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  • 1.
    Alenius, Anna
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Motivation - en utmaning för musiklärare?: En studie av musiklärares tankar om, och arbetssätt för, att motivera sina elever till att lära sig musik2018Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna studie var att diskutera hur musiklärare arbetar för att motivera sina elever till att vilja lära sig musik. För att på bästa sätt få reda på detta användes en kvalitativ metod med intervjuer av tre musiklärare på tre olika skolor. Intervjusvaren belystes sedan utifrån valda teoretiska perspektiv på motivation. Resultatet visade att de intervjuade musiklärarna arbetar frekvent med att bedriva en motiverande undervisning utifrån de olika förutsättningar som de har. De använder sig av olika strategier för att uppnå detta och bland annat så betonade samtliga lärare vikten av att ha en god relation till sina elever. Det framkom även att elever motiveras av både inre- och yttre faktorer, har de mindre av den inre motivationen krävs extra stöd av någon yttre faktor för att de ska prestera och/eller uppnå sina mål.

  • 2.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’.

     

    When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it.

     

    Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.

  • 3. Brandström, Sture
    et al.
    Söderman, Johan
    Thorgersen, Ketil
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    The double feature of musical folkbildning: three Swedish examples2012In: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 29, no 1, p. 65-74Article in journal (Refereed)
    Abstract [en]

    The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnas Folk High Music School in the middle of the last century The second case study, Hagstrom's music education, is from the same time but describes a music school run by a private company The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of elitist and democratic tendencies, high and low taste agendas, control and freedom.

  • 4.
    Calissendorff, Maria
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Student music teachers' learning styles in theoretical and practical situations2015In: International Journal of Music Education, ISSN 0255-7614, E-ISSN 1744-795X, Vol. 33, no 3, p. 348-358Article in journal (Refereed)
    Abstract [en]

    This study analyzes and compares the results of a survey and an interview investigation concerning the learning styles of 32 student music teachers at The University College of Music Education (SMI) in Sweden. The students' learning style preferences were examined through a productivity environmental preference survey (PEPS), a computer-based survey that is based on the Dunn and Dunn Learning Style Model. The students who completed the survey expressed a difference between learning something that was theoretically new and difficult and something that was new and difficult related to their instrument/singing. The surveys were then followed up by semi-structured interviews with 31 of the 32 students. The study found that there is only a minimal difference between practice and theoretical learning regarding the learning styles of student music teachers. The students' procedure in theoretical learning was, as far as possible, the same as for practical learning, and it is the more practical and physical details that present obstacles. The practical relevance of the research is that it raises awareness for students regarding their learning styles and how they can streamline both their own learning and that of their future pupils.

  • 5.
    Calissendorff, Maria
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Hannesson, Haukur F.
    Educating Orchestral Musicians2017In: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 34, no 2, p. 217-223Article in journal (Refereed)
    Abstract [en]

    This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).

  • 6.
    Fleischer, Rasmus
    Stockholm University, Faculty of Social Sciences, Department of Economic History.
    Musik, politik och svenskhet2014In: Det långa 1990-talet: när Sverige förändrades / [ed] Kristina Abiala, Umeå: Boréa Bokförlag, 2014, p. 405-421Chapter in book (Other academic)
  • 7.
    Franzén, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Vår musik är död, Pop behöver stöd": En undersökning om populärmusikens ställning i den svenska kulturpolitiken2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen utreder populärmusikens ställning i den svenska kulturpolitiken med fokus på musikarrangörer. Bakgrunden består delvis i grundandet av riksförbundet Svensk Live och deras publikationer "Vi fortsätter spela pop (men vi håller på att dö)" och "Maktens Musik" som menar att delar av populärmusiken inte kan överleva eller utvecklas utan stöd. Stödet menar man att populärmusiken oftare nekas än andra genrer med en längre historia av att organisera sig och beviljas statliga stöd. Bakgrunden redogör även för musikvetenskaplig forskning och diskussioner kring begreppet "populärmusik" samt en historisk överblick av modern svensk kulturpolitik med musikarrangörer i fokus och ett redogörande för dagsläget utifrån rapporter från Myndighet för Kulturanalys och Kulturrådet. Populärmusik definieras utifrån Svensk Lives definition att begreppet innefattar all musik som inte är jazz eller konst-, folk- och världsmusik.

