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  • 1.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Political Rock2016Ingår i: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 35, nr 3, s. 436-438Artikel, recension (Övrigt vetenskapligt)
  • 2.
    Bohman, Karin
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    What is music education?: discursive construction and legitimisation of theory and practice in a Swedish upper secondary school2024Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The overall purpose of this thesis is to describe and discuss the discursive constructions and legitimisations of Music and Music theory in Swedish upper secondary school context. Thereby, this thesis is part of the construction and debate concerning theory vs practice in Music education. 

    The study is based on classroom observations and interviews with teachers and students. The study is conducted during two consecutive autumn semesters, where the first autumn observations are conducted in the Music subject Ensemble, and the second semester in the Music theory subject Aural skills and music theory as well as Ensemble. The results and analysis show that Music and Music theory are predominantly differently constructed, through the discourses permeating the courses within the subjects. Ensemble, as a Music subject, is constructed through musical practice, and only activities that are not directly related to playing – as an activity – need legitimisation, whereas Music theory as a subject appear as continuously legitimised through its connotations to the Music subject. The Ensemble course is constructed as the nucleus around which other parts of the education pivots, including courses in Music theory. 

    Through the analysis of events, event series, regularities and condition of possibility (Foucault, 1970), present thesis demonstrates that expressions of resistance and challenge for the regulatory discourses within the two subjects endure. However, discourse flexes and bends though continue to permeate the regular events and thus also the condition of possibility. External context and professional culture (Ball et al., 2012), is viewed as entailing discursive rooms and views that construct both theory and practice. External context, such as genres of music outside of ensemble education, and the teachers’ professional cultures as musicians permeates the discursive construction of the ensemble subject as well as teacher identity. 

    In conclusion, Music and Music theory as subjects in upper secondary education, as they appear in the context of this study, can hence be viewed as two points on a balance-board, where the weight of discursive power vii shifts from one side to the other dependent on within which discursive (class)room they are taught. 

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  • 3.
    Dahlgren, Paulina
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Att arbeta med skolmusikal: En intervjustudie baserad på erfarenheter2021Självständigt arbete på avancerad nivå (yrkesexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Utifrån ett personligt intresse och bristande forskning kring skolmusikal uppstod idén om att ta reda på hur andra lärare arbetar med skolmusikal. Syftet med studien är därmed att fördjupa kunskap om att arbeta med skolmusikal. Undersökningen är kvalitativ och baserad på intervjuer av fem personer med erfarenhet av skolmusikal. Fyra av de intervjuade är lärare från mellanstadiet, högstadiet och gymnasiet. Den femte var tidigare elev till en av de intervjuade lärarna. Informanternas svar har analyserats och diskuterats utifrån ramfaktorteori, styrdokument och tidigare forskning inom området. Något som arbetet resulterat i är hur olika ramfaktorer påverkar arbetet med skolmusikalprojekt och att dessa ramar skiljer sig mellan skolor och stadier. Andra resultat som framkommit är vilka faktorer skolmusikal för med sig, hur vissa skolor skapat traditioner inom skolmusikal, vilka motgångar som de stött på och aspekter som är viktiga att ha i åtanke vid skolmusikalprojekt.

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  • 4. Davies, Matthew
    et al.
    Madison, Guy
    Umeå universitet, Samhällsvetenskapliga fakulteten, Institutionen för psykologi.
    Silva, Pedro
    Gouyon, Pabien
    The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms2013Ingår i: Music perception, ISSN 0730-7829, E-ISSN 1533-8312, Vol. 30, nr 5, s. 497-510Artikel i tidskrift (Refereegranskat)
    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.

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  • 5.
    Edberg, Lorentz
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Skolmusikalen: om möten, makt och musik i två skolmusikalprojekt i årskurs nio2019Doktorsavhandling, monografi (Övrigt vetenskapligt)
    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. 

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  • 6.
    Emmoth, Niklas
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Elevers erfarenhet av digitalt musikskapande: En kvalitativ studie med elever i årskurs 92012Självständigt arbete på grundnivå (högskoleexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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. 

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    Niklas Emmoth Examensarbete
  • 7. Eriksson, Jan-Anders
    et al.
    Marner, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Tim Buckley- ett popmonster i udda takter1979Ingår i: Hjärnstorm, ISSN 0348-6958, Vol. 7-8, s. 28-33Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 8.
    Eriksson, Maria
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Close Reading Big Data: The Echo Nest and the Production of (Rotten) Music Metadata2016Ingår i: First Monday, E-ISSN 1396-0466, Vol. 21, nr 7Artikel i tidskrift (Refereegranskat)
    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.

