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  • 1.
    Dyndahl, Petter
    et al.
    Inland Norway University of Applied Sciences, Department of Arts and Cultural Studies, .
    Dylan Smith, Garteth
    Gravem Johansen, Guro
    The Norwegian Academy of Music.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Musicalization of theoretical practices in music education research: Live performance2017Conference paper (Refereed)
  • 2.
    Dyndahl, Petter
    et al.
    Inland Norway University of Applied Sciences, Department of Arts and Cultural Studies, .
    Gravem Johansen, Guro
    The Norwegian Academy of Music.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Musicalization of theoretical practices in music education research [with live performance]. 2017Conference paper (Refereed)
  • 3.
    Gullö, Jan Olof
    et al.
    Royal College of Music in Stockholm, Department of Music Education.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Learning from the past: The Denniz PoP Model on Madonna's Future2019Conference paper (Refereed)
    Abstract [sv]

    Mirac 2019

    Musikkonferens på DAVA vid Högskolan Dalarna i Falun 

    20–21 november 2019

    Vad är livemusik idag och vart är den på väg?

    Learning from the past: The Denniz PoP Model on Madonna’s Future

     J-O Gullö, David Thyrén & Hans Gardemar

    I projektet Searching for Sophia in Music Production Education forskar ett team vid Kungl. Musikhögskolan i Stockholm kring formella och informella lärandeprocesser i musikproduktion inom högre musikutbildning. I en delstudie (Gullö & Thyrén, 2019) har en teoretisk modell baserad på musikproducenten Denniz PoP utarbetats i kontextualisering med relevanta teoretiska begrepp som kreativitet, innovation, motivation och entreprenörskap i kombination med ett omfattande empiriskt källmaterial. I föreliggande studie testas och utvärderas modellen genom att appliceras på Madonnas poplåt Future, som under stor uppståndelse framfördes live under Eurovision Song Contest i Tel Aviv i Israel i maj 2019. Låten som skapat viss kontrovers bland annat beroende på liveproduktionen släpptes 2019 inom ramen för projektet Madame X. Studiens resultat påvisar att Madonnas Future involverar arbetsmetoder och stildrag influerade av Denniz PoP:s musikproduktion och låten uppfyller flera av modellens sju steg. 

  • 4.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    ‘50 years of “Smoke on the Water”: What can we learn?’2023Conference paper (Other academic)
    Abstract [en]

    The song "Smoke on the Water", recorded by the British rock group Deep Purple in December 1971, had a global reach, and contributed much to Deep Purple's success and fandom. The song was recorded during a sound check when the band was jamming and trying out a location for a recording session and was initially not intended to be released. A turning point was a successful live album, "Made in Japan", in 1972, including the song. And over the years, the song has retained its popularity among many. But how can the success of Smoke on the Water be explained? The study includes interviews with music teachers, music directors, music students and musicians in different countries, as well as interviews with some original members of Deep Purple. The findings are empirically surprising and indicate tension regarding understanding what is most important in a specific musical performance and piece of music or recording, such as Smoke on the Water, between those who perform or produce and those who listen. In short, for many of those who study music and music production, the details of the music and various intrinsic aspects of musical content seem to be more important, compared to those who are more average listeners who seem to pay more attention to how the lyrics and music speak to them. Therefore, the results can help to highlight some possible areas of development. At least for those students who want to produce music and reach listeners who cannot analyse music and deeply understand various advanced musical aspects as well as they themselves can.

  • 5.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    After fifty years of Smoke on the Water: What does it mean to make it?: Moreover, what can we in higher music education learn from that song?2023In: What does it mean to make it? - Opening gateways to internationalization in Higher Music Education / [ed] Linda Bloemhard, 2023, p. 14-14Conference paper (Refereed)
    Abstract [en]

    The song "Smoke on the Water", recorded by the British rock group Deep Purple in December 1971, had a global reach and contributed much to Deep Purple's success and fandom. The song was recorded during a sound check when the band was jamming and trying out a location for a recording session and was initially not intended to be released. However, a turning point was a successful live album, "Made in Japan", in 1972, including the song, and in 1973, Smoke on the Water became a worldwide hit. Furthermore, the song has retained its popularity over the years. Therefore, it is interesting to ask: how can the success of Smoke on the Water be explained? The study presented here includes interviews with music teachers, music directors, music students and musicians in different countries, as well as interviews with some original members of Deep Purple. The findings are empirically surprising and indicate tension regarding understanding what is most important in a specific musical performance and piece of music or recording, such as Smoke on the Water, between those who perform or produce and those who listen.

    In short, for many of those who study music and music production, the details of the music and various intrinsic aspects of musical content seem to be more important, compared to those who are more average listeners who seem to pay more attention to how the lyrics and music speak to them. Therefore, the results highlight some possible areas of development. At least for those students who want to produce music and reach listeners who cannot analyse music and deeply understand various advanced musical aspects as well as they, as music students, can. Nevertheless, when we teach in higher music education, we can help our students develop their sensitivity and understanding of what is needed to reach the listeners. Then the students should have good conditions to open the gates to a great working life, acquire valuable international connections and build up fruitful artistry.

    Download full text (pdf)
    fulltext
  • 6.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Anteckningar från några dagar i St Petersburg2020In: Mellan det hyperlokala och globala: Journalistikens förändringar och utmaningar i en digital tid. Vänbok till Gunnar Nygren / [ed] Ester Appelgren & Andreas Widholm, Huddinge: Södertörns högskola , 2020, 1, p. 169-175Chapter in book (Other academic)
    Abstract [sv]

    Gunnar Nygren, Östersjöprofessor i journalistik vid Södertörns högskola, gick i februari 2020 i pension. Gunnar är en person som skapar engagemang kring viktiga frågor, driver på journalistisk förändring, och lyfter människor både i den akademiska världen och i mediebranschen. Ett signum för Gunnars forskning är attden uppmärksammar journalistikens samhällsroller på fleraolika nivåer, från det hyperlokala till det globala. I denna vänbok beskriver kollegor till Gunnar hur de på olika sätt inspirerats av detta engagemang för journalistikens utveckling. Bokens 21 kapitel är författade av kollegor inom olika delar av akademin, samt av verksamma journalister som Gunnar samverkat med genom åren. Kapitlen kretsar kring fyra teman: Mediepolitik och demokrati; Kris, medieskugga och möjligheter; Gunnar som inspiratör; och Framtidens journalister och fortbildning. Kapitelförfattarna belyser centrala frågor för medieutvecklingen, men också hur Gunnar‒ både som lärare och forskare ‒ har bidragit till en kritisk och konstruktiv diskussion om journalistikens roll i samhället.

  • 7.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    ARP2017 Accepted Papers with Abstracts.: The 12th Art of Record Production Conference: Mono –Stereo- Multi.2017Collection (editor) (Refereed)
    Download full text (pdf)
    fulltext
  • 8.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Challenges and opportunities in research in and about music production2021In: NAVET Week: Day 2 (part 2) at the Royal College of Music / [ed] Mattias Petersson, Stockholm, 2021Conference paper (Other academic)
    Abstract [en]

    Since the phonograph was invented in Thomas Edison's workshop 145 years ago, we can listen to recorded music. And over the years, methods, and techniques for producing, distributing, and consuming music have been developed. This development has had a great impact on how music in our society and the cultures we live in have developed. At the same time, our need for music has required and contributed to the development of new technology. In recent decades, Sweden has emerged as an important player on the international music market with many successful artists as well as songwriters and music producers. Previous studies show that Swedes generally show preferences for Secular-rational values ​​and Self-expression values. And compared to the rest of the world, Sweden has become an outlier when it comes to self-expression values. There are certainly many underlying factors behind this development, but it is entirely reasonable to assume that societal development has contributed significantly to the successful Swedish music export. This development has led to both challenges and opportunities in research within and about music production. Our ongoing research at KMH clearly indicates that, primarily, individual initiatives but also institutional development and the general change in society can be important explanations for both international success for those active in Swedish music but also for the great interest among young people to create their own music and to become music producers.

  • 9.
    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.

  • 10.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Elva studier om kreativitet i musikproduktion: Till invigningen av Kungl. Musikhögskolans nya campus 20172017Collection (editor) (Other academic)
    Abstract [sv]

    Musikproduktion har under de senaste decennierna utvecklats till en verksamhet som huvudsakligen syftar till att skapa medieburen musik, som till exempel skivinspelningar. Musikproduktion kan också handla om musikskapande för film- eller videoproduktion, interaktiv medieproduktion eller till exempel musik som ska användas i utställningsverksamhet. I musikproducenters arbete ingår många olika arbetsuppgifter. Det kan vara komposition, arrangering, inspelning, mixning och annan efterbearbetning av den inspelade musiken. För att vara verksam som musikproducent krävs alltså många olika kompetenser.

    Frågor om ansvar är viktiga för musikproducenter och mycket viktiga i musikproduktionsutbildning. En musikproducent är till exempel ansvarig för att en musikproduktion blir färdigställd, helst på utsatt tid och inom angiven budget. Men det kanske viktigaste ansvaret är det konstnärliga och det är alltså musikproducenten som har det övergripande konstnärliga ansvaret för en musikproduktion. När det gäller konstnärlig verksamhet har kreativitet en central betydelse. Därför har vi i det här projektet, Att fånga kreativiteten i musikproduktion – Capturing Creativity in Music Production, valt att särskilt studera hur kreativitet kan komma till uttryck i just musikproduktionsverksamhet.

    I denna publikation finns sju delstudier om kreativitet i musikproduktion av lärare som alla är verksamma i utbildningen i musik- och medieproduktion vid Kungl. Musikhögskolan i Stockholm. Även studenter, från vårt masterprogram i musikproduktion, bidrar med fyra delstudier. De medverkande är: Felix Brag, Josef Doukkali, Hans Gardemar, Jan-Olof Gullö, Claudia Jonas, Ludvig Klint, Hans Lindetorp, Erik Petersson, Mika Pohjola, Johan Ramström, Haukur Hannes Reynisson, Peter Schyborger, Simon Sjöstedt, David Thyrén, Nanno Veen, Sophie Verdonk, Mattias Viklund och Robert Åkerman.