    Undersökningen görs genom en närläsning av hur sökande populärmusik-arrangörer motiverar sin rätt till medel i bidragsansökningar från 2007 och 2017 till Musikverket, Kulturrådet och Stockholms Kulturförvaltning. 2007 och 2017 jämförs för att notera eventuella skillnader då det tidigare kulturpolitiska målet om att motverka kommersialismens negativa verkningar togs bort 2009 och bildandet av Svensk Live 2017. För att komplettera och skapa underlag för diskussion undersöks även ansökningar från genrer som tillhör konstmusiken och jazzen. Även genrefördelningen undersöks genom att ta fram statistik över fördelning och hur den förändrats under samma tidsperiod.

    Resultatet av undersökningen visar att genrefördelningen skiljer sig mellan institutionerna, samt att populärmusikens del generellt sett har ökat i takt med ett ökat söktryck men att den generellt sett fortfarande får mindre än en majoritet av övriga genrer. Undersökningen visar att argumentationen från populärmusiken har förändrats mellan 2007 och 2017 samt att den skiljer sig från övriga genrer genom att generellt sett motivera med fler utommusikaliska aspekter och värden samt ett större behov att hävda icke-kommersialism. 2017 riktar man även kritik mot bidragsgivarna och visar i flera exempel på inflytande från Svensk Lives publikationer och opinionsdrivning som bland annat menar att "s k pop ska ses som kultur".

    Utifrån resultatet görs en analys och diskussion grundad i Pierre Bourdieus teorier om fält samt kulturproduktionsfältet två värdepoler där den ekonomiska setts som negativ och kulturella positiv. Begreppen populär- och konstmusik diskuteras med fokus på dess historiska konnotationer betydelse för ansökningarna samt hur begreppen ställs på tvären när ett ökat söktryck tyder på att en del av populärmusiken inte längre är tillräckligt kommersiell för att överleva utan stöd. Paralleller dras till hur jazzen gick från populärmusikalisk genre till konstmusikalisk status när den tappade sin popularitet och hur samma utveckling just nu håller på att ske med delar av den undersökta populärmusiken.

  • 8.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Litteraturvetenskapliga institutionen, SU.
    Livets konst är dikt1981In: Värld och vetande : populärvetenskaplig tidskrift, ISSN 0346-4873, Vol. 30, no 5, p. 133-140Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    An encounter with the poet and artist Lars Humble, b. 1921, and a review of his life and work.

  • 9.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Music — celestial and mundane: from baroque harmony to dodecaphony1995In: Arcana : inner dimensions of spirituality, ISSN 1075-2897, Vol. 1, no 1, p. 55-68Article in journal (Refereed)
    Abstract [en]

    On Emanuel Swedenborg's musical ear, his musical education, practise and experience; his theories of sound, of harmony; his visions of music and musical instruments; and his influence on 19th and 20th century composers.

  • 10.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Swedenborg och musiken: från barockharmoni till tolvton1994In: Världarnas möte, ISSN 1100-4681, no 2-3, p. 74-90Article in journal (Refereed)
    Abstract [en]

    About Emanuel Swedenborg's musical ear, his musical education, practise and experience; his theories of sound, of harmony; his visions of music; and his ideological influence on composers in the Nineteenth and Twentieth centuries. 

  • 11.
    Hallengren, Anders
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    von Baumgarten, MarianneJulén, BjörnHolmbäck, BureMeidal, BjörnSteene, Birgitta
    August Strindberg1999Collection (editor) (Other academic)
    Abstract [en]

    August Strindberg 150 years jubilee publication with introductory by Anders Hallengren and original contributions by Björn Meidal, Egil Törnqvist, Per-Anders Hellqvist, Bure Holmbäck, Barbro Ståhle Sjönell and programme announcements.

  • 12.
    Hyltén-Cavallius, Sverker
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies.
    Retrologier: Musik, nätverk och tidrum2014Book (Refereed)
    Abstract [sv]

    Vi lever i en tid då stora delar av populärkulturen, från film till mode och musik, använder sig av och anspelar på fragment från svunna tider. Här formas mängder av föreställningar och tolkningar av hur det var – ett slags historia på sätt och vis, men en historia som förvaltas i rörelser, klanger och bilder tillsammans med många berättelser. Den här boken handlar om hur sådana historier, vad som här kallas retrologier, fogas samman av människor som på olika sätt är engagerade i den musik som gjordes under det sena 1960- och tidiga 1970-talet. I sju kapitel får vi här följa nätverk av aktörer i deras formande av berättelser, kroppsligheter, klanger och bilder. På vägen lär vi oss om hur tid och rum kan kopplas samman och åtskiljas, hur exotisering kan fungera och hur distinktioner går till.