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  • 9.
    Ferm Almqvist, Cecilia
    et al.
    Luleå University of Technology, Luleå, Sweden.
    Gullberg, Anna-Karin
    Luleå University of Technology, Luleå, Sweden.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Mars, Annette
    Luleå University of Technology, Luleå, Sweden.
    Nyberg, Johan
    Royal College of Music at Stockholm, Stockholm, Sweden.
    von Wachenfeldt, Thomas
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Collaborative learning as common sense: structure, roles and participation amongst doctoral students and teachers in music education – beyond communities of practice2017Ingår i: Visions of Research in Music Education, ISSN 1938-2065, Vol. 29, nr 1Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The article communicates an investigation ofhow collaborative learning is constituted in a PhD-course, namely Collaborative learning in music educational settings. The course was organized and run in a way that wished to investigate, develop and encourage collaborative learning among students and teachers at postgraduate level. Material produced and analysed included logbooks, assignments, peer-response, after-thoughts, and a Facebook discussion-thread. The results are presented as descriptions of the constituent parts of collaborative learning occurring in the “rooms” of the course. The results show the importance of structure as well as awareness when it comes to roles and kinds of participation.

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  • 10.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, Huddinge, Sverige.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Becoming musical performance artists: challenging organisational norms and traditional municipal arts school structures2022Ingår i: Journal for Research in Arts and Sports Education, E-ISSN 2535-2857, Vol. 6, nr 3, s. 11-26Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Music educational researchers in the Nordic countries have pointed out how municipal arts schools are organised based on, and tend to reproduce, anthropocentric values and approaches, and that such unequal norms and structures are to be challenged. Taking a border-crossing musical comedy project as a starting point, the specific aim of the current study is to illuminate how, and on what levels, organisational norms and traditional structures can be challenged, and what possibilities and new challenges that occur in a project taking place beyond the Anthropocene. To be able to grasp the aspects of becoming within the project and how that is related to aspects of organisation, we created a research entanglement based on post-human theory. Hence, situations seen as webs of relations were created, including the actors: humans with intellectual disabilities, musical performance students, educators, artists, researchers, and varied digital communication tools. Observations, video recordings, collaborative writing, qualitative surveys, and interviews produced material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that in turn challenge anthropocentric organisational structures of municipal arts schools.

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  • 11.
    Fredriksson, Daniel
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Cultural cooperation between a regional government and idea-driven organisations: seven music projects applications2016Ingår i: 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, s. 169-188Konferensbidrag (Refereegranskat)
    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.

  • 12.
    Fredriksson, Daniel
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Musiklandskap: musik och kulturpolitik i Dalarna2018Doktorsavhandling, monografi (Övrigt vetenskapligt)
    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.

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  • 13.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Att bli en sjungande tonårspojke: en livshistoria om att sjunga tillsammans med andra i skolan2022Ingår i: Samsang gjennom livsløpet / [ed] Regine Vesterlid Strøm; Øyvind Johan Eiksund; Anne Haugland Balsnes, Cappelen Damm Akademisk, 2022, s. 173-197Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    This chapter aims to present knowledge about teenage boys’ experiences of singing together in school. The study that the chapter is based on uses a phenomenological, gender theoretical and music didactic perspective. Earlier research shows that singing is practiced, and anticipated to be practiced more often by girls than boys in Western societies and schools. An analysis of interviews with the student Andreas and his music teacher Victor is presented, as they explore co-singing in a music profiled class in elementary school. The interviews were performed in 2013 and 2020, and analysed and presented as a «life story». It entails Andreas’ journey from being a teenage boy who refuses to sing in school to becoming a teenage boy who sings, and the role that Victor, as a music teacher, plays in Andreas’ journey. The chapter shows several gendered and pedagogical aspects in Andreas’ situation that influence him to at first mime and later on sing during choir lessons – especially the perception of singing as feminine coded and singing knowledge in choir

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  • 14.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Den könade sången: exempel från grundskolans musikundervisning2018Ingår i: Estetiska ämnen och genus / [ed] Eva Skåreus, Gleerups Utbildning AB, 2018, s. 145-159Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 15.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Singing situations: a phenomenological study of singing in lower secondary music education (7th and 9th form)2021Konferensbidrag (Refereegranskat)
    Abstract [en]

    This thesis explores how the phenomena of ”singing situations” are made visible through pupils and music teachers' experiences of music education in a Swedish school, through an existential philosofical gender perspective. A basic point of departure in the thesis is that singing development is possible to evolve for all humans, similar to the latest curriculum for the music subject in elementary school in Sweden. The thesis can be positioned within four research areas: gender research in Swedish school, vocal- and voice research, gender related music education research and gender related music education research on singing. The latter research area constitutes the area in which the present dissertation is closest positioned to. Several researchers whose research is positioned in the area of gender related music education research expresses the need for more research similar to their own contributions. 

    Within the study, five field visits have been conducted over two years involving seventyone pupils and five music teachers. The study includes observations and interviews, as well as sound recording and notes, and has focused solely on singing situations - situations in which singing appears in the participants' experiences in different ways. It was of research interest to meet pupils with experience of voice changes during puberty, as the majority of previous research presents the voice change as an experience that primarily or only boys experience. A very limited minority of research investigates how girls experience the voice change during puberty. The empirical data has been analyzed through seven phenomenological steps. 

