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  • 301.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Från Sven Scholander till Lars Winnerbäck: Svenska trubadurer under 1900-talet2009In: Parnass, no 4, p. 6-13Article in journal (Other (popular science, discussion, etc.))
  • 302.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    ...vid denna källa: Bellman och Stockholms universitet2007Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Behandlar miljöer och människor i Frescatis närhet som porträtterats av Bellman, samt de epistlar och sånger där detta sker.

  • 303. Broman, Per F.
    et al.
    Engebretsen, Nora A.
    What kind of theory is music theory?: Epistemological exercises in music theory and analysis2008Collection (editor) (Refereed)
    Abstract [en]

    Music theory has long aligned itself with the sciences - particularly with physics, mathematics, and experimental psychology - seeking to cloak itself in the mantle of their epistemological legitimacy. This affinity, which was foreshadowed in music's inclusion in the medieval quadrivium alongside geometry, astronomy, and arithmetic, is evident throughout the history of music theory from the scientific revolution onward. Yet, as eager as music theorists have been to claim the epistemological privilege accorded the sciences, they have also been wary of limitations attending such an alliance.

    This collection of essays will provide a historical as well as a philosophical and aesthetic context regarding music theory's relationship to science. The thirteen authors work in a range of fields and traditions including music theory, musicology, and philosophy.

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  • 304.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    En egenartad och mystisk pianoman vid namn Povel Ramel, som spelar egentligen precis vad som faller honom in2013Other (Other (popular science, discussion, etc.))
  • 305.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Med Gårdagens Dörr på glänt: Povel Ramel och melodins epok2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to examine the style of the Swedish entertainer Povel Ramel (1922-2007) as a composer and lyricist of popular songs, and to elucidate his relation to the older popular music culture, denoted "the age of melody". In the main part of the study the author analyses more than 80 works by Ramel, which he created in the 1950s and 60s. Many of the most characteristic features of the age of melody are outlined as a background to the analysis.

    The age of melody was the first period of popular music in the Western world - from the music hall to the bossa nova. It ended when rock became dominant over older types of popular song ("schlager"). Its musical roots were in the 19th century European parlour and dance music but gradually it became more and more influenced by American folk music. Along with the development from the pre-industrial world to the modern, urban, industrial world there emerged strong tensions between old familiar national traditions and new foreign temptations and threats. These tensions marked both the intellectual modernism and the popular culture through the whole age.

    Povel Ramel was in many ways the typical composer of the age of melody. His work encompasses all its predominant styles, genres and features; he catches the humour, the optimism, the distance and the tension between the old and the new, the Swedish and the foreign. And yet he was unique. His uniqueness lies in his attention and awareness of these styles and features, and in his concentrated and varied interpretations of them. He reflected the notional worlds of the age of melody in both poetical and philosophical ways, but most of all - with an unusual sincere playfulness.

  • 306.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    När "en äkta mexikanare" blev populär i Sverige: Den latinamerikanska musikens internationalisering under melodins epok2013In: Inte bara samba och reggae: Den latinamerikanska musikkontinenten / [ed] Mats Lundahl, Åsa da Silva Veghed, Carlsson Bokförlag, 2013, p. 263-280Chapter in book (Other academic)
  • 307.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Om nostalgi och svenskhet i Mando Diaos tolkning av Strövtåg i hembygden2015In: Nordisk musikblad Visor/viser - Nordisk tidskrift för visor & singer/songwriters, ISSN 1893-9694, no 5, p. 52-54Article in journal (Other (popular science, discussion, etc.))
  • 308.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Povel Ramel - lekens mästare2009In: Parnass, ISSN 1104-0548, no 4, p. 34-36Article in journal (Other academic)
  • 309.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Povel Ramel och musiken2007Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    I den här boken berättar Johanna Broman Åkesson om Povels barndom, ungdom och hur karriären tog fart. Om melodierna, grammofonskivorna, radioprogrammen, revyerna, filmerna...ja, allt som denne unike underhållare drabbat svenska folket med.

    Man får också en inblick i Povels stil och livsfilosofi.

    Och som vanligt i "och musiken"-serien naturligtvis mängder av hans underbara melodier med noter, text och ackordanalyser.

    Det finns ingen som Povel!

  • 310.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Taubes toner tas på allvar: Evert Taube pekar mot populärmusikens kärna2007In: Annex: Recensionsbilaga till Axess, no HöstenArticle, book review (Other academic)
  • 311.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Utan att Andersson anar'e verkar han faktiskt cubanare": Latinamerikanska influenser i svensk populärmusik 1930-19602006In: Noterat, no 14Article in journal (Other academic)
  • 312.
    Brooks, Eva
    et al.
    Aalborg University, Denmark.
    Dau, Susanne
    University College North, Denmark.
    Selander, Staffan
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Perspectives on Innovative Designs and Learning2022In: Design, Learning, and Innovation: 6th EAI International Conference, DLI 2021, Virtual Event, December 10-11, 2021, Proceedings / [ed] Eva Brooks; Jeanette Sjöberg; Anders Kalsgaard Møller, Cham: Springer, 2022, p. 183-194Conference paper (Refereed)
    Abstract [en]