    Download full text (pdf)
    Elva studier om kreativitet i musikproduktion Jan-Olof Gullö (red) KMH 2017
  • 11.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    I en snårskog av traditioner: musikproduktion och musikteknik i den högre musikutbildningen utifrån ett svenskt perspektiv2020In: Music Technology in Education: Channeling And Challenging Perspectives / [ed] J. Eiksund, E. Angelo & J. Knigge, Oslo: Cappelen Damm Akademisk, 2020, 1, p. 23-50Chapter in book (Refereed)
    Abstract [en]

    The purpose of this study is to identify traditions that can be valued as important in Swedish higher education in music production and music technology, to explore what characterizes such traditions and how they can be important for students in music production education. The research material consists of a selec- tion of previous research and other literature that concerns music production and traditions in higher education. A knowledge-critical analysis method and a peda- gogical model for higher education with a focus on what the students do and how they relate to teaching and education have been used to analyse the research mate- rial. The analysis shows that there are many different traditions in higher music education. Some traditions are very old, and some are also difficult to interpret and therefore the understanding of such traditions can be challenging for both students and teachers in higher education in music production and music technology.

  • 12.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Let´s Clear the Smoke: Fifty Years of Smoke on the Water in Music Education2023In: MEIEA Summit Proceedings - 2023: Academic Papers Presented at the 2023 International Summit of the Music & Entertainment Industry Educators Association March 23-25, 2023 - Las Vegas / [ed] Bruce Ronkin, Nashville: Belmont University & MEIEA , 2023, Vol. 44, p. 23-26Conference paper (Refereed)
    Abstract [en]

    In December 1971, the British rock band Deep Purple recorded Smoke on the Water, which became a global hit and significantly contributed to the band’s popularity. This study aims to investigate the reasons behind the song’s success, such as its inherent values, composition, lyrics, or music production design, as well as other potential explanations. We also study Smoke on the Water’s impact on music education. We interviewed music teachers, producers, students, and musicians from different countries to accomplish this. The study also relies on insights from interviews with Deep Purple members, observations made during concerts and study visits, and external sources. The study finds its theoretical basis in cultural psychology, education, economics, sociology, and musicology theories. The findings highlight the significance of understanding the fundamental elements of a song, which aspiring artists, musicians, and music producers should consider if they want to reach a broader audience.

    Download full text (pdf)
    fulltext
  • 13.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Liquid streaming: the Spotify way to music2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021XArticle, book review (Refereed)
  • 14.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Månadens musikforskning: Musikproduktion i ljuset av aktuella samhällsutmaningar och i en snårskog av traditioner2021Report (Other (popular science, discussion, etc.))
    Abstract [sv]

    Jan-Olof Gullö är forskare och lärare på Kungl. Musikhögskolan undervisar i musikproduktion. Bland annat är han engagerad i ett forskningsprojekt som kallas för Searching for Sophia in Music Production. Inom projektet undersöks resultat från tidigare forskning och andra relevanta källor för att se vilka traditioner som går att identifiera samt vilken betydelse och påverkan dessa traditioner har på utbildning inom musikproduktion. Den högre musikutbildningens traditioner sträcker sig tillbaka 250 år. Mycket har hänt under den här tiden, men det är även mycket som lever sig kvar. Hör Jan-Olof Gullö berätta mer om vilka traditioner som finns och hur de påverkar dagens musikutbildning och våra musiktraditioner.  DEnna videopresentation ingår Kungl. Musikhögskolan och Kungl. Musikaliska Akademiens 250-årsjubileum. Genom forskningsserien Månadens musikforskning uppmärksammas aktuell svensk musikforskning.

  • 15.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Några inledande reflektioner om kreativiteti samband med musikproduktionsverksamhet2017In: Elva studier om kreativitet imusikproduktion: Till invigningen av Kungl. Musikhögskolans nya campus 2017 / [ed] Jan-Olof Gullö, Stockholm: KMH , 2017Chapter in book (Other academic)
  • 16.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Proceedings of the 12th Art of Record Production Conference: Mono: Stereo: Multi2019Conference proceedings (editor) (Refereed)
    Abstract [en]

    Editor’s Preface

    The 12th Art of Record Production Conference (ARP2017) - Mono: Stereo:Multi was held at the Royal College of Music, Stockholm, Sweden, December1 - 3, 2017. ARP2017 was organized in co-operation between the Associationfor the Study of the Art of Record Production and the Royal Collegeof Music.

    But why Mono: Stereo: Multi? Drawing on the both literal and metaphoricalconnections with the history of audio formats, the 2017 Art of RecordProduction conference explored a range of ways in which singularity, dichotomyand multiplicity can be contrasted. Whether it was the monoculturalversus the multi-cultural, the mono-media versus the multi-media, amono-disciplinary versus a multi-disciplinary approach or the mono-phonicversus the multi-phonic, we had long and short format paper presentations,poster presentations and recorded music playback presentations in the followingcontexts:

    A: Research vs. Practical Education. How does the singular versus themulti-faceted relate to the various dichotomies faced in the juxtaposition ofresearch and practical education? What are the differences between singularand multi-disciplinary approaches? How broad or narrow should the scopebe in our approach to education or in the development of new knowledge?What does it mean to be a specialist in the rapidly changing world of recordedmusic and how broad a range of skills and knowledge can an individualsuccessfully assimilate?

    B: Production vs. Consumption. In what ways are production and consumptionsystems related to our engagement with and immersion in recordedmusic? How are distribution systems that situate control of the mix processin the hands of consumers affecting the idea of authorship and ownership inproduction and consumption of recorded music? How are new and variedsystems of production and consumption affecting our understanding andcontrol of production and/or consumption?

    C: Aesthetics vs. Technology. Whether it be Schaffer's concept of reducedlistening or the complexities of multi-modal perception, there is a complexinteraction between the affordances that technological developments offerand the way that aesthetics and cultural values drive their usage. How arethese socio-cultural and technological changes related to the sounds of recordedmusic and the way we interpret them?

    D: Traditions vs. Innovations. How have histories and developments inthe practices of recorded music making related to these broad interpretationsof the terms mono, stereo and multi? This stream ranges from the multipleformats of recorded media to the variety of musical and technical practicesand from ways of thinking about sound to the nature of our academic discipline.When and how do technologies become old and what differentiates asmooth progression from a discrete innovation?

    E: Centre vs. Peripheral. How do notions such as ‘mainstream’ and ‘alternative’relate to recorded music and, indeed, to our academic field? Thismight be related to geography, economics or various forms of identity, andmight explore the idea of the ‘normal versus the ‘other’ or might be a moreliteral interpretation of the concept of centrality. Indeed, in spatial terms,why do we need the centre to be in front of us?

    At the conference, we had 107 registered participants from 14 countries.We had 64 oral presentations and of the presentations, 20 are documented aspapers in these proceedings. All submitted abstracts are also published (Appendix1). We also had five keynote speakers: Bernard Löhr: From MonoMusic to the Future; Göran Folkestad: The Ecology of Music Production;Bill Brunson: Space for Imagination: The Sound Dome at KMH; LindaPortnoff & Thomas Florén: The Music Industry in Scandinavia & SwedishMusic Export and a celebrity interview with Benny Andersson, interviewedby Göran Folkestad. Furthermore we had two panels: Producers on Mono -Stereo – Multi and Methodologies in Record Production Research-Panel/Workshop. We rounded off the first conference day with a specialevent at the Abba Museum, and also had a pre-celebration of Saint Lucy'sDay by a group of young choral singers from Adolf Fredrik's Music School.

    The conference committee organized the selection of the 64 Oral presentationsat the conference and the 20 papers in this publication, with helpfrom 26 expert reviewers from three continents. The editorial team of thispublication, Jan-Olof Gullö, Per-Henrik Holgersson, Bo Westman, KatiaIsakoff & Shara Rambarran, would like to thank the all reviewers for reviewingall the abstracts and papers. We give special thanks to those whohelped us with multiple reviews. Both the editors and the authors highly appreciate the input and dedication of all our reviewers. Many thanks.

    Jan-Olof Gullö, May, 2019 on behalf of the Editorial Team

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    ARP2017P
  • 17.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Searching for Sophia with Microphones2023In: Tonmeistertagung 2023: Congress program - tmt 32, Köln, 2023, Vol. 32Conference paper (Refereed)
    Abstract [en]