    The overall results show that all pupils sing and that many enjoy singing in school, with exception for one girl. The teachers' basic starting point in their teaching is to treat singing ability as possible to develop for all pupils. According to the teachers' basic view of singing ability as transcendence, the result shows that different normative and structural aspects surround the pupils and teachers. The result also show how these aspects impacts pupils choices in the singing situations, and that some pupils are given greater opportunities to transcend in their vocal learning than others. The results are discussed through themes that arise within the results, mainly: subjective and intersubjective experience through singing, habitual singing, norms of restraint and imitation, girls' and boys' singing situations, views on the singing body as factuality or freedom in relation to gender, as well as the creation of alternative spacess in singing situations. 

  • 16.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Stemmeskifte, luciatradition och sånglekar: att sjunga i skolan sett ur ett könsperspektiv2021Konferensbidrag (Övrigt vetenskapligt)
    Abstract [sv]

    Från ögonblicket då vi föds är kapaciteten att kunna ta ett andetag och släppa ut ett skrik en livsviktig aspekt för vår existens. Vår röst är en självklar del i vårt liv, den utgör en del av oss själva. Den är förkroppsligad, samtidigt som den är social. De flesta människor har antagligen en bestämd uppfattning om vilka gränser och vilken karaktär som den egna rösten har. Men hur mycket av det vi definierar som vår sångröst har att göra med könade förväntningar och normer om hur den borde låta, sett ur ett samhälleligt perspektiv? Och hur visar sig detta i skolan, där sång är ett av många moment som betygsätts i musikundervisningen? Denna presentation kommer att beröra förväntningar och normer om sång som barn kan möta i skolans musikundervisning – specifikt utifrån ett könsperspektiv. 

  • 17.
    Hentschel, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    The singing situation: a study on pupils and music teachers experiences of singing in grade 7-9, in a Swedish school2016Konferensbidrag (Refereegranskat)
    Abstract [en]

    Singing is defined with a strong feminine gender-code, or as something more for girls, in research and evaluations of both Western education as Western societies. Research often describe environments where girls sing and boys play other instruments. Singing is an obligatory part of the music subject in the Swedish compulsary school and must be performed by all pupils to get a passing mark in both grades 6 and 9. In this presentation I will share results from my ongoing PhD project which investigates pupils and music teachers experiences of singing in one swedish school, through a gender perspective. Preliminary results indicate that pupils experiences of singing are connected to different gendered situations. This is visible in the structuring of singing in music activities, inrelation to pupils freedom of choice within them. When pupils can choose to sing or not, the majority of girls choose to sing and the majority boys choose not to, similiar to most research on singing and gender. When pupils singing is mandatory, the pupils are sorted into four vocal groups divided as to their assumed gender (girl/boy). This results in a ”gendered soundscape”, where girls sing high and ”nice”, and boys sing dark and loud, and implicates that pupils gendered as girls or boys are expected to perform singing dissimilar according to their assumed gender. Fixed conceptions on gender working as a sorting tool for singing in the swedish school in 2015, shows similarities to how singing formerly was organised in swedish schools (around 1850s), where conceptions on musicality as fixed and not as something changeable was used as a sorting tool for singing in school.

  • 18.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Almqvist, Cecilia Ferm
    Södertörn university, Stockholm Institute of Music Education, Sweden.
    Equality and sustainable development in Swedish music classrooms2021Ingår i: Gender issues in Scandinavian music education: from stereotypes to multiple possibilities / [ed] Silje Valde Onsrud; Hilde Synnøve Blix; Ingeborg Lunde Vestad, New York: Routledge, 2021, 1, s. 95-113Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Research conducted outside as well as inside music educational settings show that Simone de Beauvoir’s theories can help to explain and provide means of change for situations where traditional gender structures risk being conserved. In the Swedish educational system, gender equality is classed as a key area for sustainable development. In this chapter, the authors present, discuss, and reflect upon girls’ experiences of music educational settings, using a collaborative narrative reanalysis of formerly produced data. The chapter draws on de Beauvoir’s concepts of immanence (passivity), transcendence (activity), and freedom. The results show that girls’ experiences in the music classroom appear as both immanent and transcendent, but that immanence is the more common choice of action. A conclusion of the analyzed results is that music teachers should engage in creating situations where girls feel encouraged to transcend in the music classroom.