    Digitalization has changed ways of learning as well as challenged conditions for creativity in different landscapes of learning. This raises questions about how to approach learning and design in new ways. To address these queries, this conceptual symposium paper presents three perspectives on how innovative designs and learning in analogue and digital activities can promote new metaphors, theories, and methodologies to study these kinds of processes. The first perspective adds a focus on the environment and spaces based on ecological understanding of design and learning with a pivot point on boundaries and people’s wayfinding. The second perspective adds a focus on activities with artifacts and people’s engagement in creative and playful processes of making and breaking as part of a design and learning process. The third perspective takes the position of collaborative design in educational settings, with a focus on context and sequences, framing and fixing points, and on the choice of material and semiotic resources to express/represent knowledge. Despite differences in these perspectives, they can be used in different educational practices to understand people’s engagement in design and learning. The paper shows that differences in perspectives not necessarily represent division or disagreement, but rather exploratory routes that can generate new learning, understanding and resources to approach societal and educational challenges.

  • 313.
    Brummer, Hans Henrik
    Stockholm University, Faculty of Humanities.
    The statue court in the Vatican Belvedere1970Doctoral thesis, monograph (Other academic)
  • 314. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    A film of her own: Home movies, the archive and Ingrid Bergman: An interview with Stig Björkman and Dominika Daubenbüchel2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 183-188Article in journal (Other academic)
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  • 315. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Scandinavian cinema 
culture and archival 
practices: Collecting, curating and accessing moving image histories2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 75-78Article in journal (Other academic)
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  • 316.
    Bruér, Jan
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Guldår & krisår: Svensk jazz under 1950- och 60-talen2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The purpose of this dissertation is to examine the history of jazz in Sweden during two dynamic and critical decades, the 1950s and ’60s. My analysis also discusses methodological challenges that a (Swedish) jazz historian can face. It is a descriptive study which complements my production of a series of CD albums – including text booklets – called Svensk Jazzhistoria (Swedish Jazz History), issued by Caprice Records between 1999 and 2005. The 1950s have often been regarded as “The Golden Years” in Swedish jazz, while the ’60s witnessed a general “crisis.” The dissertation illustrates the principal differences between these periods, from both a musical and sociological perspective. The sources for this investigation are interviews with musicians and other people involved in the production of jazz performances and recordings, as well as jazz magazines and other printed material. The controversial connection between jazz and drugs is discussed. This dissertation also identifies what is typically Swedish in Swedish jazz during both periods. Lars Gullin’s recording of his composition Danny’s dream (1954) is examined from both musical and historical perspectives. There is a discussion of the influences of folklore on jazz musicians such as Jan Johansson and Bengt-Arne Wallin in the ’60s. Many Swedish musicians started as accordionists, and the significance of this instrument in Swedish jazz is considered. With the exception of the Swedish Radio Studio Orchestra under the direction of Harry Arnold, Swedish big band music of the ’50s was not up to international standards. Almost all big bands in Sweden disappeared in the late ’50s, but in the late ’60s there was a strong big band revival, together with swing – almost forgotten in the decade of free form and experimentation. Another topic is Swedish jazz vocalists, mainly female. When Monica Zetterlund made her “sensational” debut in 1958, Alice Babs had been the leading jazz singer in Sweden for many years. Zetterlund developed new areas of musical expression, including jazz singing in her native language, which was at first suspiciously viewed as a commercial strategy. Two different venues for jazz are examined: the famous dance hall Nalen in Stockholm and a small part-time jazz club for concerts in the northern city of Sundsvall. Finally, important and influential media such as the jazz magazines Orkester Journalen and Estrad, together with the Metronome Records company are considered.

  • 317.
    Brånstad, Fredrik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Ur asken: Petter Mellgren och Philip Gernandt, två namngivna tillverkare av spelmarkeraskar inom den anonyma hantverkstekniken halmintarsia vid sekelskiftet 1700-18002020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Min studie fokuserar i första hand på spelmarkeraskar med halmintarsia från sekelskiftet 1700-1800, gjorda av två namngivna tillverkare i Vittskövle men också på halmintarsia som teknik och dess historia. Syftet med studien är att belysa denna något bortglömda men framför allt anonyma teknik genom att studera två tillverkare som hette Petter Mellgren och Philip Gernandt. Jag genomför en föremålsanalys utifrån materiella kulturer av en spelmarkerask gjord av Petter Mellgren och kombinerar denna analys med mikrohistoriska arkivstudier och ett undersökande av publicerat material. Modellen för objektsanalysen är hämtad från E. McClung Flemings Artifact Study – A Proposed Model som publicerades 1974. Det finns väldigt lite skrivet om halmintarsia och forskningsläget är ytterst begränsat. Föremålsanalysens upplägg möjliggör dock en mer tvärvetenskaplig undersökning och gränsar till en historisk och etnologisk studie där forskningsläget är mer omfattande. Studiens resultat visar hur omständigheterna för Mellgren och Gernandt såg ut och problematiserar bilden av halmintarsia som allmoge- eller folkkonst. Tekniken utfördes under specialiserade former och studien visar på en tillverkning och distribution utanför styrande skråsammanslutningar. Undersökningen påvisar en koppling mellan de namngivna tillverkarna och den högadliga familjen Barnekow, vilket kan ha varit avgörande för produktion och distribution av föremålen. Undersökningen visar också på visuella samband mellan tysk och svensk produktion under mitten av 1700-talet men indikerar även likheter mellan de undersökta spelmarkeraskarna och franskt mode mot slutet av århundradet där optiska och geometriska uttryck var gällande. Studien belyser material och tekniker från tiden men även användningen av spelmarkeraskar och vilka dessa var riktade till.