    Recording music and sounds heavily rely on microphones, each with its unique function. Despite the continuous advancements in microphone technology, some models from the mid-20th century remain relevant and are still in use today. Microphones are, therefore, often valued very differently than other musical recording equipment. Over the years, music recording has gone from an exclusive activity to something ordinary people can do. In the past, advanced equipment was required, and it was often costly to make recordings. Today, virtually anyone with a computer or mobile phone can make a decent sound-quality recording. In addition, the software available for music recording means that older, previously expensive equipment is available in digital formats, and such plug-ins have become very widespread. In higher education, many students study music recording, including music production. However, it can be difficult for students to distinguish between different technical equipment, especially microphones. Our research project aims to clarify the differences and similarities among various microphone types, which will help students in higher music education, or anyone seeking guidance, to select the appropriate microphone for their needs. Music recording and production is a popular study area for many higher-education students. However, it can be challenging for students to differentiate between various technical equipment, particularly microphones. Therefore, it is essential to have precise information in this domain. Our research project focuses on elucidating the distinctions and similarities among different types of microphones. This knowledge will benefit students pursuing higher education in music or anyone seeking guidance on selecting the most suitable microphone for their requirements. In a previous study, a group of students evaluated dynamic microphones, considering cost and suitability. To eliminate any potential bias, all microphones were covered with black PVC electrical insulation tape and had coloured acoustic-foam microphone windscreens. The survey included five handheld microphones ranging from €25 to €400 in price. During testing, students were given a portable SQN mixer and a pair of Sony headphones to test the microphones. Surprisingly, the results showed that the students could not distinguish between low-budget and expensive microphones. Although some students could describe differences between the microphones, they could not differentiate between them since all the microphones were deemed suitable for most purposes. In another previous study, the quality of vocal recordings was tested using different microphones, including Neumann and AKG microphones, as well as an Apple computer's built-in microphone. Participants in the study included students, teachers, and audio engineers who listened to the recordings with and without background music in a mix and with software processing. The findings were enlightening, indicating that most participants had difficulty distinguishing between microphones when the recordings were processed with software and mixed with background music. Although a handful of listeners could correctly identify the microphones in unprocessed recordings, many participants made mistakes during the test. They were surprised by the actual microphone used for each recording. The study also found no notable difference in results between male and female voices. We are currently conducting a study measuring various types of microphones in a studio. We are playing music through speakers with microphones in different positions in front of the speakers. We are comparing the differences and similarities in the recorded sound when different microphones are used. The study includes analysing the dynamic, frequency, and directional responses. We have only tested microphones from the Shure manufacturer so far. In the coming months, we will test microphones from most other available manufacturers on the market under similar conditions, and also test some historically interesting microphones. This project is a part of the research project Searching for Sophia in Music Production and Music Production Education. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarise the theoretical framework of the project.

  • 18.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Searching for Sophia with Microphones: Challenging Myths with Research2023In: VDT-Magazin, no 4, p. 56-59Article in journal (Other (popular science, discussion, etc.))
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    fulltext
  • 19.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm, Department of Music and Media Production.
    The Understanding of Independence in Swedish Higher Education before and after Bologna2018In: ISSOTL18: Toward a learning culture, Bergen: ISSOTL & University of Bergen , 2018Conference paper (Refereed)
    Abstract [sv]

    Within the Bologna cooperation, an overall European framework has been developed with general learning outcomes and competences for different examination levels. In the Swedish interpretation of this framework, independence is a central concept. Student’s ten-week (15 ECTS credits) bachelor essays or degree projects are, for example, called independent projects in the Swedish system of higher education. Independence is however a concept that can be understood in different ways in different contexts. Ambiguities in how independence is understood and used in practice can lead to uncertainty and may even be a barrier to student exchange and hamper international comparability in accordance with the intentions of the Bologna Declaration. The aim of this study is therefore to explore how the concept of independence is understood in national and local steering documents in Sweden and how the understanding of independence has changed over time, before and after the Bologna Declaration in 1999. This study is a part of a research project where we gather data from Russia and Sweden from two different educational programs, journalist and teacher education. The collected data includes interviews with students and supervisors and analyses of supervision sessions. The analysed material in this study also includes national as well as local steering documents that form the legal basis for the practice of producing independent projects (bachelor essays). The steering documents consist of learning outcomes, assessment criteria, instructions and descriptions concerning the educational programs, including the independent project. Such documents may be important for how a culture for learning is developed within and across courses, programs, departments and institutions. The results show that the use of independence as central concept has changed over time in Swedish higher education. This is partly a result of the Bologna Declaration, but also and probably even more a result of changes in the surrounding society where independence over the years has gained importance in different ways. On the other hand, the results show fewer differences than expected between how teachers, as supervisors, relate to their students’ independence when comparing gathered data from Sweden and Russia, despite that the steering documents in these countries differ significantly. This clearly indicates that the teachers who participated in the study, irrespective of the steering documents being used, first and foremost, strive to create good conditions for their students’ learning and development.

  • 20.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Dyndahl, Petter
    Inland Norway University of Applied Sciences, Department of Arts and Cultural Studies, .
    Gravem Johansen, Guro
    The Norwegian Academy of Music.
    Musicalization of theoretical practices in music education research.2017Conference paper (Refereed)
  • 21.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Artists, musicians and music producers: Same but different?2017In: , Stockholm: KMH , 2017Conference paper (Refereed)
    Abstract [en]

    The purpose of this project is to analyse core characteristics of key players in the music industry: artists, musicians, music producers and others. The background of the project is the growing interest among students to study popular music and music production in Scandinavian higher education Their interest can partly be explained by the successful music exports from the Nordic countries. A clear problem for the universities is that many of the students who are interested in various kinds of music related education often much more would prefer an artist career than to become a trained musician or music teacher. At the same time, very little of the training offered, in higher education, is focused on developing talents into full-fledged artists. Therefore, there is a gap between what is offered and what many students desire. Another problem is that many of the teachers in higher music education often have very limited experience as artists, but often have a good and extensive experience as musicians. Therefore, students in higher music education perhaps develop musician skills to a far greater degree than artist skills. A similar problem can be found in music producer education, where many of those who teach may have extensive experience as sound engineers rather than as producers. In order to create knowledge about this problems and to develop the higher education in music, this project collects multifaceted data through interviews with key players in the music industry: artists, musicians, music producers and others as well as by and analyses of their activities. It is an on-going project and at the conference in December, our objective is to present selected results from the study.

  • 22.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Hur vi i högre musikutbildning förhåller oss till likheter och skillnader mellan artister, musiker och musikproducenter2018In: NU2018: Det akademiska lärarskapet, Västerås: Mälardalens högskola, Örebro universitet & Linköpings universitet , 2018Conference paper (Refereed)
    Abstract [sv]

    Det ökande intresset för att studera populärmusik och musikproduktion i svensk högre utbildning ärbakgrunden till denna studie. Tidigare forskning visar att den framgångsrika svenska musikexportenär en bidragande orsak till detta. Men tidigare studier indikerar även att många av de studenter somär intresserade av musikutbildning främst siktar på en karriär som artist eller upphovsman inompopulärmusik. För universiteten och högskolorna är detta ett problem eftersom den utbildning somerbjuds, i de flesta fall, förväntas leda till arbete som yrkesmusiker inom konstmusikaliska genrereller som musiklärare. En konsekvens av detta är att det är högt söktryck till de utbildningar imusikproduktion som finns vid flera av våra lärosäten.Vår studie visar dock att förhållandevis lite av innehållet i den högre musikutbildningen är inriktad påatt utveckla talanger till fullfjädrade artister, inte ens i musikproduktionsutbildningarna. Det går alltsåatt alltså identifiera ett gap mellan vad som erbjuds och vad många studenter nog helst önskar. Ettannat problem är att många av lärarna i högre musikutbildning ofta har mycket begränsad erfarenhetsom artister, men däremot har en bra och lång erfarenhet som yrkesmusiker. Detta kan leda till attstudenter i högre musikutbildning snarare utvecklar färdigheter som yrkesmusiker än som artister.Ett liknande problematik har vi identifierat i musikproducentutbildning där många av dem somundervisar snarare har professionell erfarenhet som ljudtekniker än som musikproducent.För att skapa ny kunskap om dessa problem och med syfte att bidra till att utveckla den högreutbildningen i musik samlar vi i detta projekt in mångsidiga data genom intervjuer med nyckelaktörerinom den svenska musikbranschen: artister, musiker och musikproducenter. Ett viktigt syfte är attidentifiera kärnegenskaper och viktiga skillnader mellan dessa yrkesgrupper. Ävenobservationsstudier ingår i detta pågående projekt. Ett delsyfte är även att jämföra erfarenheter frånstudenters uppfattningar i högre musikutbildning med studenters syn på framtida karriärer i andrapopulära utbildningar som t ex journalistutbildning.Vår målsättning med att presentera valda delar av undersökningens resultat vid NU2018 är att bidratill samtalet om det akademiska lärarskapet och fokusera på några av de särskilda utmaningar som vihar identifierat i den högre musikutbildningen rörande den ovan beskrivna målkonflikten. Denhuvudsakliga målgruppen för vår presentation är de som är intresserade av utbildning som sker påkonstnärlig grund samt andra med intresse för problematiken att vi i högre utbildning kanske intealltid erbjuder vad studenterna helst önskar.

  • 23.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Searching for Sophia in Music Production: A Comparative Study of the Swedish Music Industry’s Impact on Future Higher Education in Music2019In: 2019 40th Annual MEIEA Educators Summit: Music and Entertainment Industry Educators Association / [ed] Bruce Ronkin, Nashville: Belmont University & Music and Entertainment Industry Educators Association , 2019Conference paper (Refereed)
  • 24.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Florén, Thomas
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Innovative communication by the music producers behind the hits?2023In: Innovation In Music Conference 2023 Abstracts book: ‘You’re not supposed to do that’ / [ed] Dave Hook, Paul Harkins & Zack Moir, Edinburgh: Edinburgh Napier University & Innovation In Music , 2023Conference paper (Refereed)
    Abstract [en]

    Swedish pop and rock music producers have contributed to major international successes in recent decades. Despite this, only a few researchers have studied the professional knowledge of these producers and what they do in their work. What producers do and their knowledge is something of a black box. Understanding producers' professional knowledge is essential for future producers, decision-makers and educators to create the conditions for tomorrow's success. However, what are the core competencies and skills apart from technical expertise? What is in the black box? This study mainly focuses on how producers communicate with musicians, artists, and other producer colleagues. These are the research questions: What characterizes explicit communication verbally or in other ways? Is there implicit communication, and how does it differ from explicit communication? Which communication is necessary and which is superfluous? Is there communication that can hinder a fruitful process during a music production session? Are there innovative multimodal communication methods that are particularly useful in music production? How do different producers use different communication strategies? Theoretically, this research rests on several legs. First, Kurt Blaukopf's music sociology is an interdisciplinary approach rather than a discipline (Blaukopf, 2003; Blaukopf & Zembylas, 2012; Smudits, 2019). Blaukopf devoted most of his professional life to formulating and practising in various fields, focusing on music as music activity, the desire for music and musical autonomy in shaping and changing complex conditions of existence. This sociology of music is complemented by other theories and theorizations, such as Howard Becker's contributions to the understanding of art worlds (Becker, 2008), Robert K. Merton's theoretical theme on opportunity structures (Merton, 1996), Jennifer Lena's and Rickard Peterson's models on how music cultures and genres evolve (Lena & Peterson, 2008), Ronald F. Inglehart's work on people's values and behaviours (Inglehart, 2018). Since creativity is a concept often referred to as a quality marker or authenticity indicator in music production, Harrison C. White's work with careers and creativity in music and music creation and artistry (White, 2008, 2020) and theories of creativity in music production is developed by Paul Thompson (2016, 2019) and Phillip McIntyre (2011, 2012, 2018) as well as various theories of authenticity further essential starting points. This paper aims to report results from observational studies and interviews with active music producers included in the project. One observation from the data we collected is that there are apparent similarities between how producers give instructions and guidance to how teachers work in music education and the supervision of students in higher education. However, the knowledge music producers use in their daily practice regarding communication with others tends to be based on personal experience after trial and error or on imitating how important predecessors and leaders in music production have acted. As a result, there are considerable variations in how different producers react. However, the common thing is that few bases their work on previous research on feedback and supervision, but they may have a lot to gain by trying it.

