)
    Lind, Anders (Musician)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    N-appar2012Artistic output (Refereed)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 49.
    Morén, Sol (Artist)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Holmberg, Jonas M. (Composer)
    Nostalgica Utopica Futura2013Artistic output (Refereed)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 50.
    Lind, Anders (Composer)
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    UPHONIA: Music for Sinfonietta and Mobile Phone Orchestra2019Artistic output (Unrefereed)
1 - 50 of 50
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