  • 13. Jaresand, Susanne
    et al.
    Calissendorff, Maria
    Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    A Physical Interpretation of a Score in a Listening Attitude2013In: Sound and Score: Essays on Sound, Score and Notation / [ed] Paulo de Assis, William Brooks, Kathleen Coessens, Leuven: Leuven University Press, 2013, p. 184-194Chapter in book (Refereed)
  • 14.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Kiinan musiikki1978In: Otavan suuri ensyklopedia: 4, Juusten - Kreikka, Helsinki: Otava , 1978, p. 2982-2983Chapter in book (Other academic)
  • 15.
    Kaladjev, Stojan
    Stockholm University, Centrum för musikpedagogisk forskning (MPC).
    Ergonomi i musikutbildningen: ergonomiska och kognitiva aspekter på instrumentalspel2000Doctoral thesis, monograph (Other academic)
  • 16.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    Volkstheater, Reform und Revolution: Der junge Richard Wagner in Wien2012In: Österreichische Musikzeitschrift, ISSN 0029-9316, E-ISSN 2307-2970, Vol. 67, no 6, p. 6-13Article in journal (Refereed)
  • 17.
    Laukka, Petri
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Psychology.
    Quick, Lina
    Emotional and motivational uses of music in sports and exercise: A questionnaire study among athletes2013In: Psychology of Music, ISSN 0305-7356, E-ISSN 1741-3087, Vol. 41, no 2, p. 198-215Article in journal (Refereed)
    Abstract [en]

    Music is present in many sport and exercise situations, but empirical investigations on the motives for listening to music in sports remain scarce. In this study, Swedish elite athletes (N = 252) answered a questionnaire that focused on the emotional and motivational uses of music in sports and exercise. The questionnaire contained both quantitative items that assessed the prevalence of various uses of music, and open-ended items that targeted specific emotional episodes in relation to music in sports. Results showed that the athletes most often reported listening to music during pre-event preparations, warm-up, and training sessions; and the most common motives for listening to music were to increase pre-event activation, positive affect, motivation, performance levels and to experience flow. The athletes further reported that they mainly experienced positive affective states (e.g., happiness, alertness, confidence, relaxation) in relation to music in sports, and also reported on their beliefs about the causes of the musical emotion episodes in sports. In general, the results suggest that the athletes used music in purposeful ways in order to facilitate their training and performance.

  • 18.
    Linder, Gunnar Jinmei
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    “Shi, Yamaguchi Gorō no geijutsu” 師・山口五郎の芸術 (The Art of My Teacher Yamaguchi Gorō)2008In: Yūgen naru hibiki 幽玄なる響き−人間国宝・山口五郎の尺八と生涯 (Mysterious Sound): ningen kokuhō Yamaguchi Gorō no shakuhachi to shōgai 人間国宝・山口五郎の尺八と生涯 (The Life and Shakuhachi of Living National Treasure Yamaguchi Gorō) / [ed] Tokumaru Yoshihiko, Tsukitani Tsuneko, Tokumaru Jūmei, Saitō Mitsuru, ed., Tokyo: Shuppan Geijutsu-sha , 2008, p. 221-222Chapter in book (Other (popular science, discussion, etc.))
  • 19.
    Malm, Tobias
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Becoming a rock band: The challenges of group identity2017In: Journal of Popular Music Education, ISSN 2397-6721, Vol. 1, no 2, p. 165-182Article in journal (Refereed)
    Abstract [en]

    Rock bands feature increasingly in music education. They are essential parts of popular culture and are increasingly highlighted as entrepreneurial organizations in a global music industry. However, to develop and stay together as a band is a difficult task. This study aims to develop an understanding of the challenges of becoming a rock band, shedding new light on previously underexplored complexities of band life by considering the impact of group identities. The methodology entails storytelling and identity work, inspired by a biographical approach. Six explorative interviews with band members were conducted. The results suggest that productive activities form several kinds of work group identities, whereas low-activity periods threaten group identification. The article discusses how diversity of group identities promotes development while uniformity promotes stability. To cope with this paradox, this article suggests that band members ought to learn to develop multiple group identities and flexible ways of relating to one another.