  • 25.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gislason Ferrari, Eleonore
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Schyborger, Peter
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Pop(ulär)musik nu och för hundra år sedan: likheter och skillnader mellan Max Martin och Irving Berlin2020Conference paper (Refereed)
    Abstract [sv]

    Denna studie fokuserar på kärnegenskaper hos två mycket framgångsrika upphovspersoner inom populärmusik: Irving Berlin (1888-1989) och Martin Sandberg (1971-), också känd som Max Martin. Även om det naturligtvis finns stora skillnader i det omgivande samhället och den kultur där Berlin var och Sandberg är aktiv, finns ändå uppenbara likheter mellan de båda. I denna delstudie, som ingår i projektet Searching for Sophia in Music Production, presenterar vi en kunskapskritisk analys av två intervjuer; en med Irving Berlin och en med Martin Sandberg. Intervjun med Berlin genomfördes av Frank Ward O'Malley (1875-1932) och var ursprungligen publicerad i "The American Magazine", Volym 90, oktober 1920, där Berlin presenterade "Nine Rules for Writing Popular Songs". Intervjun med Martin Sandberg genomförde vi själva i november 2019 där vi, bland annat, bad honom bedöma en musikproduktions- och låtskrivarmodell som vi själva tagit fram baserad på strategier som användes av Dag Volle (1963– 1998), även känd som Denniz PoP. Vi har i tidigare delstudier utvecklat denna modell och Volle är mycket intressant som studieobjekt eftersom han, trots att han saknade formell musikutbildning, var en mycket framgångsrik svensk musikproducent och även lade grunden till att utveckla nya innovativa musikproduktionsmetoder som flera av hans medarbetare, där ibland Martin Sandberg, har fortsatt att använda och utveckla vidare. I analysen jämförs Berlins reflektioner kring sin egen modell ”Nine Rules for Writing Popular Songs” och Sandbergs reflektioner över vår egen Denniz PoP-modell. Undersökningsresultaten visar på stora likheter, men också vissa tydliga skillnader, mellan vilka aspekter som Berlin och Sandberg betonar som viktiga för hur upphovspersoner kan eller bör agera för att kunna skapa musik som lever upp till egna konstnärliga mål och även når stor popularitet. Erfarenheter från denna studie bör därför kunna bidra med värdefull kunskap till artister, musiker, musikproducenter och andra verksamma, som till exempel studenter, inom pop(ulär)musikproduktion.

  • 26.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Westman, Bo
    Royal College of Music in Stockholm, Department of Music and Media Production. Royal College of Music in Stockholm, Department of Folk Music. Royal College of Music in Stockholm, Department of Jazz.
    Towards a stronger focus on entrepreneurial skills in future higher education in music2019In: INTED2019 Proceedings, Valencia: IATED , 2019, p. 9639-9646Conference paper (Refereed)
    Abstract [en]

    The profound changes, in recent years, in Swedish design and cultural industries are the backdrop tothis research project. Such changes includes the music industry where digitalization and online musicdistribution as well as new music production methods has led to that production traditions as well asthe competences among the professionals in are challenged. Many Swedish design-intensivecompanies have been internationally successful for several years. And the international success of bigcompanies in the music industry, like Spotify, as well as smaller companies, like Cheiron andMaratone and individuals like Max Martin and Shellback, has resulted in a growing interest amongstudents in higher education to study music in combination with design and new media technology.Therefore, the aim of this study is to analyze the motives that exist among young people who chooseto study music in combination with design and new media technology and to compare such motiveswith perceptions among leading music industry professionals. The collected data are analyzed in atheoretical perspective including learning theories as well as entrepreneurial theory. The study isexpected to lead to new knowledge that is valuable in developing future education in music incombination with design and new media technology. The empirical data consists of qualitativeinterviews with industry professionals and focus group interviews with students in higher education inmusic. In addition, the collected data also include analyses of selected music industry magazines andjournals 1988-2018 as well as analyses of several curricula for higher education in music productionand music related to new media. The results firstly indicate that there is a clear discrepancy betweenthe content in the analyzed educational programs and what the students value as important. Secondly,there are also differences between what successful music industry representatives highlight asvaluable and what is offered in the courses and study programs included in the analysis. One clearsuch difference is that entrepreneurial skills are valued much higher by the interviewed music industryrepresentatives compared with what has been offered in the courses included in the analysis. A keyconclusion is that expanding entrepreneurial aspects in future curricula, in order to strengthen practicalas well as theoretical entrepreneurial skills, should reasonably lead to increased employability forfuture students.

  • 27.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Artists, Musicians and Music Producers: Similarities and Differences?2019Conference paper (Refereed)
    Abstract [en]

    For many years, the Swedish music export has been very successful. Previous research shows that the Swedish music export strongly has contributed to an increased interest among students to study popular music and musicproduction in Swedish higher education. In this study we have a hypothesis, built on observations made in higher education in music, that many of the students who apply to higher education in music often have ambitions to make it as artists rather than becoming musicians. Another assumption is that many of the students who apply to music producer programs in higher education mainly want to study music production in order to learn how record their own songs and create their own repertoire. Therefore they can show limited interest in producing others. Our ongoing study, moreover, clearly indicates that relatively little of the content in higher music education programs is focused on developing talents to full-fledged artists, very little of the musician programs and hardly at all in in the music production courses. It is thus possible to identify a gap between what is offered and what probably many students would need based on their overall aspirational goals. In order to create new knowledge about these issues and with the aim of contributing to the development of higher education in music, in this project we gather diverse data through interviews with key players in the Swedish music industry: artists, musicians and music producers. An important purpose is to identify core characteristics and important differences between these professions. Observation studies are also included in this project. In this paper we present selected results of the study focusing on some of the specific challenges that we have identified in the higher music education concerning the above-described goal conflict. We here especially focus on possible differences and similarities between music producers, musicians and artists regardless of whether it is about music performed live or produced for phonograms or the equivalent. Furthermore, we address and discuss the problem that programs and courses in higher education not always offer what the students want. In this paper we also present a model of music production. The model is based on results from the study andmay be useful in higher education for music producers as well as for musicians and future artists.

  • 28.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Hepworth-Sawyer, RussToulson, RobPaterson, Justin
    Innovation in Music 2022: Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 20222022Collection (editor) (Refereed)
    Abstract [en]

    Innovation in Music 2022

    FRIDAY 2022-06-17 

    Welcome to Innovation in music 2022! - 15:30 1C103 - Lilla salen 1

    Keynote 1: Armen Shaomian - 15:45 - 1C103 - Lilla salen  1

    Panel 1: Entrepreneurship, Copyright, & Innovation in Music: Linda Portnoff, Christian Råsmark, Thomas Arctaedius & Örjan Strandberg 15:30 - 1C103 - Lilla salen  1

    Seminar with online presenters 17:30 - Lilla salen 

    Paul Novotny: How to Put Together a Premium DIY Dolby Atmos 'Tiny Studio' on a Budget  

    Anders Lind: Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers  2

    Pedro Miguel Ferreira: Road(ies) To Nowhere? A Portuguese live music perspective, Eirik Askerøi: Sonic Markers in Popular Music: Innovation - Trend - Tradition, Ola Buan Øien: The Dialogue of Mr. Question Mark and Sylvia Massy: Challenging norms at the intersection of crafts and creativity in music recording contexts  3

    SATURDAY 2022-06-18  

    Welcome with music: Henry Mikkonen & Martin Åberg 08:45 - Lilla salen  4

    Seminar with online presenters 09:00 - Lilla salen  4

    Yuxiang Cai, Rui Liu and Xuefeng Zhou: An investigation of piano timbre preference based on employing equalizer to adjust the harmonic loudness, Martin Koszolko: Connecting across borders: communication tools, group structures and practices of remote music collaborators, Hussein Boon: Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship  5

    Yngvar Kjus, Ragnhild Brøvig-Hanssen & Solveig Wang: Encountering new technology: A study of how female creators explore DAWs, Scott Stickland, Nathan Scott & Rukshan Athauda: The DAW Collaboration Framework: Improving Creative Opportunities and Authenticity in Collaborative Online Audio Mixing  6

    Samuel Lynch & Helen English, Jon Drummond, Nathan Scott: Exploring Dynamic Music Methods to Extend Compositional Outcomes  7

    Session 1 A 10:20-12.00 - 1C103 (Lilla salen) 

    Ingvild Koksvik: Staging Notions of Space: Developing a Practice-Based Model for Realizing Compositional Intention in 3D and Stereo Record Production  8

    Grzegorz Trela: The sound from behind the Iron Curtain: Record production in the Polish People's Republic  8