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  • 318.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    A Post-genomic Forensic Crime Drama: CSI: Crime Scene Investigation as Cultural Forum on Science2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science.

    The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds.

    This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience.

    Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

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  • 319.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    ’Artistic Titles in Artistic Films!’ Investigating Swedish art-titles and the case of Alva Lundin2010In: Not so Silent: Women in Cinema Before Sound / [ed] Astrid Söderbergh Widding; Sofia Bull, Stockholm: Acta Universitatis Stockholmiensis , 2010Chapter in book (Other academic)
  • 320.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Kroppen, sanningen och döden: En utredning av CSI: Crime Scene Investigation2006Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte är att undersöka vilken funktion och betydelse kroppen har i första säsongen av CSI: Crime Scenen Investigation (CBS, 2000-). Detta eftersom det kan ge en ökad förståelse för de föreställningar som omgärdar kroppen i vår kultur idag. Författaren gör närläsningar av analysobjektet som relateras till relevant litteratur, såväl som tidigare praktiker och representationer av kroppslighet.

    I den första delen undersöker författaren vilken roll kroppen spelar i utredningsarbetets sökande efter en säker sanning. Författaren konstaterar att utredarna använder sig av en kroppslig utredningsteknik och att kroppen dessutom ses som en privilegierad form av bevis, vars tillgänglighet ökar med hjälp av obduktionsförfarandet och olika teknologiska hjälpmedel. Vidare ifrågasätter författaren hur långsökta slutsatser om individen dras från kroppen. Till sist föreslår författaren att tron på säker kunskap känns betryggande i en tid då kroppen ses som föränderlig och där begrepp som verklighet och sanning blivit flytande.

    I den andra delen undersöker författaren hotfull kroppslighet och hur dessa hot eventuellt neutraliseras. Författaren drar här fyra huvudsakliga slutsatser:

    1. Den uppstyckade kroppen är skrämmande eftersom den uppfattas som gränsöverskridande och utredarnas ihopsamlande av kroppsdelar är ett sätt att återskapa de ursprungliga gränserna.

    2. Döden är ytterligare en gränsöverskridande praktik som dessutom innebär kroppens totala förintelse, utredningsarbetet är en kamp mot döden som strävar efter att återupprätta livet.

    3. Utredarnas förhållande till den döda kroppen är synnerligen komplext eftersom de bör förbli objektiva, men samtidigt inte får riskera att objektifiera den döda kroppen.

    4. Själva filmmediet kan ses som ett hot mot kroppen genom sitt fragmenterande bildspråk, men också som ett försvar mot döden genom förmågan att skildra rörelse.

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  • 321.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    'What Happens in Vegas Stays in Vegas': Sexual Subcultures and Forensic Science in CSI: Crime Scene Investigation2008In: Film International, ISSN 1651-6826, Vol. 6, no 6, p. 40-50Article in journal (Other academic)
  • 322. Burga, Estella
    et al.
    Dusant, Macarena
    Löfgren, Isabel
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics, Institute of Latin American Studies.
    Nuestras Madres: Forming Political Subjects en la mesa2017In: Architecture and Culture, ISSN 2050-7828, Vol. 5, no 3, p. 401-403Article in journal (Refereed)
    Abstract [en]

    NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?

  • 323.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Albert Löfgren (1872−1930)2016Other (Other academic)
    Abstract [sv]

    Gustaf Albert Löfgren (f. Andersson Gren) föddes 21 september 1872 i Hasslösa, Västergötland, och dog i närliggande Eggby 4 januari 1930. Han var musiker, dirigent, tonsättare och arrangör. På klarinett var den mångsidige instrumentalisten Löfgren en av sin tids mest framstående solister. Han skolades inom militärmusiken, medan kompositionerna utgick från folkmusiken. Rapsodierna SlåttergilleSvensk fantasi och Forna dar fick ett brett erkännande i samtiden.