  • 20. Parkes, Kelly
    et al.
    Daniel, Ryan
    West, Tore
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Gaunt, Helena
    Applied music studio teachers in higher education: exploring the impact of identification and talent on career satisfaction2015In: International Journal of Music Education, ISSN 0255-7614, E-ISSN 1744-795X, Vol. 33, no 3, p. 372-385Article in journal (Refereed)
    Abstract [en]

    The purpose of this study was to explore how highly trained performing musicians, currently working in higher education conservatoires or universities, understand, categorize, and reflect on their identification as a studio music teacher. Using an online survey involving participants (N = 173) across nine western countries, respondents identified how they saw themselves, as performer, teacher, or both. Quantitative items illustrated their beliefs in regard to talent (self-concept) and identification with two domains (teaching and performing), as well as levels of satisfaction in both roles. Results showed that participants held two identities as both teachers and performers, that they felt slightly more talented at teaching, and that they were more satisfied with performing than with teaching. Using regression, the authors documented that identification with being a teacher predicted 41% of the variance in whether studio teachers were satisfied with being a teacher. Performing talent predicted 26% of their satisfaction with being a performer. The findings are significant to music educators because they demonstrate the complexities associated with the interplay between identification with teaching and with performing. Institutional leaders who recruit and employ advanced musicians to teach in the studio should explore this interplay or balance and, where appropriate, put in place mechanisms to support individuals as they navigate through these domains.

  • 21.
    Paulander, Ann-Sofie
    Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    Meningen med att gå i musikterapi: En fenomenologisk studie om deltagares upplevelser2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward. 

  • 22.
    Peters, Lauren Downing
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    David Bowie Is2014In: Journal of Curatorial Studies, ISSN 2045-5836, Vol. 3, no 1, p. 139-143Article, book review (Other academic)
  • 23.
    Salomão, Gláucia Laís
    Stockholm University, Faculty of Humanities, Department of Linguistics, Phonetics.
    Expressão vocal de emoções [Vocal expression of emotions]: metáfora sonora, fala e canto [Sound metaphors, speech and singing]2016In: Sonoridades [Sonorities]: A expressividade da fala, no canto e na declamação [Expressivity in speech, singing, and reciting] / [ed] Jayme Preto, Beatriz Gabriel, Pontíficia Universidade Católica de São Paulo , 2016, p. 31-43Chapter in book (Refereed)
    Abstract [en]

    The communication of emotions is crucial to social relationships and plays a fundamental role in maintaining the social order between people. In this chapter we are looking at the communication of emotions through two expressive modalities that make use of sound as a mean of communication, i.e. speech and singing. Throughout the text we argue in favor of the idea that the vocal expression of emotions reflects physiological aspects associated to the emotion itself that is expressed; that there are many similarities between the expressive patterns found in speech and in singing; and that the singing is expressive bacause it has traces of expressive patterns of speech.

  • 24. Sundberg, Johan
    et al.
    Salomão, Gláucia Laís
    Stockholm University, Faculty of Humanities, Department of Linguistics, Phonetics.
    Scherer, Klaus R.
    Analyzing Emotion Expression in Singing via Flow Glottograms, Long-Term-Average Spectra, and Expert Listener Evaluation2019In: Journal of Voice, ISSN 0892-1997, E-ISSN 1873-4588Article in journal (Refereed)
    Abstract [en]

    Background

    Acoustic aspects of emotional expressivity in speech have been analyzed extensively during recent decades. Emotional coloring is an important if not the most important property of sung performance, and therefore strictly controlled. Hence, emotional expressivity in singing may promote a deeper insight into vocal signaling of emotions. Furthermore, physiological voice source parameters can be assumed to facilitate the understanding of acoustical characteristics.

    Method

    Three highly experienced professional male singers sang scales on the vowel /ae/ or /a/ in 10 emotional colors (Neutral, Sadness, Tender, Calm, Joy, Contempt, Fear, Pride, Love, Arousal, and Anger). Sixteen voice experts classified the scales in a forced-choice listening test, and the result was compared with long-term-average spectrum (LTAS) parameters and with voice source parameters, derived from flow glottograms (FLOGG) that were obtained from inverse filtering the audio signal.