  • 19.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Ferm Almqvist, Cecilia
    Södertörn University, Huddinge, Sweden.
    Aspects of care in a musical comedy project: human, artistic and pedagogical values2022Ingår i: Nordic network for research in music education 2022 conference: book of abstracts, Nordic Network for Research in Music Education; University of Jyväskylä , 2022Konferensbidrag (Refereegranskat)
    Abstract [en]

    The presentation shares findings of a phenomenologically based research project where disabled adolescents at an NGO and students at a Musical Comedy Artist program work with artists/pedagogues employed at Kulturverket [The culture service] to create a musical during three years. The Swedish Fundamental Law on Freedom of Expression emphasizes human rights of free sharing of meanings and free artistic creation. Hence, it is of value to investigate activities that broaden possibilities for disabled adolescents to participate in artistic processes, as in a co-operative musical. The municipal project run by Kulturverket strives to create a professional performance, where the three groups of people cooperate in an equally safe and trustful atmosphere. We as researchers follow the project, aiming to describe and try to understand participation through aesthetic communication. In this specific presentation we focus on the phenomenon care. How is care constituted in the project? Towards what do the participants from Kulturverket direct care? How do care become visible in their pedagogical activities? Observations, interviews and a qualitative survey were conducted to come close to the participants lived worlds. Field notes, written answers and transcribed interviews created a material that was analyzed in a phenomenological-hermeneutic manner (van Manen). We use the theories of Max van Manen (xxxx) and Nel Noddings (1984/2013) as a theoretical starting point for the concept of caring. The results show that care concerns human and artistic as well as pedagogical values. In the presentation we will show examples of Kulturverkets philosophical grounds for caring, as well as examples of how they organize and perform their teaching with caring of humans, art, and pedagogy into account. 

  • 20.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Ferm Almqvist, Cecilia
    Södertörn University, Huddinge, Sweden.
    Becoming musical performance artists: challenging organizational norms and traditional municipal arts school structures2022Konferensbidrag (Refereegranskat)
    Abstract [en]

    Kulturverket is a municipal organisation that employs professional artists and educators in arts- and culture-based projects. The organisation has, through several funded projects developed a working model labelled: Kids tell the pro’s what to do. Accordingly, the children are seen and valued as creators, who take part in visualising and generating ideas guided by the grownups in collaboration. Such an approach is closely connected with organisational structures, collegial atmosphere, didactic tools, and relational situations where arts becoming is taking place. Kulturverket is since fall 2020 a part of the municipal arts school in Umeå. Organisational negotiations are currently taking place, regarding how Kulturverket’s border-crossing activities could be adapted to the of structures of the arts school. In this paper we would like to illuminate turn the “dilemma” around and ask: What can the organisation model of Kulturverket contribute with, when it comes to open up for engaged, border-crossing, co-operative and multi-artistic activities? What possibilities and challenges shows themselves when aspects of time, space, gaps, and competence are seen as fluid? The example we want to use to fulfil the aim of the study: to illuminate how, and on what levels organisational norms and traditional structures are challenged, and what possibilities and new challenges 2 that occur when going beyond the Anthropocene based structure of a culture school, is a Kulturverket project called Sammankonst (commingtogetherart). This project includes disabled adults, and folk-high school students who contribute with ideas, life stories, and arts abilities and tellKulturverket’s educators and artists what to do. For three years, they collaboratively create and perform a musical. To be able to grasp the aspects of common and individual becoming within the project how that is related to aspects of organisation, we created a research entaglement based on post-human theory. This implies that nature and culture are seen as intertwined, agential and entangled, which encourages experimental approaches. Hence, situations seen as webs of relations were created, including the actors disabled humans, musical artist students, educators, artists, researchers, and varied digital communication tools. Inspired by internet-related ethnography observations, video recordings, collaborative writing, qualitative surveys and group interviews produced a material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that exemplifies intra-actions that challenge anthropocentric organisational structures of municipal arts schools.

  • 21.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Ferm Almqvist, Cecilia
    Södertörns University, Huddinge, Sweden.
    Becoming musical theater artists: participating in a border crossing process towards a musical performance2021Konferensbidrag (Refereegranskat)
    Abstract [en]

    The presentation shares first impressions of a research project where people visiting an NGO for disabled adolescents work with students at a Musical Artists’ program to create a musical. The Swedish Fundamental Law on Freedom of Expression states the rights regarding free sharing of meanings and free artistic creation. Hence, it is of value to investigate activities that broaden possibilities for disabled adolescents to participate in artistic processes, as in a co-operative musical. The municipal project strives to create a professional performance where the two groups of people meet and work equally in a safe and trustful atmosphere. The aim with the study was to describe and try to understand participation in aesthetic communication. To come close to the lived worlds of the participants observations and a qualitative survey were conducted, which created a material that was analysed in a phenomenological-hermeneutic manner. The results show that the participants experience engagement and relationship in the process of becoming musical spokespersons, even if covid-19 affected the collaboration negatively.