  • 324.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Björn Schildknecht (1905-1946)2015Other (Other academic)
    Abstract [sv]

    Björn Albert Schildknecht, född 7 juni 1905 i Stockholm och avliden där 10 juli 1946, var tonsättare, arrangör och kapellmästare. Hans kompositionsverksamhet utvecklades huvudsakligen inom film- och teatermusik, men han komponerade även symfonisk orkestermusik, piano- och kammarmusik, schlager, sånger och visor. Hans symfoni tillhör de mer experimentella symfoniska verk som skrevs i Sverige under 1930-talet. Operan Giorgione väntar fortfarande på sitt uruppförande.

  • 325.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    En aktuell vetenskap om musiken: Är musikvetenskaplig forskning om nutidens musiksamhälle möjlig?2016In: Musikliv i snabb förändring – hur förändras forskningen?: Konferensbidrag, 2016, p. 10-10Conference paper (Refereed)
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  • 326.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Experimentell musikproduktionsvetenskap som kulturforskande musikvetenskap: Ett produktionsperspektiv på musik2015In: Dansk Musikforskning Online, E-ISSN 1904-237X, p. 7-27Article in journal (Refereed)
    Abstract [en]

    The article discusses how musicological research on recorded music and “Music Production Studies” perspectives, respectively, together can help shape a media and production-centered research paradigm in musicology. It begins with an overview of how the production of music has been studied as a scientific object. A proposal is presented on how the interdisciplinary field of research – studying production of music and the mediatization of recorded music – can be developed into a broader media paradigm in musicology as a discipline. “The production perspective”, which includes production as a method, is then introduced. It is exemplified by a case study. 

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    Experimentell musikproduktionsvetenskap som kulturforskande musikvetenskap
  • 327.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gullö, Jan Olof (red). Elva studier om kreativitet I musikproduktion. Till invigningen av Kungl. Musikhögskolans nya campus 2017. Utgiven av Kungl. Musikhögskolan, 2017. 142 s. ill.  ISBN 978-91-983869-0-52018In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 100Article, book review (Other academic)
  • 328.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunnar Malmström (1892−1961)2016Other (Other academic)
    Abstract [sv]

    Erik Gunnar Malmström, född i Uppsala 25 mars 1892 och död i Stockholm 4 februari 1961, var tonsättare, arrangör, kapellmästare, musikdirektör och pianist. Hans viktigaste musikaliska insatser gjordes inom filmmusikens område, först inom stumfilm och sedan ljudfilm, både som arrangör och tonsättare. Han var en varm anhängare av konsekvent tillämpad wagneriansk ledmotivteknik i filmmusiken. Som tonsättare av konstmusik skapade han också flera kammarmusikverk och melodramer.

  • 329.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Helmer Alexandersson (1886-1927)2015Other (Other academic)
    Abstract [en]

    Karl Helmer Alexandersson, born on 16 November 1886 and died in Stockholm on 24 December 1927, was a composer and violinist. During his life he gained considerable success both with his second symphony and his film music, although without achieving true recognition. Within film music he was one of the most important Swedish pioneers. However, he died early, at the age of 41 in extreme poverty.

  • 330.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hjalmar Meissner (1885-1940)2015Other (Other academic)
    Abstract [en]

    Carl Hjalmar Meissner was born 1 March 1865 in Helsinki, Finland and died 28 May 1940 in Stockholm. He was a Finnish-Swedish pianist, conductor, arranger, composer and author. As a conductor, he worked mainly as a bandleader for military music and theatre ensembles, but also as an opera and symphony orchestra conductor. His profession as a composer arose mostly from his work as pianist and conductor. He was married to operetta singer Emma Meissner in 1899.

  • 331.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hugo Alfvén och Hans Peter Kempe: en musik- och produktionsrelation under 1950-talet med tonvikt vid körinspelningarna 19522022In: Hugo Alfvén 150 år: Ett forskningssymposium / [ed] Mattias Lundberg; Per-Henning Olsson; Anne Reese Willén, Uppsala: Uppsala universitet , 2022Conference paper (Refereed)
    Abstract [sv]

    År 1952 kontaktade musikproducenten Hans Peter Kempe, ägare till skivbolaget Discofil, Hugo Alfvén med en önskan om att han skulle leda Kempekören för några inspelningar av deras repertoar till körens tjugofemårsjubileum den 18-19 oktober 1952. Kempekören (eller - körerna) hade initierats av disponenten för Mo & Domsjö Carl Kempe – Hans Peters far – och bestod av sångare värvade bland arbetare på bolagets olika sågverk i Västerbotten och Ångermanland. Inspelningarna planerades noga av Discofil och genomfördes på ett utmärkt sätt av inspelningsteamet i Husum, Ångermanland. Alfvéns fosterländska sång ”Sveriges flagga”, med text av K.G Ossiannilsson och komponerad till Sveriges flaggans dag 1916,spelades in liksom minst tre andra sånger som ”Härlig är jorden”, ”Olav Trygvason”, och "Champagnevinet". Inspelningarna släpptes i en liten upplaga och beskrevs ett år senare, 1953, som "ryktbara" och med "en vokal glans, som återspeglas på ett ypperligt sätt i inspelningarna." Med dessa produktioner inleddes ett professionellt samarbete mellan den unge Kempe och Alfvén i rollen som dirigent, som varade under resten av 1950-talet och resulterade i ett flertal utmärkta, i vissa fall banbrytande inspelningar, utgivna på 78-, ep- och lp-skivor. I presentationen diskuteras några aspekter av de mindre kända inspelningarna för kör och orkester, som producerades av Hans Peter Kempe med Alfvén, under hans sista decennium i livet.