    Results

    On the basis of component analysis, the emotions could be grouped into four “families”, Anger-Contempt, Joy-Love-Pride, Calm-Tender-Neutral and Sad-Fear. Recognition of the intended emotion families by listeners reached accuracy levels far beyond chance level. For the LTAS and FLOGG parameters, vocal loudness had a paramount influence on all. Also after partialing out this factor, some significant correlations were found between FLOGG and LTAS parameters. These parameters could be sorted into groups that were associated with the emotion families.

    Conclusions

    (i) Both LTAS and FLOGG parameters varied significantly with the enactment intentions of the singers. (ii) Some aspects of the voice source are reflected in LTAS parameters. (iii) LTAS parameters affect listener judgment of the enacted emotions and the accuracy of the intended emotional coloring.

  • 25. Sundberg, Johan
    et al.
    Salomão, Gláucia Laís
    Stockholm University, Faculty of Humanities, Department of Linguistics, Phonetics.
    Scherer, Klaus R.
    What does LTAS tell about the voice source?2018In: 47th Annual Symposium: Care of the Professional Voice: Program Abstracts, 2018, p. 15-15Conference paper (Refereed)
    Abstract [en]

    Objective: The long-term-average spectrum, or LTAS has been extensively used in voice research. It provides an overall measure of voice characteristics allowing to derive a large number of parameters. A minimalistic set of parameters has been identified which offers the most essential properties [Eyben et al., 2015; 2016; Scherer et al., 2017]. LTAS analysis is typically applied to audio signals of running speech or continuous singing. It reflects the combination of formant frequency and voice source characteristics. Often, e.g. in clinical settings, it is relevant to distinguish between these two sources Voice source analysis can be performed by means of inverse filtering. The aim of the present work was to analyse the relationships between LTAS and voice source properties.

    Method: Three internationally touring male singers sang scales in eleven different emotional colours. This material was analysed by inverse filtering as well as in terms of LTAS. The correlations between the averages across the scale tones of the flow glottogram parameters and minimalistic set of LTAS parameters were analysed.

    Results/Conclusions: A strong negative correlation was found between spectral slope and the flow glottogram’s maximum flow declination rate MFDR, and a strong positive correlation between proportion of spectral energy below 1000Hz and H1-H2. Somewhat surprisingly, a strong negative correlation was found between equivalent sound level and the normalized and un-normalized amplitude quotients (the ratio between AC peak-to-peak amplitude of the flow glottogram and MFDR). Thus, these LTAS parameters seem particularly informative with respect to voice source characteristics.

  • 26.
    Teodorowicz-Hellman, Ewa
    Stockholm University, Faculty of Humanities, Department of Slavic Languages and Literatures.
    Tance polskie na utroczystosciach koronacyjnych Zygmunta III Wazy na zamku w Uppsali2012In: Nowa Gazeta Polska (Sztokholm), ISSN 1103-3339, no 23, p. 8-9Article in journal (Other (popular science, discussion, etc.))
  • 27.
    Ternhag, Gunnar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Jonas Bjälesjö: Rock’n’roll i Hultsfred: Ungdomar, festival och lokal gemenskap. Diss., Lunds universitet, 2013, Båstad: Hammarlin2013In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 95, p. 145-147Article, book review (Other academic)
  • 28.
    Ternhag, Gunnar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Marja Mustakallio: Musik på gränsen: Hundra år av tornedalskt musikliv, Övertorneå: Arktinen ajatus, 20122013In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 95, p. 176-178Article, book review (Other academic)
  • 29.
    Ternhag, Gunnar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Norske middelalderballader, melodier. Bind 1: Naturmytiske ballader, legendeballader, histo-riske ballader. Red: Astrid Nora Ressem (Norsk visearkivs publikasjon V; Norsk folkeminnelags skrifter CLXV.) Oslo: Aschehoug, 20112013In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 95, p. 180-181Article, book review (Other academic)
  • 30.
    Ternhag, Gunnar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vad hörde Nils Andersson?2012In: Saga och sed: Kungl. Gustav Adolfs Akademiens årsbok, ISSN 0586-5360, p. 125-142Article, book review (Other academic)
  • 31.
    Ternhag, Gunnar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vägen till verket2012In: Kungl. Musikaliska akademiens årsskrift, ISSN 1100-2751, p. 16-20Article, book review (Other academic)
  • 32.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    Black Metal Pedagogy as Bildung2017Conference paper (Refereed)
  • 33. Vickhoff, Björn
    et al.
    Åström, Rickard
    Theorell, Töres
    Stockholm University, Faculty of Social Sciences, Stress Research Institute.
    von Scheele, Bo
    Nilsson, Michael
    Musical Piloerection2012In: Music and Medicine, ISSN 1943-863X, Vol. 4, no 2, p. 82-89Article in journal (Refereed)
    Abstract [en]