  • 22.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Ferm Almqvist, Cecilia
    Södertörn University, Stockholm, Sweden.
    Singing and making in society – ambiguities and musician competence?2023Ingår i: NNRME 2023: Program 29 March, 2023Konferensbidrag (Refereegranskat)
    Abstract [en]

    Based on a phenomenological way of thinking, this paper aims to describe singing and making in society based on experiences among conservatory students, music theatre students and their teachers. Earlier research has stated the need for conservatory education to more thoroughly prepare becoming musicians for a dynamic and changing society. Ongoing research in European conservatories has found that the preparations for, and student´s thoughts on, future working life vary greatly between departments. For example, percussion students seem to be prepared for and willing to work as musicians in soloistic, chamber music, and orchestral situations, with contemporary improvisation, as well as in NGOs and creative music schools. While voice students, on the other hand, primarily are more directed toward specific soloistic roles in operas and operettas, combined with taking on HME teaching on the side. A reason given for this is an idea of singing, where "more varied" singing activities is seen as affecting the voice instrument negatively. The same view of voice competence traditionally pervades musical theatre education, where different voice characters are developed within the master-apprentice tradition, with specific musical theatre roles in mind. A project that challenges this tradition is Sammankonst (Together Art) driven by a municipal arts organisation in Sweden where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Throughout three years the participants collaborated in the creation and performance of their own musical theatre. To come close to the lived worlds of voice students, interviews were made with six conservatory students, 15 musical theatre students, and two of their teachers. The interviews were transcribed verbatim and analysed in a phenomenological manner. The results show ambiguities when it comes to what voice students should be prepared for and how the choice of preparations influence the view of singing and musician quality competence.

  • 23.
    Hentschel, Linn
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Persson, Mikael
    Stockholm university, Stockholm, Sweden.
    Humor, gender and creativity in music education2020Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    In this paper we will discuss humor as a gendered resource which opens up spaces for creativity in music education. We will do so by re-analysing empirical material from our two doctoral dissertations focusing on music education in secondary schools in Sweden. 

    Humor is often presented as something positive when it comes to education. Humor has for example been pointed out as a resource to create motivation within school-subjects otherwise not regarded as interesting among students. Humor has also been proven fruitful for teachers in order to create a friendly environment and to balance teachers formal position with a more familiar position. In other words, humor seems, within education, to be constructed as a resource to accomplish different educational goals within the classroom. In this paper though, we will discuss difficulties to keep in mind when humor appears in students interactions within the music-classroom. In the following we will draw the attention to some themes we want to discuss which have become visible in our material. 

    When it comes to gender, humor does not seem to be a neutral resource. In studies conducted within the secondary school music-education, humor seems to be more frequently used to express masculinity. Students positioned as boys are also more expected to be humoristic and make jokes than students positioned as girls. Similarly, in research regarding the humor-business, humor seems to represent a masculine domain. Even if this is a hierarchical order that seems to change, it is a discourse that is still being reproduced and thus still have a possible explanatory power. Humor as a masculine domaine is in the material also apparent as students positioned as boys expressing humor are not being questioned, which is the case among students positioned as girls. 

    Language creates binaries. These binaries are contextual and changes over time but are however inevitably producing positions in the particular context. Humor is in our material frequently constructed as the opposite to seriousity. This does not mean that making jokes could not be “serious business”, but rather that the distance to seriousity in itself could be used in interaction to create space, which we would like to discuss in terms of creativity. Making jokes in the different music classrooms can function as resources to create distance to seriousity. In other words, making jokes makes it possible to express yourself in otherwise not socially accepted ways without being criticized. When draped in humor, expressions such as sexism, violence, racism, homofobia etcetera could be articulated and yet not followed by criticism. Even if this could be understood as a somewhat negative way of using humor, it points towards the creative potential that comes with humor in social interaction. This kind of creativity is primarily connected to the positioning work that is being done in interactions. Even creativity connected to musical expression is, following our material, facilitated by expressions of humor. Singing in different ways in order to make other people laugh is connected to breaking (and thus at the same time expressing) musical conventions in different contexts. Singing in a funny playful way can also be used as a didactic method to encourage pupils to sing, or as a positive approach during the rehearsal phases of musical processes in school. In secondary school music classrooms the demands from public policy to teach creativity in music is not seldomly done by letting students write songs. In our material we have studied an example in which the students are seriously engaged in expressing humor within their composing. We will argue that this kind of humor increases creativity. Attempting to be humoristic can in other words be very closely connected to creativity. 

    Humor could also be understood in negative terms, not in what it produces in terms of creativity in order to make a joke, but rather in what or who is the aim of the joke. Something or someone is always pointed out in jokes. Jokes have, in other words, a normative effect. In our material making jokes could be used to legitimize pointing out someone's mistakes for example, even if teasing is not socially accepted within the classroom. 

    Finally, these different aspects of humor combined creates different opportunities for musical creativity within music education. These differences are, we argue, important to consider when using humor as a didactic resource. 

  • 24.
    Holmberg, Jimmy
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Musik i fritidshemmet2011Självständigt arbete på grundnivå (högskoleexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
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  • 25.
    Holmgren, Carl
    Luleå University of Technology, Luleå, Sweden.
    The conditions for learning musical interpretation in one-to-one piano tuition in higher music education2020Ingår i: Nordic Research in Music Education, E-ISSN 2703-8041, Vol. 1, nr 1, s. 103-131Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher's rather than the student's explorative interpretation. The aim of the present study is to investigate students' and teachers' understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher's understandings of what musical interpretation is, (2) the student's experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student's explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students' development.