    Marc Estibeiro: An interactive chamber work for two classical guitars and electronics which uses the natural sound of the acoustic instruments as both source material for electronic processing and as a means of controlling the electronic part  9

    Stephen Bruel: Remastering Elton John's Goodbye Yellow Brick Road  9

    Session 1 B 10:20-12.00 (1D221)  9

    Claus Sohn Andersen: The space is the place - Interplay and interaction in an extreme location  9

    Matthew Lovett: Artificial creativity and tools for understanding: music, creative labour and AI  10

    Tony Dupé: Self Production as a Creative Practice  10

    Leigh Shields: Exploring the history of distortion in Drum and Bass  11

    Session 1 C 10:20-12.00 (1E207)  11

    Matthias Jung & Vegard Kummen: Hacking the concert experience - exploring co-creative audience interaction at a chiptune live performance  11

    Haoran Jiang: A History of Taiwan's Recording Industry: Production and Promotion Strategies of Campus Song Records by Synco Corporation  12

    Mat Dalgleish: Unconventional Inputs: The Modular Synthesizer as One-Handed Instrument 12

    Shib Shankar Chowdhury: Autoethnography and composition for Innovative music creation about Pandemic with reference to "I Am Virus"  13

    Keynote 2: Susanne Rosenberg 13:00-13:50 - 1C103 (Lilla salen)  13

    Session 2 A 14:00-15:40 - 1C103 (Lilla salen)  14

    Håkan Lindberg: Innovation solving problems with vocal recordings  14

    Emil Kraugerud: Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy 14

    Bjørnar Sandvik: Sample, Slice, and Stretch! Four Innovative Moments in the History of Waveform Representation  14

    Antti Sakari Saario: “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the design of a new ‘classic’ microphone (Nordic Audio Labs NU-100K)  15

    Session 2 B 14:00-15:40 (1D221)  16

    Florian Hollerweger: Audio beyond Demand: Creative Reinventions of the Broadcast Listening Experience 16

    Sven Ubik, Jakub Halak, Martin Kolbe & Jiri Melnikov: Comfortable playing together over distance  16

    Mattias Petersson: A new morphology – Strategies for innovation in live electronics performance  16

    Zachary Diaz: Signifyin(g) Producers: The Roland SP-404 and The Evolution of Live Instrumental Hip-Hop Performance  17

    Session 2 C 14:00-15:40 (1E207)  17

    Kirsten Hermes: Levelling up chiptune: nostalgic retro games console sounds for the ROLI Seaboard  17

    Ambrose Field & Ling Ding: Innovation and music business: a new approach for international partnership in music  18

    Egor Poliakov & Martin Pfleiderer and Christon-Ragavan Nadar: Analyze! Development and integration of software-based tools for musicological and music theoretical needs  18

    Christos Moralis: The ‘Performable Recordings’ model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance  19

    Session 3 A 16:00-17:15 (1C103 Lilla salen)  19

    Scott L. Miller & Carla Rees: Telematic Performance and Recording of Interactive Electroacoustic Chamber Music  19

    Henrik Langemyr: Music(al) Production: To Compose and Produce Musical for Recorded Medium: Based on the Perspective of Music, and Media Production  20

    Session 3 B 16:00-17:15 (1D221)  20

    Phil Harding: Transforming A Pop Song: The Journey of the Extended Club Remix  20

    M. Nyssim Lefford & Gary Bromham and David Moffat: From Intelligent Digital Assistant to Intelligent Digital Collaborator  21

    Brendan Williams: Creative Potentials for Dolby Atmos: Presenting the self-balancing acoustic ensemble  21

    Session 3 C 16:00-17:15 (1E207)  22

    Henrique Portovedo & Ângelo Martingo: Transforming Performance with HASGS: research-led artistic practice in augmented instruments  22

    Ambrose Field: Rethinking the relationships between space, performance and composition in notated acoustic composition: Quantaform Series  22

    Hans Lindetorp: Gesture-controlled synths with WebAudioXML  22

    Panel 2: How to get published? And Book releases Chair: Rob Toulson  23

    Keynote 3: Sven Ahlbäck, Christian Råsmark & Rob Toulson  23

    SUNDAY 2022-06-19 

    Welcome with music: Henry Mikkonen & Martin Åberg - 08:45 Lilla salen  23

    Panel 3: Exploring Dolby Atmos: Past Present and Future Chair: Daniel Pratt  23

    Session 4 A 10:20-12:00 - 1C103 (Lilla salen)  23

    Enric Guaus & Alex Barrachina, Gabriel Saber, Víctor Sanahuja, Josep Comajuncosas: Exploring a network setup for music experimentation  23

    Paul Thompson, Mcnally Kirk & Toby Seay: Multiple Takes: Multitrack Audio as a Musical, Cultural, and Historical Resource  24

    Jo Lord & Michail Exarchos: Dynamic meta-spatialisation: Narrative and recontextualisation implications of spatial stage stacking  24

    Stefan Östersjö, Thanh Thuy Nguyen & Matthew Wright: Yellow music in diaspora: Re-inventing the sound of pre-1975 record production in Sài Gòn  25

    Session 4 B 10:20-12:00 (1D221)  25

    Hans Lindetorp: Towards a standard for interactive music  25

    Jessica Edlom, Jenny Karlsson & Linda Ryan Bengtsson: Innovating music experiences – Creativity in pandemic times  25

    Alicja Sulkowska: Before Our Spring – towards the concept of intermedial authenticity in a curated K-pop industry. On the example of Kim Jonghyun’s “Blue Night Radio”  26

    Dave Fortune: Composing Without Keys: The LFO as a Composition Tool  27

    Session 4 C 10:20-12:00 (1E207)  27

    Mads Walther-Hansen & Anders Eskildsen: Forceful Action and Interaction in Non-Haptic User Interfaces for Music Production  27

    Charles Norton, Justin Paterson & Daniel Pratt: Musical connections and enhanced performance control, a strategy to reduce complexity  28

    Kjell Andreas Oddekalv: Rap as composite auditory streams: Techniques and approaches for layered vocal production in hip-hop and their aesthetic and philosophical implications  28

    Liucija Fosseli: Music Business Present and Future Innovations. Perspectives of international songwriters and producers working towards Chinas´market  29

    Keynote 4: Håkan Lidbo 13:00-13:50 - 1C103 (Lilla salen)  29

    Session 5 A 14:00-15:40 - 1C103 (Lilla salen)  29

    Stefan Östersjö & Jan Berg, Anders Hultqvist: A Deepened ‘Sense of Place’: ecologies of sound and vibration in urban settings and domesticated landscapes  29

    Andy Visser & Justin Paterson: HAPPIE: The Haptic Audio-Production Pipeline – A novel method for accomplishing audio-production tasks using haptic feedback within a Mixed Reality [MR] environment 30

    Jon Marius Aareskjold-Drecker & Ragnhild Brøvig-Hanssen: Vocal Chops: Balancing the Uncanny Valley 30

    Jacob Westberg: Ludonarrative Harmony: Music production through the lens of game design 31

    Session 5 B 14:00-15:40 (1D221)

    Thomas Bårdsen: Improving the republishing process of legacy music productions through documented source selection and reformatting  31

    Toivo Burlin: Mobile Classical Music – Recording, Innovation and Mediatization. Three Swedish case studies from the 1940’s to 2021  31

    David Thyrén, Jan-Olof Gullö, Per-Henrik Holgersson & Thomas Florén: Icebreakers and clusters within the Swedish music wonder  32

    Russ Hepworth-Sawyer, Rob Toulson & John-Paul Braddock: UDPi Mastering Protocol  32

    Session 5 C 14:00-15:40 (1E207)  33

    Mads Walther-Hansen: Music Production Entrepreneurship – Between Art and Business  33

    Thomas Arctaedius, Martin Q Larsson, Emilie Lidgard & Madeleine Jonsson Gill: Experiences from a Learning Lab – Cross Innovation in Music/Arts  33

    Daniel Pratt & Toby Seay: Time, place, and reflexivity: the recording space as an instrument 34

    Samantha Talbot: Song Worlds: Spontaneity, Intimacy, and Immersion. Music Video from Glencoe  34

    Concert & Paper presentation Henrik Frisk: Literate programming and documentation of artistic processes . Lilla salen 16:00   34

    Panel 4: Final reflections & Future perspectives 16:40  35

    Download full text (pdf)
    fulltext
  • 29.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-HenrikRoyal College of Music in Stockholm, Department of Music Education.
    Adessi, Anna Rita
    University of Bologna.
    Backman Bister,, Anna
    Royal College of Music in Stockholm, Department of Music Education.
    Bjerstedt, Sven
    Malmö Academy of Music, Lund University.
    Ericsson, Claes
    Halmstad University.
    Lindgren, Monica
    University of Gothenburg.
    Ferm, Cecilia
    Luleå University of Technology.
    Folkestad, Göran
    Malmö Academy of Music, Lund University.
    Frisk, Henrik
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    Grabraek Nielsen, Siw
    Norwegian Academy of Music.
    Dyndahl, Petter
    Hedmark University College.
    Hagerman, Frans
    Royal College of Music in Stockholm, Department of Music Education.
    Heikinheimo, Tapani
    Metropolia University of Applied Sciences.
    Houmann, Anna
    Malmö Academy of Music, Lund University.
    Saether, Eva
    Malmö Academy of Music, Lund University.
    Johansen, Geir
    Norwegian Academy of Music, Norway.
    Johansson,, Karin
    Malmö Academy of Music, Lund University.
    Johansson, Sören
    Dalarna University,.
    Juvas Liljas, Marianne
    Dalarna University,.
    Lonnert, Lia
    Malmö Academy of Music, Lund University.
    Nilsson, Bo
    Kristianstad University,.
    Olsson, Bengt
    University of Gothenburg.
    Persson, Mikaelc
    Royal College of Music in Stockholm, Department of Music Education.
    Sandberg Jurström, Ragnhild
    Ingesund School of Music, Karlstad University.
    Sandberg,, Ralf
    Royal College of Music in Stockholm, Department of Music Education.
    Stålhammar, Börje
    Örebro University.
    Söderman, Johan
    Malmö University.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Uddholm, Mats
    University College of Northern Denmark,.
    Varkøy, Øivind
    orwegian Academy of Music & Örebro University.
    Väkevä, Lauri
    Sibelius Academy University of the Arts Helsinki.
    Westerlund, Heidi
    Sibelius Academy University of the Arts Helsinki.
    Juntunen,, Marja-Leena
    Sibelius Academy University of the Arts Helsinki.
    Knowledge formation in and through music: Festschrift in honor of Cecilia K. Hultberg 20152015Collection (editor) (Other academic)
    Download full text (pdf)
    Knowledge formation in and through music: Festschrift in honor of Cecilia K. Hultberg 2015
  • 30.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-HenrikRoyal College of Music in Stockholm, Department of Music Education.
    Knowledge formation in and through music: Festschrift in honor to Cecilia K. Hultberg 20152015Collection (editor) (Other academic)
    Abstract [sv]