  • 332.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lång-Kalles och Edvins sånger: Muntligt traderad och medialiserad proletär musikkultur från skillingtryck och 78-varvsskiva till rullband och digitaliserat ljud2019In: Puls Musik- och dansetnologisk tidskrift, ISSN 2002-2972, Vol. 4, p. 47-79Article in journal (Refereed)
    Abstract [en]

    Lång-Kalle’s and Edvin’s Songs: Orally Transmitted and Mediatised Proletarian Music Culture from Chapbooks and 78’s to Tape and Digitised Sound

    In this article, etic-emic problems in the study of early 20th century Swedish working class culture are examined through the analysis of two Swedish and Norwegian proletarian songs; the navvy song “Järnvägsvisa”, from the Ofoten railway project in northern Norway in 1898–1903, and the strike song “Hamnarbetarnes Strejkmarsch”, from 1907. The songs are studied as orally transmitted and mediated tradition as well as technologically mediatised cultural artefacts. My perspective in this study is double: the songs represent working class history and the early labour movement in Sweden, but they are also a part of my own family history. The song tradition stems from Karl-Wilhelm “Lång-Kalle” Larsson, who was a navvy in Norway in 1902. Lång-Kalle learned the “Järnvägsvisa” song there, maybe from the songwriter Edvard Unger, and eventually taught his daughter Ragnhild the song, which later was recorded on reel-to-reel tape recorder in a family environment in 1970. Lång-Kalle and his brother Edvin Larsson were both well-known dockers in the Örebro port in the early 20th century. In that context the Larsson brothers were key individuals in organising the first dockers’ trade union in the town, and the strike song, “Hamnarbetarnes Strejkmarsch”, is probably connected to a conflict with English blacklegs. The “Järnvägsvisa” song was digitised from tape in 2017, and “Hamnarbetarnes Strejkmarsch” was reinterpreted as a song in 2018.

  • 333.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Mobile Classical Music – Recording, Innovation and Mediatization: Three Swedish case studies from the 1940’s to 20212022In: Innovation in Music 2022 17-19 June / [ed] Jan-Olof Gullö, Stockholm: Kungliga musikhögskolan , 2022Conference paper (Other academic)
    Abstract [en]

    Mobile recordings and the changing methods for producing them are as old as recording technology itself. The earliest mobile recording studios of the early 20th century found their logical technological continuation in the network studio of the 1990s and the mobile DAW (Digital Audio Workstation), where practices have evolved in the years before and after the global pandemic that began in 2020. Mobile recordings of “classical music” have been produced under various conditions using acoustic and electric, analog and digital equipment. In this paper I present and compare three Swedish cases of the mobile recording of “classical music” – interpreting the concept in its broadest sense – from the 1940s to 2021. Keywords: innovation, mobility, networks, and mediatization.

    My first case study is the record label Swedish Society Discofil and their recording tours of the 1940s. They traveled Sweden by bus and car,31producing innovative recordings of amateur choirs and orchestras performing Swedish classical music. Swedish Society Discofil first recorded on 78’s and then started to use reel-to-reel tape recorders and microphones of the highest quality. Along with labels such as Metronome, they marked the beginning of a more self-aware and confident Swedish music industry after World War II. I will focus on the lesser-known 78 recordings.

    My second case study is BIS Records, which began as a one-man Swedish company producing advanced low-budget recordings with a mobile studio. In the 1970s and 1980s, BIS made mobile recordings of international repertoire that they released first on LP and then, as one of the first companies in the world to do so, on CD. This laid the foundation for BIS to become one of the few globally successful record companies specializing in classical music. I will discuss the early LPs.

    My third case study is a modern one. During the Covid-19 pandemic, many musicians, composers and producers/engineers have tried to find new, safe ways to make music together: composers with their own labels, networks, and the formation of distance orchestras producing and releasing music through digital but non-physical distribution channels like Bandcamp. I examine a case in which aleatory symphony orchestras recorded different parts of newly written compositions in different places, after which the parts were edited by the composer/producer into electro-acoustic compositions without the musicians ever having met. Such personal flexibility is not new per se, but the combination of advanced composing techniques, mobility, flexible networks, and digital mediatization of the musical material is a progressive step forward.

    This study thus investigates the relations between mobile recording technologies and practices, innovation, networks, mediatization, and classical music in a historical context. It asks, how have all these factors affected the music? At the same time, it presents and discusses questions about the long-term impact of musical and technological innovation as well as mediatization on recorded music.

