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  • 1.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Don’t forget about MIDI! A case study of an innovative church organ recording2019Conference paper (Refereed)
    Abstract [en]

    What is the best way to record that big beast? This issue is central to many of uswho have faced the challenge of recording one of the perhaps most traditional of allmusical instruments: Church Organ. This text describes a recording project wheremodern music production technology innovatively was used to record a churchorgan. The primal purpose of the recordings was to make a documentation of howthe recorded church organ sounds after a major renovation. One problem was thatdisturbing road noise from traffic close to the church made it very difficult to recordin the daytime. Therefore the recordings were done in the night when thesurroundings were more silent. During the renovation, a new digitally controlledremote console was installed which is connected with the old pipe organ in thestands. MIDI is used for musical communication between the remote console andthe organ. MIDI technology was used during the production work in an innovativeway solving some of the production problems. Instead of playing the music liveduring the recording sessions, the music was first recorded digitally in musicproduction software using midi sequencer software. This was carried out in daytimeover a long time period. During the actual acoustic recordings the organist, insteadof playing live, started playing back the pre-recorded music live in the organ. And allthe music was recorded acoustically during one night. The recordings resulted in aCD-record that is a true documentation of how the organ sounds live, even thoughthe recordings actually were programmed over a long time. This technology opens up for innovative options for e.g. future compositional work or artistic performances.Experiences från this project also emphasizes the importance of developing futurework as well as education where art and technology can cooperate and strengtheneach other.

  • 2.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Searching for Sophia in Music Production Education: an analysis on the description of the ‘Swedish Music Wonder’ in Swedish music business press during the magic years in the 1980´s and 90´s2019Conference paper (Refereed)
    Abstract [en]

    Searching for Sophia in Music Production Education – an analysis on the description of the ‘Swedish Music Wonder’ in Swedish music business press during the magic years in the 1980´s and 90´s    

    In this paper we primarily focus on the media coverage of Denniz PoP in the 1980´s and 90´s. The empirical source material includes: Musikermagasinet[1985-2000], Musikindustrin[1998-2002], Schlager[1980-1985], Showtime[1981-1990], SKAP-Nytt[1990-2000], Slitz[1986-1996] and STIM-Magasinet[1980-2000]. The results of the analysis indicate that the Swedish music business press had an indifferent attitude towards the music production of Denniz PoP [Dag Volle, 1963–1998] during his productive years. Despite his international success, the coverage of Denniz PoP was noticeably lacking in Swedish music media during his lifetime. However, that started to change after he died in 1998. The results also indicate that the ´Swedish Music Wonder´ was accomplished through dedication and hard work on a long-term basis in a delimited network of music entrepreneurs who worked in the shadow of media exposure. They started up various projects, headhunted young, creative and talented musicians and DJ´s, brought the most skilled ones in, trained them in a kind of informal master and apprentice-practice, and then started up new projects all over again. Formal music education does not appear to have been a vital criterion in the music business of the day. Instead, skillfulness in teambuilding and networking was important success factors. Finally, the analysis indicates that some of the most vital creators of the ´Swedish Music Wonder´ are almost totally absent in the Swedish music business press from the period examined. That includes the music entrepreneur and businessman Tom Talomaa (b. 1954), who – apart from owning important music clubs and restaurants – was, and still is, an exclusive business partner with first Denniz PoP, and then Max Martin, co-owning the highly successful music production companies Cheiron and Maratone. In this project: Searching for Sophia [Wisdom] in Music Production Education, a team of researchers study formal and informal learning processes in music production.           

     

    J-O Gullö & David Thyrén 

    Department of Music and Media Production & Music Education 

    Royal College of Music in Stockholm 

  • 3.
    Thyrén, David
    et al.
    Royal College of Music in Stockholm, Department of Music Education.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Searching for Sophia in Music Production Education: an analysis on the description of the ‘Swedish Music Wonder’ in Swedish music business press during the magic years in the 1980´s and 90´s2019In: 14th Art of Record Production Conference: In C: Creation, Connectivity, Collaboration and Controllers, Boston, 2019Conference paper (Refereed)
    Abstract [en]

    Abstract 

     

    Searching for Sophia in Music Production Education – an analysis on the description of the ‘Swedish Music Wonder’ in Swedish music business press during the magic years in the 1980´s and 90´s   

    In this paper we primarily focus on the media coverage of Denniz PoP in the 1980´s and 90´s. The empirical source material includes: Musikermagasinet[1985-2000], Musikindustrin[1998-2002], Schlager[1980-1985], Showtime[1981-1990], SKAP-Nytt[1990-2000], Slitz[1986-1996] and STIM-Magasinet[1980-2000]. The results of the analysis indicate that the Swedish music business press had an indifferent attitude towards the music production of Denniz PoP [Dag Volle, 1963–1998] during his productive years. Despite his international success, the coverage of Denniz PoP was noticeably lacking in Swedish music media during his lifetime. However, that started to change after he died in 1998. The results also indicate that the ´Swedish Music Wonder´ was accomplished through dedication and hard work on a long-term basis in a delimited network of music entrepreneurs who worked in the shadow of media exposure. They started up various projects, headhunted young, creative and talented musicians and DJ´s, brought the most skilled ones in, trained them in a kind of informal master and apprentice-practice, and then started up new projects all over again. Formal music education does not appear to have been a vital criterion in the music business of the day. Instead, skillfulness in teambuilding and networking was important success factors. Finally, the analysis indicates that some of the most vital creators of the ´Swedish Music Wonder´ are almost totally absent in the Swedish music business press from the period examined. That includes the music entrepreneur and businessman Tom Talomaa (b. 1954), who – apart from owning important music clubs and restaurants – was, and still is, an exclusive business partner with first Denniz PoP, and then Max Martin, co-owning the highly successful music production companies Cheiron and Maratone. In this project: Searching for Sophia [Wisdom] in Music Production Education, a team of researchers study formal and informal learning processes in music production.           

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