    Begrepp som energi, gott författarskap, idérikedom och entreprenörskapsätter säkert igång många tankar hos läsaren av denna text. Beroende på vemsom läser begreppen och i vilken situation läsaren befinner sig kanbegreppen komma att förstås på olika sätt. Det finns ett stråk av en kulturpsykologiskansats i det nyss skrivna. Och om läsaren har lite av sammahumor som oss, blir begreppet stråk av en kulturpsykologisk ansats, endansant liten musikalisk twist!De inledande begreppen i stycket ovan, är några begrepp som vi tyckerkan passa in på vår professor Cecilia K. Hultberg. Sedan hösten 1996 harCecilia varit ämnesföreträdare för ämnet musikpedagogik vid Kungl.Musikhögskolan i Stockholm (KMH). Det har hänt mycket under de år somhon har varit här vid KMH. Cecilia har varit framgångsrik med att få medeltill forskningsprojekt och inte enbart inom ämnesområdet musikpedagogikutan hon har även tilldelats forskningsmedel för konstnärlig forskning.Hennes forskningsprojekt har varit viktiga bidrag till forskningsfältet ochäven inneburit möjlighet till finansiering av doktorander, vilket har varitmycket värdefullt för KMH som lärosäte. Under sin tid vid KMH har Ceciliaså här långt följt sju doktorander hela eller delar av utbildningstiden fram tilldisputation. Och ytterligare några doktorander kommer hon med störstasannolikhet att handleda som Professora Emerita.Under Cecilias tid vid KMH har forskarutbildningen i musikpedagogikutvecklats, mastersprogrammet i musikpedagogik har startats, forskarskolani samverkan med flera andra lärosäten har genomförts och dessutom hararbetet med examensansökan för ämneslärarprogrammet i musik genomförtsoch fått sitt godkännande. Utöver detta har hon visat stort engagemang iskolans nämnd för utbildning vid sidan av alla internationella konferenspresentationeroch vetenskapliga publikationer. Detta vittnar omengagemang, idérikedom och energi.Vi som arbetat nära Cecilia känner väl hennes skicklighet i att skriva ochuttrycka sig, en mycket viktig kvalitet hos en forskare. Hon har generöstdelat med sig av sin kunskap gällande skrivandets konst och detta har inteminst kommit doktoranderna vid KMH till del. I detta förord har vi tagit upp några begrepp för kort beskriva vårprofessor, men det är naturligtvis en ofullständig beskrivning och dessutomen helt omöjlig uppgift att kortfattat beskriva en så färgstark och mångfacetteradperson som Cecilia. Vi är därför utomordentligt glada över att såmånga kollegor och vänner valt att skriva artiklar till denna Festschrift. Detär 28 artiklar av 34 författare som dels på olika sätt bidrar till att ge flerbilder av Cecilia och dels lyfter fram betydelse som hennes forskning har föross som individer och som forskarkollektiv.Vi vill som redaktörer tacka alla författare som bidragit med texter tilldenna Festschrift. Det har varit mycket inspirerande att få arbeta med erallesamman. Vi vill även passa på att uttrycka vårt tack till Cecilia K.Hultberg och önska en god och spännande framtid med fortsatt forskning,kanske vandringsturer i bergen för att studera flora, många goda stunder avmusik och eget musicerande.

    Stockholm, Kungl. Musikhögskolan, 31 augusti, 2015

    Jan-Olof Gullö och Per-Henrik Holgersson

  • 31.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    The complexity of formal and informal learning in art and in music production2016Conference paper (Refereed)
  • 32.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Florén, Thomas
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Johansson, Sören
    Royal College of Music in Stockholm, Department of Music Education. Högskolan Dalarna.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    50 years of ”Smoke on the Water” in Music Education2022In: Nordic Network for Research in Music Education 2022 Conference - Book of Abstracts: 5–7 April, 2022, Jyväskylä: University of Jyväskylä , 2022Conference paper (Refereed)
    Abstract [en]

    The song "Smoke on the Water" was recorded by the British rock group Deep Purple and first released in 1972. The song had a global reach and contributed to Deep Purple's success and fandom. Smoke on the Water is also relevant to music education. The basic guitar riff in the song is easy to learn and has attracted many, especially boys and young men, to play guitar. And even today, 50 years later, it is common for pupils to know this riff and gladly show it to their teachers when they start taking music lessons. The purpose of the research project is therefore to analyse, problematize, and describe how and why Smoke on the Water has been important and how the song has contributed to music education and to get young people interested in guitar playing. The study finds its theoretical ground in the American psychologist Jerome Bruner’s nine tenets, all highly relevant to research in music education, complemented by other theories in pedagogy, economics, sociology, musicology, and gender studies. The empirical design includes interviews with music teachers, music leaders, music students and musicians in different countries as well as interviews with some original members of Deep Purple. The analysis confirms that it is a very well-known riff and that students in higher music education, still today, in general know the song Smoke on the Water well. Many also state that they have played the song in ensembles of various kinds. Many have also sung it. But despite this, most of the participating students in higher music education were ignorant to the lyrics, also among the singers who stated that they had performed the song. These findings are empirically surprising and leads to new questions and in-depth analyses. Why are the lyrics, for the students, clearly subordinate to the musical content? This, despite that previous research clearly shows that the lyrics, for many average listeners, can be just as, or even more, important as the music itself. Is this an example of an unspoken hierarchical value system in higher music education? These results indicate a field of tension, regarding what is important in a musical performance and in a piece of music, like Smoke on the Water, between those who perform and those who listen. The example above shows how this study can be used to clear the smoke and visualize areas with development potential within higher music education. 

  • 33.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Lindeborg, Ronny
    Royal College of Music in Stockholm, Department of Music Education.
    Drömmar om musik : En studie om musiklärarstudenters syn på framtiden i relation till sin utbildning2018In: NNMPF 2018: Methodological encounters in connection – multi-, trans-, and interdisciplinary research , Hurdal: NNMPF , 2018Conference paper (Refereed)
  • 34.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Lindetorp, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Ramström, Johan
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Interaktiv musik som utmanar upphovsrättsliga ideal och konventioner om komposition2016Conference paper (Refereed)
  • 35.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Hur Bolognaprocessen påverkat den högre musikutbildningen i Sverige: med särskilt fokus på studenternas självständiga arbeten2023In: Swedish Society for Music Research together with The Royal College of Music & The Royal Swedish Academy of Music Rendezvous Music Research – KMH week 24 Musikforskning idag 2023 June 13-15, 2023 Program and abstracts, 2023Conference paper (Refereed)
    Abstract [sv]

    Genom högskolereformen 2007 förändrades förutsättningarna för svensk högre utbildning på flera olika sätt. En viktig förändring var att lärandemål infördes som svar på frågan vad en student förväntas kunna efter sina studier. Nu drygt 15 år senare genomför vi denna studie i syfte att undersöka hur lärandemål för studenternas självständiga arbeten i högre musikutbildning har utvecklats och tillämpas. I undersökningen ingår analys av utbildnings- och kursplaner från samtliga svenska lärosäten som ger utbildning i musik, insamlade uppfattningar från lärare vid flera nationella konferenser om studenters självständiga arbeten samt olika erfarenheter vi samlat på oss när vi undervisat i högskolepedagogisk utbildning. Studenternas självständiga arbeten examineras vanligtvis genom konserter eller andra uppspelningar där klingade material redovisas samt vid seminarier där skriftliga delar ventileras. Även om de lärare som undervisar är ålagda att följa uppställa lärandemål visar denna undersökning att det hos många finns en stor osäkerhet kring framför allt bedömningen av studenternas arbeten men också hur målen ska tillämpas i undervisningen. När det gäller den klingande delen av ett självständigt arbete i musik är det mindre vanligt att studenter blir underkända. Däremot är det vanligt att den skriftliga delen måste omarbetas, ibland flera gånger, för att godkännas. Undersökningen visar att studenter ofta har svårt att skriva med organisation och inte kan skilja på vad som ska vara i olika delar av texten men också att de ofta har bristande kunskap om vilken funktion tidigare forskning har, inte förstår vilken effekt olika tempus har, blandar talspråk och akademiskt språk och ofta brister i etiska överväganden. Undersökningen visar också att studenter sällan på djupet har läst kurslitteratur, som handböcker, kursmanualer eller andra anvisningar och ofta inte heller tillämpar det som de har lärt sig i teori- och metodundervisning. En möjlig lösning, som också har starkt stöd i tidigare forskning, är att tidigt i utbildningen introducera disciplinbaserad forskning som gynnar studenternas lärande och kunskapsutveckling i allmänhet, men som också ger dem kompetens att genomföra alla delar av sina självständiga arbeten.