  • 334.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik av Urminnes Hävd: perspektiv på Norrlåtars fonogramproduktion 1974-19942015In: Musikk, folk og landskap / [ed] Paal Fagerheim & Ove Larsen, Stamsund: Orkana Forlag, 2015, 1, p. 201-236Chapter in book (Refereed)
    Abstract [no]

    Denne boken belyser ulike musikkpraksiser i nordområdene. Bidragene i artikkelsamlingen kommer fra norske og svenske forskere innen musikkvitenskap og spenner fra forskning på nyere samisk musikk, rock, rap, reggae til folkemusikk.

    • Når kom egentlig The Beatles til Korgen?
    • Er Nord-Norge og Nord-Sverige preget av mer musikalsk kreativitet enn sentrale strøk?
    • Hva betyr verdensmusikksjangeren for sørsamisk identitet?
    • Kan man spille samisk musikk, uten å være same?
    • Hvorfor blir rap og reggae ofte knyttet til Bodø?
    • Hva er sammenhengen mellom følelser av vemod og nordsvensk populærmusikk?

    Alle disse spørsmålene berøres og diskuteres i denne boken, i tillegg til andre tema. Det gis ingen entydige svar, men sammenhenger mellom musikk og geografi er sentralt for mange av tekstene.

  • 335.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik och spatialitet i 2000-talets amatör- och semiprofessionella musikproduktion2015In: Konferensbidrag: Vidgade vyer över musiken: Stockholms Universitet, november 2015, 2015, p. 8-9Conference paper (Refereed)
  • 336.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sounds and Songs from the Amateur Super Sonic Scientist(s): The Tape Recorder and Home Tape Recording Culture in Sweden 1950– 19702017Conference paper (Other academic)
  • 337.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svedbom, Pehr Jonas Fredrik Vilhelm, Kompositör, Litteraturhistoriker, Musikhistoriker (1843 – 1904)2016In: Svenskt biografiskt lexikon, H. 168, De Suremain-Svedelid / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2016, , p. 5Chapter in book (Other academic)
  • 338.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sven Sköld (1899−1956)2016Other (Other academic)
    Abstract [sv]

    Sven Josua Sköld föddes på Lidingö, Stockholm, 20 juli 1899, och avled på samma ort 23 oktober 1956. Han var cellist, dirigent och tonsättare. Sina mest betydande musikaliska insatser gjorde han som tonsättare, arrangör och kapellmästare vid Radiotjänst och som kompositör av musik till svensk ljudfilm. I båda medierna tillhör han de mest produktiva och inflytelserika musikskaparna i Sverige under 1940- och 1950-talen.

  • 339.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svensk hifi-kultur: Alf Björnberg, 2020. En trovärdig illusion av musik. Den svenska hifi-kulturens uppgång och nedgång. Mediehistoriskt arkiv 46. Lund: Föreningen Mediehistoriskt arkiv2021In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 103, p. 129-132Article, book review (Other academic)
    Abstract [sv]

    Hifi, vad är det, varför är det viktigt? Förkortningen står för ”High Fidelity”, ”hög trohet” eller på svenska, ”hög naturtrohet”. Titeln på Alf Björnbergs bok En trovärdig illusion av musik. Den svenska hifi-kulturens uppgång och nedgång är tagen från en tidskriftsläsares definition av hifi som en ”illusion av musik”: ”Musik är live. Hifi är en plastbit och en mängd elektronik. Därav illusionen” (s. 202). De teknologier, idéer och diskurser som utgör hifi-begreppets centrala nätverk av innebörder, handlar om koncentrerat lyssnande till inspelad musik med för ändamålet dedikerad apparatur med föreställd hög ljudkvalitet eller naturtrohet vad gäller avläsning/uppspelning av mjukvara, signalbehandling, kablage och återgivning genom högtalare eller hörlurar – ett av 1900-talets centrala och särpräglade bidrag till musikens receptionspraktiker.(...)

  • 340.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Art of Record Production: An Introductory Reader for a new Academic Field. Red: Simon Frith och Simon Zagorski-Thomas. Farnham: Ashgate, 2012. xix + 301 s., ill., ISBN 978-14-09406-78-52014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 96:1, no 1, p. 1-3Article, book review (Other academic)
  • 341.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The cretation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson's back catalog box sets2019In: Proceedings of the12th Art of Record Production Conference Mono: Stereo: Multi / [ed] Jan-Olof Gullö, Stockholm: Kungliga Musikhögskolan (KMH) , 2019, p. 37-53Chapter in book (Refereed)
  • 342.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The making of virtual space in the King Crimson Box sets Larks tongues in aspic: Complete recordings, Starless, Road to Red, On [and off) the Road and Thrak Box: Live and Studio Recordings 1994–19972017Conference paper (Refereed)
    Abstract [en]

    When the founding fathers of progressive rock, British (-American) group King Crimson, produced their groundbreaking LP In the Court of the Crimson king in 1969, they established an eclectic yet recognizable style, with a strong musical and production virtuosity. Continuing for four decades, they became the only band of its generation to continually developing and expanding it’s style and techniques. Their music is not easily categorized: from the advanced rock music inspired by modern jazz and art music on the first four LP albums – and a lot of changes in the band personnel and set up of instruments – the music developed in the mid 1970’s to a dynamic, experimental hard rock with an art music attitude, containing sound worlds of percussion, violins and softer melodic elements blended with heavy, rhythmically complex, asymmetrical guitar riffs: The albums Larks tongues in aspic (1973), Starless and bible black (1974) and Red (1974) was highly influential. When the band was reformed with partly new musicians in 1981, they arrived with a different, of New wave and minimalism, influenced style. In a short span of three years, 1981–1984, they released albums Discipline, Beat and Three of a perfect pair, and reformed once more in 1994 to release the CD Thrak.   