    Piloerection (from the Latin pilus for hair) is a skin response which can be observed at many occasions among various species as a reaction to fear, aggression, or coldness. It is also a human response to music and in these cases a highly pleasurable one. Not everyone experiences it, and it is particularly difficult to evoke the reaction in experimental settings. We accidentally happened to catch a spontaneous distinct reaction with finger temperature, skin conductance, heart rate, and respiration. This allows us to study how these emotion correlates online with the music—the dynamics of the event. From this and recent articles, we discuss suggestions of how music causes piloerection.

  • 34.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Det kritiska tänkandet behöver en ny Adorno2017In: Svenska Dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    From Mood to Tone: Schoenberg’s Attunemental Shift2015Conference paper (Refereed)
    Abstract [en]

    When Gurre-Lieder had its first performance in Vienna on February 23, 1913, it was an immediate success despite the fact that Arnold Schoenberg had made a series of scandals with his latest works. The following day, Pierrot Lunaire made a new scandal in Prague. It is a thought-provoking paradox that Schoenberg kept on working on the late Romantic symphonic cantata during the development of his free atonal or pantonal style. In this paper I intend to discuss this paradox in terms of worlding and unworlding in reference to phenomenological philosophers such as Martin Heidegger and Mikel Dufrenne as well as the musicologists John Covach and Hermann Danuser. At the same time as a new musical world emerges in works such as the Second String Quartet and Das Buch der hängenden Gärten, the world of late Romanticism starts to be dissolved or unworlded. Vital to this investigation is the dislocation in the poetics of Stefan George, whose poems Schoenberg began to set to music during this period of change – both the quartet and the song cycle belong to those works. George’s close friend and foremost interpreter Friedrich Gundolf described a shift from the mood orientation of the early George to the emergence of a powerful tone. Instead of only saying that Schoenberg and the composers of his circle needed texts in order to organize longer compositions during the atonal, pre-dodecaphonic phase – a common suggestion in research on the Second Viennese School – I propose that it is less linguistic elements than the specific tone of the poems that had the sought-after potential. The change can be described as an attunemental shift that concerns much more than a compositional development. It took place during a time of crisis, just before World War I and in the last years of an era that Hobsbawm has called ‘the long 19th century’. Even if this circumstance can only be hinted at, it is crucial for my postdoc project ‘Worlding and Unworlding’, to which this paper belongs, where I investigate a series of historical disruptions and crises. 

  • 36.
    Wassrin, Maria
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Challenging Age Power Structures: Creating a Public Sphere in Preschool through Musicking2016In: Action, Criticism & Theory for Music Education, ISSN 1545-4517, Vol. 15, no 5, p. 25-50Article in journal (Refereed)
    Abstract [en]

    This article explores the possibility of conceiving preschool music activities as a way of forming spaces of participation with society’s youngest. The discussion draws on Hannah Arendt’s (1958) definition of public spheres, and the argumentation is closely linked to an empirical example from musicking events with 1–3 year olds in a non-typical, arts-focused Swedish preschool. In their promotion of equality and plurality in this preschool, the children and the music pedagogues co-construct a public sphere by using a multitude of “languages” and challenge both the hegemonic position of verbal language and other age power structures. In this promotion, other “subjects of music” come into being. Thus, it is argued that society can perceive children as legitimized citizens in the “here and now” and not only in a distant future when they have become fully educated adults. The article challenges current preschool music education and demonstrates alternative social constructions.