  • 36.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Florén, Thomas
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Icebreakers and clusters within the Swedish music wonder2022In: Innovation in Music 2022 - Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 2022 / [ed] Jan-Olof Gullö, Russ Hepworth-Sawyer, Rob Toulson, Justin Paterson, Stockholm, 2022, Vol. 01Conference paper (Refereed)
    Abstract [en]

    In our ongoing project Searching for Sophia in Music Production, we explore factors that have been of great significance for the Swedish music wonder. In this paper, the aim is to identify important individuals in various genres that have paved the way for Sweden’s international success in music. One hypothesis we are working with is that a few innovative individuals who acted as "icebreakers" created smaller "clusters" centered around record companies that were highly influential. We present a selection of musical icebreakers and clusters that have successfully contributed to the Swedish music wonder: Stig "Stikkan" Anderson and Polar Music International AB, Bert Karlsson and Mariann Records, Ola H.kansson with Sonet and Ten Music Group, Robert von Bahr with BIS Records, Per-Olof "Pelle" Karlsson with Prim Records and Dag Volle "Denniz PoP" with Cheiron Studios. The study is methodologically based on literature studies and an inventory of source material as well as interviews with key people in Swedish music life. Theoretical perspectives include Jennifer Lena’s and Richard Peterson's (2008) model for the life cycles of genres, with stages of creation, development, conservation and stagnation, Paul Thompson's model for creativity in record production (2019) and Mats Trondman's theories of folk musical expression (1999). In addition, the analysis also uses theories in motivational research (Deci & Ryan, 2000) and entrepreneurial research with relevance to music and music industry development (Tschmuck, 2006; Östman 2018). Our analysis clearly shows that single theories cannot explain all essential parts of the Swedish music wonder. A combination of several theories and explanatory models is therefore needed. In our presentation, core issues around this are discussed.

  • 37.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm, Department of Music Education.
    Åkerblom, Annika
    Royal College of Music in Stockholm.
    Supervision of independent projects in music in higher education2017In: Music Education and Equality, Göteborg: Academy of Music and Drama, University of Gothenburg/NNMPF , 2017, p. 54-55Conference paper (Refereed)
    Abstract [en]

    Since the Bologna Declaration in 1999, the independent project on the undergraduate level, also called bachelor essay or degree project, and the independent project on masters level has a special role in ensuring and maintaining the relevant learning outcomes. Our preconceptions in this paper is that most of the higher education institutions in Sweden are in a similar position concerning student’s independent projects: the independent projects in music needs to be more influenced by current research and needs, on the basis of such research, to be further developed. The purpose of this paper and conference presentation is to highlight different aspects of the independent project in higher education in music, to report experiences from a national conference on independent projects in music and to present some theoretical suggestions for future development. This is a work in progress.

    At the national conference on independent projects in music, 13 to 14 October, 2016 at the Royal College of Music in Stockholm, many different aspects were discussed such as, supervision strategies and qualification requirements for supervisors, the size and scope of independent projects, different forms for examination as well as the balance between formality in education and students' artistic ambitions. A challenge for higher education is that there are different possible models for how the independent projects can be performed by the students according to their own aspirations, wishes and requirements as well as different offered conditions at different institutions. Our analysis shows that the learning outcomes seem to have been interpreted in a similar way in various Swedish higher music institutions. But on the other hand the evaluation criteria’s are less discussed and usually not explicitly expressed.

    The supervision of students’ independent projects may, obviously or not, have a most significant impact on both the students’ performance and the quality of their projects. However, our analysis shows that there is a big difference between how the independent project is carried out by different students and also big differences in how the supervision is designed and performed in different study programs and at different institutions. Thus there’s a big difference between, for example, solo projects for violin at an institution for classical music or song writing at an institution for music production, even if they are at the same college or university. But regardless of what orientation the individual students have on their independent projects, all institutions that participated in the national conference on independent projects in music reported that they have organized regular supervision during the students’ independent projects. It was also found that it is rather the exception than the rule that the supervisors have received special training in supervision. Likewise, the awareness among the supervisors of the latest current research and literature on tutoring was almost non-existing. Therefore, the National Conference agreed that a national coordination for on-going professional development for tutors and discussion on supervision issues should be arranged.

    The framework for this article is based on a socio-cultural and dialogical perspective, which proposes that learning and understanding develop in context through interaction and dialogue (see e.g. Bachtin 1981; Vygotskij, 2001). Independence, as in the independent project, is thus something that can be explored in interactions of different kinds. Literacies are seen as social practices where epistemologies and identities are crucial.

    In this project we aim to develop a model for supervision in music based on Mick Heeley’s model Curriculum design and the research-teaching nexus (Healey & Jenkins 2009, 7; Healey, 2005, 70). Healey’s model uses two dimensions where the first dimension is a stress field with emphasis on research content versus emphasis on research processes and problems in the outer positions. The second stress field has outer positions where the students either are participants or audience. As a result the curriculum design is described in the model in four different positions, firstly: the research- tutored: engaged in research discussions; secondly: the research-based: undertaking research and inquiry; thirdly: the research-led: learning about current research in the discipline, and fourth: the research-oriented: developing research and inquiry skills and techniques. As a result we expect that a model for supervision in music based on Healey’s model may work as a bridge between the polarisation of research based on either scholarship or artistic practice. This is a work in progress and we look forward to present our preliminary results and discuss suggestions for future development.

  • 38.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Höglund, Ivan
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Jonas, Julia
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Lindetorp, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Näslund, Anton
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Persson, Joakim
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Schyborger, Peter
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Nobel Creations: Producing infinite music for an exhibition2015In: Dansk Musikforskning Online, ISSN 1904-237X, E-ISSN 1904-237X, p. 63-80Article in journal (Refereed)
    Abstract [en]

    In 2014 a collaborative artistic music production project gave rise to the development and use of new methods for composition and music production. With a specially de- signed software engine the music productions responded interactively to actions of the visitors at the Nobel Museum in Stockholm. The music was distributed by multi- ple loudspeakers in the museum hall, week after week without interruption through the four months the exhibition lasted. The results of the project show clear evidence, that the romantic ideal, that creativity and creative capacity primarily is individual, in- born and inherent, is not valid. Instead, by combining different art forms, using struc- tured project planning, aiming to develop creative actions, people can create artwork in collaboration, that far exceeds what they individually can achieve. 

  • 39.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Höglund, Ivan
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Jonas, Julia
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Näslund, Anton
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Persson, Joakim
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Four studies on creativity in music production2015Conference paper (Refereed)
  • 40.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Höglund, Ivan
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Jonas, Julia
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Näslund, Anton
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Persson, Joakim
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Nobel Creations2015Conference paper (Refereed)
  • 41.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Hök, Jöran
    Journalism students, vocational training and the professional ethics of mass media2018In: Journalism students, vocational training and the professional ethics of mass media, Valencia: IATED , 2018Conference paper (Refereed)
    Abstract [en]

    How are journalism students' basic perceptions of their future occupation influenced and changed during their education?This research question is the starting point for a survey based on current internship reports at Sodertorn University, the largest University journalist education Center in Sweden.At the heart of the Anglo-Saxon mass media tradition is the common normative concept of journalism as first and foremost a third estate; an independent professional reviewer of society's power groups and central institutions.As a pilot project we have chosen to focus on reflections on this basic value and how it is perceived during the first period of education in relation to the internship semester at the end of three years of education. Two research hypotheses are tested;H1: Students are influenced by a strong normative perception of the role of journalism prior to long-term practiceH2: Most of the students revise the perception of journalism's emphasis on critical inquiries during the three-year program foremost in connection to their internship during the last semester The survey is based on reading of student’s internship reports from 2012 and 2013. In their reports nearly all pointed out that they were strongly influenced by an normative image of the profession as relatively free and focused on investigative journalism. Which suggests that hypothesis H1 is correct.During their courses and in connection to their internship during the last semester, the reports show that images of the profession have changed. In their reports students says that freedom within the profession is more limited, the financial framework tight and the scope for investigative work limited. The observations indicate that the hypothesis H2 is correct.As the observations are based on a limited number of reports, the project will continue with interviews of the students who got their degree five years ago, as well as interviews with teachers and supervisors.

  • 42.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Lindetorp, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Ramström, Johan
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Gardemar, Hans
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Hemmilä, Juhani
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Schyborger, Peter
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Experiences from Nobel Creations: Technology and creativity in music production for museum exhibitions2016Conference paper (Refereed)
  • 43.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Pohjola, Mika
    Royal College of Music in Stockholm, Department of Music Education. Royal College of Music in Stockholm, Department of Music and Media Production.
    Reynisson, Hannes Haukur
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Viklund, Mattias
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Three studies on creativity in record production2017Conference paper (Refereed)
  • 44.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Schyborger, Peter
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Core leadership skills in music production as learning outcomes in higher education2020In: MEIEA 2020 Summit, Washington: MEIEA , 2020Conference paper (Refereed)
    Abstract [en]

    ABSTRACT 

    During the last two decades, many Swedish songwriters and music producers have been internationally successful. At the same time, more and more students in Swedish higher education have studied music production and other courses with music in combination with design and new media technology. In this research project Searching for Sophia in music production we study how various aspects, including the development of the music and media industry as well as individual initiatives, have contributed to the growing Swedish export of music. The term Sophia refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. Sophia is understood as wisdom, or sagacity, and can be described as the ability to think and act using knowledge, experience, understanding and reason. Previous research clearly shows a variety of competences that are used and needed among musicians, music producers and others active in the art of music production.  Leadership is a very important aspect of music production and that's why we explore what we can learn from Denniz PoP's (1963-1998) leadership when he collaborated with his closest colleagues, including multiple award-winning songwriter/producer Max Martin.  The empirical source material includes interviews as well as radio and television programs, literature and an extensive inventory of Swedish music industry and consumer magazines. The results include a 7-step model for music production but also indicate that Denniz PoP's true expertise was his ability to make others in a team grow and perform well. And what best characterizes that form of expert knowledge can certainly be described in many ways. Core characteristics appear to be thoughtfulness combined with both creative ability and perseverance as well as a sense of order and discipline, aspects that may be very challenging to fully implement as learning outcomes in music production education.