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    FULLTEXT01
  • 26. Holmgren, Carl
    The Sorcerer’s Apprentice’s apprentices: A critical analysis of teaching and learning of musical interpretation in a piano master class2020Ingår i: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 102, s. 37-65Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Master classes, arguably the pinnacle of the master–apprentice tradition, have been common within higher education of Western classical music. Although claimed to be effective, teaching and learning of musical interpretation in this setting are not well-researched. One seven day long piano master class in the form of a self-contained university course was critically analysed from a hermeneutic perspective and philosophically discussed using three components from the ancient dialogue Philopseudes concerning the learning of magic as well as my experiences of apprenticeship. The empirical material consisted of observations of and field notes from 18 master class lessons; six video-stimulated interviews with two students, master class teacher, and the students’ regular teacher; qualitative semi-structured follow-up interviews with two students and the students’ regular teacher; and scanned versions of the students’ scores. The analysis indicated that the students’ learning of musical interpretation is hindered owing to the master’s beliefs and actions; the lessons centre on the master’s privileged access to secret knowledge mediated in writing; and, the metaphors of gods, ghosts, and Weiheküsse, can be used to understand the master’s storytelling and teaching. I suggest re-negotiating the master class and the required competencies of teachers for such classes within higher music education. 

  • 27.
    Holmqvist Sten, Katrin
    Umeå universitet, Samhällsvetenskapliga fakulteten, Centrum för regionalvetenskap (CERUM). Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Tidlös opera möter framtiden2015Ingår i: Folkbladet, ISSN 1104-0238, nr 27 februariArtikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 28. Krantz, Göran
    et al.
    Merker, Björn
    Madison, Guy
    Institutionen för psykologi, Uppsala universitet.
    Melodic intervals and body movement2003Ingår i: Dance and Education. Proceedings of the 17th International Congress on Dance Research, Athens, Greece: IOAFA , 2003, s. 141-148Konferensbidrag (Refereegranskat)
  • 29.
    Kuuse, Anna-Karin
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    ”It’s so easy to feel inadequate": music teachers’ discussions regarding music education and social aims2019Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 19, s. 25-52Artikel i tidskrift (Refereegranskat)
    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.

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    fulltext
  • 30.
    Kuuse, Anna-Karin
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    ”Konstnären”, ”Fostraren”, ”Tjänstemannen” och ”Rebellen”: musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokratiManuskript (preprint) (Övrigt vetenskapligt)
  • 31.
    Kuuse, Anna-Karin
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    ”Liksom ett annat uppdrag”: iscensättning av social rättvisa i musikundervisningens retorik och praktik2018Doktorsavhandling, sammanläggning (Övrigt vetenskapligt)
    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.

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    presentationsbild
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    omslag
  • 32.
    Lagnemyr, Linn
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen. Umeå universitet, Lärarhögskolan vid Umeå universitet (LH).
    Musikinstrument i förskolan: En studie av förskollärares uppfattningar om användning av musikinstrument i förskolan bland barn i åldrarna 3 till 5 år2012Självständigt arbete på grundnivå (yrkesexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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. 

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    Examensarbete
  • 33.
    Larsson, Anna
    Umeå universitet, Fakultet för lärarutbildning, Institutionen för svenska och samhällsvetenskapliga ämnen.
    Musik, bildning, utbildning: ideal och praktik i folkbildningens musikpedagogiska utbildningar 1930-19782007Bok (Övrigt vetenskapligt)
  • 34. Larsson, Leif
    et al.
    Marner, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Position Alpha -: ett steg bakåt ...och två steg framåt!1985Ingår i: Orkesterjournalen : aktuella nyheter för dansorkestrar, ISSN 0030-5642, nr sept, s. 9-10Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 35. Larsson, Leif
    et al.
    Marner, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Position Alpha: ett steg bakåt och två steg framåt1985Ingår i: Hjärnstorm, ISSN 0348-6958, nr 23, s. 35-38Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 36.
    Lenndin, Marcus
    et al.
    Umeå universitet, Samhällsvetenskapliga fakulteten, Handelshögskolan vid Umeå universitet, Företagsekonomi.
    Junkka, Linnea
    Umeå universitet, Samhällsvetenskapliga fakulteten, Handelshögskolan vid Umeå universitet, Företagsekonomi.
    En oberoende musikers affärsmodell: Hur används nätverk i affärsmodellen2020Självständigt arbete på avancerad nivå (yrkesexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Denna studie är gjord på uppdrag av inkubatorn Expression Umeå, som tillsammans med Tillväxtverket arbetar med ett forskningsprojekt för affärsmodeller för den kulturella näringen. Digitaliseringen har medfört att musiker kan arbeta mer oberoende och producera musik självständigt utan att vara kontrakterade av skivbolag. Detta ställer högre krav på oberoende musikers entreprenöriella förmåga. Tidigare forskning visar på att oberoende musiker använder sitt nätverk för att hitta samarbetspartners. I denna studie studeras oberoende musiker med kopplingar till inkubatorer för att undersöka hur deras affärsmodell kan se ut, hur dynamiken i samarbeten fungerar och hur nätverk används i deras affärsmodell. Inom samarbeten fokuserar vi på konkurrens, coopetition, kluster och maktförhållanden. Affärsmodellen ses som ett konceptuellt verktyg och fokuserar på value creation, value configuration och value capture. 