    Importantly, in the same period they managed to take total creative and commercial control of all their recorded output, and it put them in a uniquely strong independent artistic position, connected to their loyal followers. Guitarist Robert Fripp, together with producer David Singleton, started up the company Discipline Global Mobile (DGM), and took care of all the recorded material of King Crimson and their spin off projects. As a consequence, they were able to release a lot of older recordings, partly through their ”Collector’s Club”.

    From 2010 and onwards all of their back catalogue was systematically re-released, some of their albums was also re-packaged in deluxe box sets: In the court of the crimson king, Larks tongues in aspic: Complete recordings, Starless, The Road to Red, On (and off) the Road and Thrak Box: Live and Studio Recordings 1994–1997. They all covering both studio recordings and live recordings that was produced in and around the period of the original recording sessions, in a various set of mixes, alternate takes and sound codec’s. In this presentation the focus is on sketching out an analysis of the mixing strategies on the surround mixes in DTS-HD Master Audio and LPCM 5.1 Surround of the studio recordings and live recordings, as it can be heard, using models for analysis of recordings, the Representation Model and the Room Model (Burlin 2008, 2012, 2015), showing how emerging conventions for surround mixing of experimental rock music is connected to recording ideals of documentarism and hyper realism.

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  • 343.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tidig fonografi i globalt perspektiv: Elodie A. Roy och Eva Moreda Rodríguez, red., 2021. Phonographic encounters. Mapping transnational cultures of sound, 1890–1945. London & New York: Routledge Taylor and Francis Group2021In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 103, p. 167-171Article, book review (Other academic)
    Abstract [sv]

    När musik- och medieforskare vill beskriva den tidiga eran av musikproduktion och musikindustri, som enligt sedvanlig historieskrivning tog sin början med Thomas Edisons uppfinning the Phonograph (fonografen), fortsatte med Emile Berliners väsentligt utvecklade innovation Gramophone (grammofonen) och den kring detta medium uppbyggda globala musikindustrin i början av 1900-talet, har det ofta funnits en ”occidental” bias: Europa och särskilt USA har uppfattats som inte bara självklara centra i denna utveckling, utan också som de platser där de väsentligaste teknologiska utvecklingsstegen tagits och de viktigaste inspelningarna gjorts. De lokala insatser på andra platser som tidigt gjordes för att spela in musik – från Kina till Skandinavien till Afrika eller Sydamerika – har bara partiellt, om alls, blivit beskrivna och inte på egna villkor. Kanske beror snedvridningen på den occidentala laddningen i det ord, fonografi, som beskriver ”inskrivandet” av ljudvågor i ett material.

  • 344.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Trådspelaren och rullbandspelaren: Interaktivitet och konvergens i tidig magnetisk amatörinspelning 1949–19752019In: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige / [ed] Ulrik Volgsten, Lund: Mediehistoria, Lunds universitet , 2019, p. 71-104Chapter in book (Refereed)
  • 345.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vilhelm Svedbom (1843-1904)2014Other (Other academic)
    Abstract [en]

    Per Jonas Fredrik Vilhelm Svedbom, born 8 March 1843 in Stockholm, died 25 December 1904 in Stockholm, was a literary historian, pianist, composer, conservatory music teacher and music administrator. His compositional production was derived essentially from the areas in which he had his education and where he had his professional occupation, the ‘academy’ in its broadest sense. His compositions comprise mainly works for the piano, solo songs with piano accompaniment, and choral pieces. Svedbom’s wife was a pianist, Hilma Svedbom, née Lindberg (1856−1921); they were married in 1884.

  • 346.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Vilhelm Svedboms solosånger2018In: Levande musikarv, no 368-376Article in journal (Other academic)
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  • 347.
    Burlin, Toivo
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Fredriksson, Daniel
    Hållbus Totte, Mattsson
    Calle Jularbo och gammeldansen: musik, nätverk, medialisering2022In: Musikforskning idag 2022 13–15 juni 2022: Program och abstrakt, Falun: Svenska samfundet för musikforskning , 2022Conference paper (Refereed)
    Abstract [sv]