  • 45.
    Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Schyborger, Peter
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Westman, Bo
    Royal College of Music in Stockholm, Department of Music and Media Production. Royal College of Music in Stockholm, Department of Folk Music. Royal College of Music in Stockholm, Department of Jazz.
    A hundred years of pop music: similarities and differences between Irving Berlin and Max Martin2020Conference paper (Other (popular science, discussion, etc.))
    Abstract [en]

    As previous research clearly shows, a variety of competencies are used and needed among artists, musicians, music producers and others active in the art of popular music production. We chose to focus on two very successful persons in popular music: Irving Berlin (1888-1989) and Martin Sandberg (1971-), also known as Max Martin. In this study we present an analysis of core aspects of Irving Berlin and Martin Sandberg's songs and creative work. Although there are of course great differences in the surrounding culture in which they were and are active, it is still evident which similarities they both show. The analysis is based on a comprehensive interview with Irving Berlin by Frank Ward O'Malley (1875-1932), originally published in 'The American Magazine', Volume 90, October 1920, where he presented "Nine Rules for Writing Popular Songs" and on an interview we conducted ourselves with Martin Sandberg in November 2019. For the analysis we also used a music production and song writing model based on strategies that were used by the successful Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle lacked formal music education, but he had some unique music-producer skills and also developed new innovative music-production methods. Today Volle probably is most well-known as the mentor of Max Martin. This study is part of the research project Searching for Sophia in music production where we study how various aspects linked to music production have contributed to the Swedish music industry's international achievements. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project. In the project a team of researchers study various formal and informal learning processes connected to education in music production in higher education. 

  • 46.
    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.
    A comparative study of professional music production methods in theage of streaming2020Conference paper (Refereed)
    Abstract [en]

    Although Sweden is a small country, the Swedish music exports have been successful for many years. In our ongoing research project: Searching for Sophia in music production, we study how various aspects linked to music production may have contributed to the Swedish music industry´s international achievements. In this sub-study we focus on production methods available today, including digital production tools for music, and compare those with the production methods that were used before the age of streaming, in the late 1990s. Several previous studies focus on the technological development of digital music production tools. However, surprisingly little attention has been directed towards how such tools can affect professional musical creativity and productivity. This sub-study includes a case study of the Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle had some unique music producer skills and also developed new innovative music production methods. Previous research has so far largely ignored his works despite his importance for the success of Swedish music exports. Denniz PoP is also remembered as mentor of Martin Sandberg [Max Martin] and therefore we analyze how the new tools and methods, that have been added over the years, may have affected the creative process of Sandberg and other successful Swedish music producers. The empirical material includes published sources of various kinds as well as interviews, conversations and written communication with some of Volle's closest associates who still are internationally active as music producers. The results indicate, firstly, that digital tools can help but also hinder creativity, and secondly, that several of the most important aspects of Volle's strategy as a music producer, for example to be driven by intrinsic motivation and by implementing music productions through collaborative processes, are still very relevant today - in the age of streaming.

  • 47.
    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.
    Challenging Changes for Future Music Production2020Conference paper (Refereed)
    Abstract [en]

    In recent years, there have been major changes in society on many levels. Such changes are of course of great importance to many urban residents. The changes we are referring to in this paper, are how people listen to music. On the streets and walkways in e.g. Stockholm, the capital of Sweden, large hordes of young men and women nowadays travel on electric scooters and almost everyone wears headphones and listens to music. Also on commuter trains, subways and buses, most of the travelers also wear headphones and listen to music. Thus, music is constantly present in these people's lives. But at the same time, music clubs and other music establishments, are often finding it increasingly difficult to achieve profitability due to a declining audience interest. Also traditionally successful music arenas such as the opera houses have problems to attract audiences, despite extensive and often very costly marketing. However, the big arena concerts with international artists still attract large crowds. This means that listening to music has evolved into something that usually happens entirely individually or on occasions in very large contexts, like e.g. at arena concerts. In this paper we highlight some of the challenges that young music producers face, due to the changing society, as they develop their artistic activities. The Swedish music industry has for many years been internationally successful and we present some core explanations of the success and also reflect on how societal development may need changes for future urban music development.

  • 48.
    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.
    Music production in Swedish higher education: History and future challenges2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 101, p. 185-199Article in journal (Refereed)
    Abstract [en]

    Although there is a growing interest for music production in Swedish higher education, where many students today study the subject, we argue that music production may in many ways still be noticed as a blind spot in research. This paper explores how research and education in music production has emerged, in Sweden but also internationally, against the background of the ongoing research project Searching for Sophia in music production. This project investigates how various aspects linked to music production and music education have contributed to the Swedish music industry’s international achieve- ments. First, the development of music production courses and programmes in higher education is described, from the pioneering years in the 1980s until present. Next, we discuss key concepts in music production including the different phases of a music pro- duction and the role of the music producer. Thereafter we focus on four selected aspects of music production: creativity, innovation, motivation, and entrepreneurship. Further, future implications are discussed concerning the changes in how music is composed and produced, marketed, distributed, and how music is consumed today.

    Download full text (pdf)
    Music production in Swedish higher education History and future challenges Jan-Olof Gullö and David Thyrén 2019 STM–SJM vol. 101 (2019) 185-199
  • 49.
    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.
    Musikproduktion & entreprenörskap: en kartläggning av den mediala beskrivningen av detsvenska musikundret under 1980- och 90-talet2018In: Vart är musiken på väg?: Perspektiv från forskning, bransch och politiker, Stockholm: Mirac & KMH , 2018Conference paper (Refereed)
    Abstract [sv]

    En utgångspunkt för denna studie är att ur ett musikhistoriskt perspektiv studera musikproduktion och entreprenörskap, inom det svenska musikundret, med internationellt framgångsrika producenter som Denniz PoP, Max Martin och Shellback samt musikproduktionsbolag som Cheiron och Maratone som studieobjekt. Här presenteras en initial kartläggning av den svenska mediala beskrivningen av det svenska musikundret under 1980- och 90-talet. Det empiriska underlaget i denna delstudie är de svenska musiktidskrifterna: Musikermagasinet [årgång 1985-2000], Musikindustrin [årgång 1998- 2002], Schlager [årgång 1980-1985], Showtime [årgång 1981-1990], SKAP-Nytt [årgång 1990-2000] Slitz [årgång 1986- 1996] och STIM-Magasinet [årgång 1980-2000]. Resultatet av kartläggningen påvisar en indifferent attityd hos medierna gentemot exempelvis Denniz PoP:s musikproduktion när denne var verksam. Trots stora internationella framgångar var Denniz PoP i stort frånvarande i den samtida branschpressen. Mediebilden förändrades dock efter Denniz PoP:s frånfälle 1998. Samtidigt framträder också, mer eller mindre mellan raderna, bilden av hur framgångar inom det svenska musikundret realiserades genom ett långsiktigt och målmedvetet arbete i ett avgränsat nätverk av musikentreprenörer som i stort verkade i skuggan den mediala exponeringen. De hade en arbetsprocess som gick ut på att starta upp olika projekt, knyta till sig kreativa och begåvade musiker eller DJ ́s med hög arbetskapacitet och ta med de skickligaste vidare till nya projekt. I det undersökta materialet förefaller formell musikutbildning inte ha varit ett viktigt kriterium för framgång i den tidens musikbransch. Istället framstår skicklighet i teambuilding i form av nätverksbyggande ha varit en viktig framgångsfaktor. Vår analys visar också att det finns viktiga aktörer som är mer ouppmärksammade i medierna. Musikentreprenören Tom Talomaa (f. 1954) har varit verksam bl.a. genom klubb- (BZ, Ritz), restaurangverksamhet (East) samt musikproduktionsbolagen Cheiron och Maratone i exklusivt partnerskap med Denniz PoP och Max Martin. Men trots att Tom Talomaa alltså starkt bidragit till det svenska musikundret har hans gärning inte uppmärksammats i tidigare forskning och i det undersökta mediematerialet är han alltså i stort frånvarande. Denna undersökning ingår som en delstudie i projektet Searching for Sophia in Music Production Education.

  • 50.
    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 – Twenty years ago today: a revaluation of the heritage of Swedish record producer Denniz Pop2018In: Crosstown Traffic: Popular Music Theory and Practice, Huddersfield: IASPM UK&I; ASARP; Dancecult & ISMMS , 2018Conference paper (Refereed)
    Abstract [en]

    In the project Searching for Sophia in Music Production Education, amultidisciplinary team of Swedish researchers study various formal and informallearning processes connected to education in music production in higher education.This paper is part of that project. Previous research shows a variety of competencesthat are used and needed among musicians, music producers and other professionalsactive in the art of music production. Our interest has a background in the worldwideexport of music from the Nordic countries. Several of the Nordic internationalsuccessful songwriters, musicians and music producers have more of an informalbackground than a scholastic formal education. The term Sophia [wisdom] refers toancient Greek knowledge typology and is used to summarize the theoreticalframework of the project.In this paper, we focus on the Swedish record producer Denniz Pop [Dag Volle, 1963-1998]. Denniz Pop enjoyed substantial international success in the 1990´s, creatingthe Cheiron studios in Stockholm, recording and producing e.g. Ace of Base,Backstreet Boys, Michael Jackson, and many others. He was the mentor of songwriter& record producer Max Martin [Karl Martin Sandberg, b. 1971]. The paper ties inwith a planned biography on Denniz Pop, coinciding with the 20th anniversary of hisuntimely death in 1998. In the biography, we conduct five case studies: focusing oninterviews with Denniz Pop`s inner family; fellow record producers and closecolleagues; artists; music journalists; and musicologists.

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