     

    Studien gjordes genom semistrukturerade intervjuer med oberoende musiker och resultaten analyserades med hjälp av en tematisk analys. Resultaten visar att nätverk och samarbeten är av stor vikt för oberoende musiker, och att nätverket baseras på vänskap. Det är via nätverket musikerna hittar samarbetspartners, resurser och nya arbetstillfällen. för de oberoende musikerna är det kemin som är viktigast för ett lyckat samarbete. Studien visar på att musikerna använder sig både av klusterbaserade nätverk och coopetitionbaserade nätverk. Detta medför både positiva och negativa effekter för musikerna. Det är låg konkurrens och hög andel samarbeten inom ett nätverk eller kluster, medans det är hög konkurrens och låg andel samarbeten mellan olika nätverk och kluster. Resultaten visar också på att det finns två olika drivkrafter hos oberoende musiker, ambitionsdrivna eller passionsdrivna. Beroende på vilken drivkraft som är mer dominant hos musikern, påverkar detta hur affärsmodellen ser ut och de val musikern gör. Inom vissa aspekter finns tydliga skillnader mellan de två drivkrafterna, bland annat värderar den ambitionsdrivna musikern sitt oberoende lägre och har en tydligare strategi jämfört med den passionsdrivna musikern.  

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    En oberoende musikers affärsmodell
  • 37.
    Lewy, Susanna
    Umeå universitet, Humanistiska fakulteten, Institutionen för språkstudier.
    Publik musikkritik: En textanalys av musikrecensenters språkanvändning i förhållande till sina läsare2015Självständigt arbete på grundnivå (kandidatexamen), 180 hpStudentuppsats (Examensarbete)
  • 38.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Animated Notation for Mixed Orchestra2016Övrigt (Övrigt vetenskapligt)
  • 39.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Animated notation in multiple parts for crowd of non-professional performers2018Ingår i: Proceedings of the international conference on new interfaces for musical expression, The International Conference on New Interfaces for Musical Expression, 2018, s. 13-18Konferensbidrag (Refereegranskat)
    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.

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    fulltext
  • 40.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Challenging the ecology of orchestra music performance2023Konferensbidrag (Refereegranskat)
    Abstract [en]

    As an artistic researcher, I explore new mediums in my work, in how a new medium can affect a creative process and bring to life unexpected sides of a practice. I am interested in new mediums’ ability to create a reaction in the artistic activity, which may help us define the content of a tradition, and even make way for the development of new traditions, practices and of course shape the artistic expression. In this presentation I will focus on a mobile phone orchestra concept entitled Mobile Phone Orchestra.com, which I have developed in collaboration with a programmer and a graphic designer, moreover, how a media ecology perspective have helped us in the development processes of these new music performance technologies.

  • 41.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Embracing Distance  - Live Telematic Performance2020Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The work embraces the artistic conditions a telematic performance format could offer – Using latency asa musical parameter and more specifically working with different aspects of dynamics within a performance - as laborating with distance to microphone and embracing the specific acoustics of the performers physical spaces. The composition is created as part of my artistic research at Umeå University in Sweden – Anders Lind

  • 42.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Fire Alarms and Orchestra2012Övrigt (Övrigt vetenskapligt)
  • 43.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Interactive sound art and animated notation as an ensemble performance platform in primary level music education2020Ingår i: Educare, ISSN 1653-1868, E-ISSN 2004-5190, nr 1, s. 53-81Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article showcases excerpts of my artistic research in progress. In particular, I demonstrate how an interdisciplinary approach combining knowledge from the fields of artistic research, Human Computer Interaction (HCI) and game studies mayinspire primary level music education of today. I highlight examples of novel digital music technology and present an innovate approach to using these for group performance exercises in the music classroom. In particular, I report from a study where my interactive sound art exhibition LINES, in combination with animated music notation, was used as a digital ensemble music platform. The data of the study comprises five workshop sessions with pre-schoolers using this platform. An autoethnographic method and analysis of video documentation of the workshop sessions were used as methods for the study. The results showed that LINES was both engaging and easily accessed. Moreover, it allowed the majority of the target group to perform musical exercises as an ensemble. I argue that the use of traditional instruments and traditional notation creates a democratic issue in primary level music education. Furthermore, with support from the study and related research, I argue that platforms such as this may democratize music education involving pupils aged 5-15 years.

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  • 44.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Large-scale music compositions and novel technology innovations: Summarizing the process of Voices of Umeå, an artistic research project2016Ingår i: HumaNetten, E-ISSN 1403-2279, nr 37, s. 107-139Artikel i tidskrift (Refereegranskat)
    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.