    Vad kan vi lära oss om musikens förändringsprocesser genom att studera Calle Jularbo och gammeldansen? Calle Jularbo (1893–1966) var en central musiker, kompositör och artist i populärmusikens och musikindustrins första period med inflytande under hela 1900-talet. Som framstående virtuos på dragspelet förenade han roller som svensk ”storspelman” med romska rötter, turnerande musiker och storsäljande grammofonartist, i en konstnärligt och kommersiellt framgångsrik medie-anpassad musik på internationell grund – därtill verksam i radio, film och television. I en tät kontakt med samtiden formades både artistkarriären och musikskapandet. I detta nystartade forskningsprojekt, med finansiering från Vetenskapsrådet 2022–2025, använder vi Jularbo som ett ”nyckelhål” för att undersöka hur villkoren för musikskapande förändrades med nya instrument och inspelningsteknik, nya medier och arenor samt nya förhållningssätt till komposition och upphovsrätt. Med utgångspunkt i begreppen nätverk och medialisering studeras förändringsprocesser i 1900-talets musiksamhälle. Syftet är att undersöka hur synen på musikerskap, komposition, musikalisk tradition kontra innovation, representationsformer (”levande”, inspelningar, noter) och medialisering av musik (dvs., inspelningar, radio, tv, framföranden), samverkade med hur Jularbos “Kultis” och Gammeldans uppstod och utvecklades – från det folkliga ursprunget till musikindustrins populärmusik. Målsättningen är att undersöka Jularbo och gammeldansen på både sina egna villkor och utifrån relationen till annan musik och musikindustrins framväxt, före ”det svenska musikundret”. Vi kommer kort presentera våra tre huvudteman:

    Music Production and the “Birth of Gammeldans”

    Calle Jularbo har rekord i antal utgivna grammofonskivor. Hur producerades musiken, vilken musikindustri, nätverk och miljöer möjliggjorde dem? Hur lanserades musiken i olika medier?

    Jularbo’s Musical Groove: Composition, Community, Copyright:

    Kompositioner, nätverk och upphovsrätt – hur kan Jularbos kompositioner förstås musikaliskt och upphovsrättsligt? Hur förhåller de sig till gammeldans-traditionen, hur tolkas de idag?

    Technological and Conceptual Perspectives on the Swedish Accordion:

    Jularbo populariserade i hög grad dragspelet. Vad hände sedan? Vi undersöker några av dragspelets omvandlingar intill nutiden.

  • 348.
    Burlin, Toivo
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hyltén-Cavallius, Sverker
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Ethnology.
    Norsk musikproduktionshistoria: Thomas Bårdsen, 2019. Sporfinnere: En undersøkelse av norsk musikkproduksjons teknologiske utvikling i et bevaringsperspektiv2020In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 102Article, book review (Other academic)
  • 349.
    Burman, Miro
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hantverkets autenticitet: Traditionell kunskap som kulturarv i Skansens bokbinderiverkstad2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats handlar om autenticiteten i bokbinderiverkstaden på Skansen som immateriellt kulturarv. I uppsatsen analyseras hur autenticitet förmedlas i hantverket och hur det skapas autentiska upplevelser på platsen. Autenticiteten bevaras i hantverket och förmedlas och kommuniceras av hantverkarna. Detta förmedlingssätt förändras över tid. Autenticiteten överfördes mellan generationer genom de yrkesverksamma hantverkarna. Detta sätt analyseras inom dagens globala kontext, genom att jämföra med överföringen av hantverkskunskap inom japansk immateriellt kulturarv. Skansen är idag mer medveten om hantverkets kunskap och autenticitetsöverföring i museiverksamheten. Deras medvetenhet är ett sätt att bevara hantverkets autenticitet och att anpassa det till förändringar i samhället.

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  • 350.
    Burén, Jan af
    Stockholm University.
    Det mångfaldigade originalet: studier i originalgrafikbegreppets uppkomst, teori och användning1992Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The concept of the ‘original print’ is studied in many aspects, how it developed, how it has been received and its content, in order to understand the modern conception and the recent discussion of the concept. Texts of various kinds are analyzed in order see the expectations posed on the original print.

    The study is divided into three sections. The first deals with the historic aspect of the idea up to the 1890’s, at which time all the components of the present-day definition for an original print were to hand. An essential part is here to demonstrate how the idea of the original print also matches the idea of the authentic work of art as an imprint of the artist’s personality. The second part of the book deals with theoretical issues. It begins with a review of what is called the circulatory systems in which a print is involved and is followed by an examination of the discussions to be found in philosophical journals relating to different concepts of originality. It ends with three models for transferring authenticity from the artist to the work art and a theory of what here is called transgraphic arts. The third section is devoted to the discussions of the concept of the original print after World War II with an emphasis of the 1970’s. Different rules and definitions are analyzed in the view of the models for transferring authenticity, as are also certain attempts to regulate the multiple art work by law. Examples is given from USA, France and Sweden.

    If there is a lowest common factor for defining the original print it is that the print is a transgraphic art form where authenticity and originality are transferred from one stage of the production process to another. It is printed by a machine which has the capacity to produce multiple identical copies. The print must be created with the explicit purpose of being a work of graphic art, using the expressive potential object of the chosen medium. It is precisely this intention and claim to be an innovative creation that distiguishes an original print from a reproduction.

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