  • 37.
    Wassrin, Maria
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Rethinking Music Activities in Preschool: Exploring links between conceptions of the child and conceptions of music2016In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 17, p. 103-136Article in journal (Refereed)
    Abstract [en]

    Music in preschool is mostly performed as singing-events in the form of circle-time, over which children do not have much influence. This article argues that research on music education in preschool often has overlooked this lack of influence. It explores how conceptions of ‘the child’ relate to different conceptions of music, and thereby impact on how music activities are staged in preschool. The primary empirical material consists of one group interview with four music pedagogues working together with 1–3 year olds in a Swedish preschool with an alternative approach. Through the use of Critical Discursive Psychology five interpretative repertoires of ‘the child’ are distinguished, among which ‘a child with rights’ is seen as encompassing the other four. Conceptions of the child as constantly learning and epistemologically equal to adults, and therefore granted the rights to explore the world without unnecessary bodily restrictions, ‘requires’ improvisational and trans-disciplinary conceptions of music, in which the child needs to have the right to bodily self-determination. The outcome of the study shows how conceptions of the child shape our conceptions of music, consequently resulting in multiple and diverse music practices.

  • 38.
    Wassrin, Maria
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Towards Musicking in a Public Sphere: 1-3 year olds and music pedagogues negotiating a music didactic identity in a Swedish preschool2016Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    This thesis explores alternative ways of staging music in preschool. The ‘preschool subject of music’ is approached as a social and cultural construct that is embedded in discursive negotiations. Participants in the study are 1-3 year-old children and their music pedagogues, working in the preschool on a daily basis. In three studies, the negotiation of a local music ‘didactic identity’ is examined by answering research questions related to three different discursive levels: (i) the micro-level of face-to-face interaction; (ii) the level of pedagogue’s conceptions; and (iii) the political/societal level. Study I examines the participants’ use of semiotic resources in their co-construction of musicking events. By means of micro-analyses of video-recordings it is shown that mobility in the room is essential for the children’s access to instruments and other artefacts, and for their possibility to influence music activities. Other crucial conditions concern the pedagogues’ responsive uptake and improvisatory approach, and that the activities are open to other forms of expression. Study II explores conceptions of the ‘child’ and conceptions of ‘music’ in four music pedagogues’ talk in a group interview. Different conceptions of the ‘child’ are seen to interrelate with certain ontological and functional conceptions of ‘music’ that involve diverse opportunities for children’s (bodily) agency. This analysis is made by means of discursive psychology. Study III examines the music practices from a political and philosophical perspective, using Hannah Arendt’s concept of the ‘public sphere’. This third perspective shows how this preschool’s music practices create a public sphere by seriously putting into practice equality and plurality as values and principles that increase the equality between children and adults. Age power structures are thereby challenged, and the children can be seen as citizens in the ‘here and now’, and not in some distant future when they are grown-ups. Also, the ‘preschool subject of music’ itself becomes a negotiated issue.

    Implications for preschool practice and preschool teacher education are discussed, and further research is suggested within other educational areas regarding how pedagogues’ interpretations of the concept of ‘children’s participation’ and ‘influence’ impact on specific preschool subjects, such as music.

  • 39.
    West, Tore
    Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    Learning Through the Arts: En kritisk forsknings- och dokumentationsöversikt2002Report (Other academic)
    Abstract [sv]

    I denna översikt görs en kritisk granskning av dokumentationen om skolundervisning där en yrkesverksam konstnär deltar enligt programmet ”Learning Through the Arts” (LTTA). LTTA är utvecklat i Kanada och introduceras nu i Sverige i ett samarbete mellan The Royal Conservatory of Music i Toronto (RCM), Kungl. Musikhögskolan i Stockholm (KMH) och Kista stadsdelsnämnd. 

  • 40.
    West, Tore
    et al.
    Stockholm University, Centrum för musikpedagogisk forskning (MPC).
    Rostvall, Anna-Lena
    Stockholm University, Centrum för musikpedagogisk forskning (MPC).
    Interaktion och kunskapsutveckling: en studie av frivillig musikundervisning2001Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and ana­lyzed. Two were group lessons and 9 were private lessons. The object of the pro­ject was to study how music teaching and learning can be under­stood from an institutional perspective by describing, analyzing and in­terpreting musical in­strument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication rou­tines using speech, music and gesture.

    Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational gen­res of speech and music use. The analyzed data were interpreted and discussed from the per­spectives of interaction-theory and institution-theory.

    The results show how the music during the lessons was broken down into sepa­rate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not ad­dressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student at­tempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportu­nities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclu­sion is that the way instrument teaching is organized leaves little room for stu­dents and teachers to discuss and reflect on the teaching process. 

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