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  • 45.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Limitations as stimulation: rethinking the music performance ecology2023Ingår i: Artistic research within creative studies / [ed] Anders Lind; Lotta Lundstedt, Umeå: Umeå University , 2023, 19, s. 18-33Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    This text addresses creative practitioners generally, but especially music composers, arrangers and educators who involve new mediums (in terms of alternatives to the traditional music instruments, music scores, music performers, performance spaces…) in their music activities. In a wider perspective, the ambition is to highlight and put focus on a new medium’s ability to affect a creative process; most importantly, how limitations in a new medium can be used as a desirable creative force rather than a limiting aspect of a creative activity.

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  • 46.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    MmmUMmmbling - Networked Animated Notation for Telematic Choir2021Konferensbidrag (Refereegranskat)
    Abstract [en]

    Networked Music Performance for “remote choir”. The 16 singers in the choir were performing from their physically separated individual homes around Hamburg. Animated notation was distributed as performance instructions in 4 individual parts by composer Anders Lind from Stockholm/ Sweden. Everything happened in real-time.

  • 47.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Mobilephoneorchestra.com2019Konferensbidrag (Refereegranskat)
    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.

  • 48.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Music for piano and remote pen and paper quartet2022Konferensbidrag (Refereegranskat)
    Abstract [en]

    The premiere live performance of a composition for Piano and Remote Pen and Paper Quartet, conducted by web-based animated notation. The composer Anders Lind is behind the piano in Marseille performing together with four people situated at their individual homes in Sweden, using pen and paper as their musical instruments. The composition is a part of an artistic research project entitled Home Participatory Orchestra initiated by Lind at Umeå University in Sweden. A Home Participatory Orchestra is within the project defined as; Four or more people performing in multiple parts, performers are situated at different geographical locations and performing in real-time over a network, performers are people regardless of their musical background, and everyday objects and home environment are used as musical instruments. The project aims to explore artistic perspectives of a telematic performance concept, using a participatory approach, low-frequency bandwidth, and animated notation. The animated notation for the performance is created by Jonathan Bell and Anders Lind using Drawsocket (Hajdu, 2019. Gottfried, 2019).

  • 49.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers2022Konferensbidrag (Refereegranskat)
    Abstract [en]

    This presentation focuses on a Mobile Phone Orchestra (MPO) performance platform, - mobilephoneorchestra.com – developed for performances of polyphonic electronic music – to be performed as an orchestra. The aim has been to create a kind of philharmonic orchestra for electronic sounds that uses smart phones as instruments. Mobilephoneorchestra.com is developed for non-musician participation, with the aim to easily fascilitate a mobile phone orchestra performance including many performers, but also to new performance target groups into the world of contemporary art music. Mainly youths between 13-17 years old have been addressed as performers in various project, also since they generally could be seen as experts on handling the smart phone interface. Animated notation in multiple parts is giving performance instructions to the mobile phone orchestra during the performance. In this videopresentation I have highlighted a concert performance in Slovenia from 2020 where two compositions of mine including a mobile phone orchestra were performed. Voltage Controlled String Orchestra, music for MPO (approximately 60: 15-year-old non musicians), Slovenian Philharmonic String Orchestra and Soloist (Analog Synthesizer). Voyage One, music for stand alone MPO. This presentation shows some of the artistic possibilities and limitations with the MPO platform, from a composer perspective. Furthermore, an evaluation based on the experiences of the participating MPO performers at the Voltage Controlled String Orchestra performance, is presented.

  • 50.
    Lind, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Musical Articulations for Toothbrush Quartet2021Ingår i: Articulations. Symposium on Artistic Research: Inkonst, Malmö, 24 -25 November 2021, 2021, s. 42-42Konferensbidrag (Refereegranskat)
    Abstract [en]

    Musical articulation and more specifically how to musically articulate a sounding event is essential for how an artistic output finally is generated. As we know, musical articulations could be the length of a sound, the shape of its attack and decay, the timbre of a sound and its dynamics and pitch. Accordingly, the articulation of a sound is very essential for the expression generated in a music performance. Professional musicians have gained their knowledge on how to articulate different musical events through years of practice on their traditional music instruments within their specific music genre. Thus, how professional musicians interpret and perform musical articulations is very much dependent on the embodied music performance traditions for the specific music instrument used and the specific music genre being situated within. This Toothbrush quartet performance explores how to use articulations and variate a music material in a performance using an object with no embedded historic tradition of being used as a music instrument. Accordingly, using such an object in a music performance sets a demand on the performer to invent performance techniques to enable different possibilities to articulate the sound material. This performance highlights articulation of a sounding event as an essential parameter for the creation of a dynamic and diverse music material. The performance aims to highlight a discussion around the tradition of articulation in music performance. In particular, ways to think about musical articulations, when using instruments with no embedded music tradition.

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