​Denna studie undersöker hur sånglärare på gymnasiet arbetar för att främja elevers motivation till självständigt övande inom sångundervisning med utgångspunkt i Self-Determination Theory (SDT). Studien inleds med en diskussion om motivationens betydelse för elevers utveckling och skillnaden mellan inre och yttre motivation. Bakgrunden belyser tidigare forskning kring motivation inom undervisning, vikten av övning och lärarens roll i att stödja elevens självständighet. Syftet med studien är att utifrån ett motivationsteoretiskt perspektiv bidra med kunskap om hur sångpedagoger på gymnasiet beskriver sitt arbete med att främja elevers självständiga övning inom sångundervisning. Studien genomfördes med en kvalitativ metod där fyra sångpedagoger intervjuades utifrån semi-strukturerade frågor. Resultaten visade att elever behöver explicit undervisning i övningsteknik, att upplevd utveckling stärker motivationen, samt att relationen mellan lärare och elev är central för att skapa förutsättningar för självständigt övande. I diskussionen analyserades resultatet utifrån SDT där vikten av autonomi, kompetens och relationella faktorer framhölls som avgörande för att främja inre motivation och långsiktig utveckling. Sammanfattningsvis betonas behovet av att sånglärare aktivt arbetar med att stötta elevers självständighet och att anpassa undervisningen efter individuella behov.

Detta arbete har haft för syfte att bidra med ytterligare kunskap kring elevers positionerande under ensemblespel i grundskolans mellanstadium utifrån ett genusteoretiskt perspektiv, baserat på musiklärares utsagor. Mycket av den tidigare forskningen som hittats vid litteratursökningen har fokuserat på elever i högstadiet och gymnasiet och därför har forskningen på mellanstadiet inte varit lika utbredd. En intervjustudie har använts för att besvara studiens frågeställning där tre musiklärare som arbetar på grundskolans mellanstadium har intervjuats.

Studien bygger på en teoretisk tematisk analys och utifrån de intervjuade lärarnas perspektiv har ett antal teman identifierats där det i resultatet har visat sig att könsskillnader i mellanstadiet är närvarande i ensemblespelet, men att självsäkerhet, egen upplevd kompetens, mognad samt trygghet i gruppen varit mer avgörande för hur eleverna positionerar sig och väljer instrument under ensemblespelet. Studien pekar även på att skillnader mellan könen blir tydligare desto äldre eleverna blir och det påverkar hur flickorna och pojkarna väljer olika typer av instrument. Arbetet har därmed kommit med ytterligare en nyansering av hur positionering och instrumentval ser ut under ensemblespelet genom att fokusera på elever i mellanstadiet.

Det här arbetet handlar om vilket ackordinstrument, gitarr eller piano, elever i grundskolan helst väljer att spela på i musikundervisning. Syftet med arbetet är att bidra med kunskap om diskurser inom musiklärares utsagor gällande att undervisa ackordinstrument i grundskolan samt förutsättningarna för undervisningen.

Tidigare forskning som fokuserar på ackordinstrument och skillnader mellan gitarr och piano i skolans musikundervisning var svårt att hitta. Däremot hittades relevanta rapporter samt studier i närliggande områden.

Som metod intervjuades sex lärare med hjälp av sju egenskrivna frågor som analyserades med diskursanalys. Intervjuerna transkriberades och efteråt kodades återkommande citat som hittades bland alla sex nedskrivna intervjuer. Kodningen gav fyra diskurser. Resultatet visade att gitarr upplevs som mer kravfyllt, delvis på grund av större motoriska utmaningar vilket leder till att det tar längre tid att få önskat resultat jämfört med piano. I sin tur värderas piano högre än gitarr då det används i andra områden än gemensamt musicerande. Tidsbrist hos lärare samt hur genusperspektivet ser ut beroende på vem som spelar vilket instrument var också frågor som berördes.

Detta arbete har genomförts i hopp om att kunna sprida uppmärksamhet hos lärare kring användandet av gitarr i musikundervisningen, vare sig det handlar om undervisning i ensemble, allsång eller ackompanjemang.

This artistic research is part of my master's degree in classical piano at the Royal Academy of Music in Stockholm and aims to investigate a romantic stylistic idiom linked to Chopin's music and what constitutes a "brilliant" piano playing, both musically and technically. The study includes studying and performing Chopin's "F minor ballade" op. 52 no. 4, a piece that I intend to study more in depth and have made a recording of during my master's degree. It addresses the methods I used to acquire the music, focuses and reflects on artistic phenomena and musical practices that were typical of the time when this piece was written around 1840–1842, during the Romantic period in Paris, and what my choices as musician and artist are based on in order to interpret and perform this piece of music.

Detta konstnärliga arbete är en del av min masterutbildning i klassiskt piano vid Kungliga Musikhögskolan i Stockholm och syftar till att undersöka ett romantiskt stilidiom kopplat till Chopins musik och vad som utgör ett ”briljant” pianospel, både musikaliskt och pianotekniskt. Studien innefattar instudering och framförande av Chopins ”f-mollballad” op. 52 nr 4, ett stycke som jag i arbetet ämnar studera mer djupgående, samt har gjort en inspelning av under min masterutbildning. Studien är ett konstnärligt arbete och fokuserar på instuderingsprocessen som pianist. Det tar upp metoder jag använt mig av för att tillägna mig musiken, samt fokuserar och reflekterar kring konstnärliga företeelser och musikalisk praxis som var tidstypiskt för den tiden då detta stycke skrevs runt år 1840–1842, under romantiken i Paris och vad mina val som musiker och konstnär grundar sig på i min egen tolkning och framförande av detta musikstycke.

The Swedish Curriculum for Compulsory School, Preschool Class and School-Age Educare (Lgr22) states that teaching should include various musical genres, including Western classical music. Yet this genre often receives limited attention compared to popular music. This study explores how music teachers describe their repertoire choices and the inclusion or omission of classical music. Data were collected via a web-based questionnaire, providing both an overview of its presence in teaching and insights into teachers’ reasoning. Results show variation in how classical music is incorporated, in theoretical tasks such as music history and listening as well as in practical ensemble work. Teachers with formal artistic training or extensive experience report greater confidence, while others describe uncertainty and limited knowledge. Student interest, time constraints, and resources are recurring challenges. Findings highlight the influence of teachers’ musical identities and the need for integrative, creative approaches in teaching.

This thesis examines Johannes Brahms’ late chamber music works for clarinet—the Trio in A Minor, Op. 114, and the Clarinet Quintet in B Minor, Op. 115—with particular emphasis on the latter. Composed during the final years of Brahms’ life, these works mark a pivotal moment in both his artistic development and the clarinet’s role within the chamber’s music repertoire. Their genesis, inspired by Brahms’ encounter with the virtuoso clarinettist Richard Mühlfeld, reignited his creative energy after a period of near retirement, rendering these compositions not only musically significant but deeply personal.

The purpose of this research is to explore the historical context, musical structure, and interpretive challenges of these works, with a special focus on my artistic process while preparing the Clarinet Quintet for my master’s final performance. Through a combination of historical research, musical analysis, and performance-based inquiry, the thesis reflects a personal and artistic engagement with these compositions. By examining their formal design, harmonic language, and thematic development, I aim to better understand Brahms’ mature compositional voice and the expressive depth these pieces demand of performers.

Motivated by the desire to uncover the subtle emotional and technical layers in Brahms’ clarinet writing, this study highlights how historical awareness and analytical insight can inform and enrich modern performance. Ultimately, the research seeks to contribute to both scholarly discourse and performance practice, demonstrating how Brahms’ late clarinet works stand as milestones of the repertoire and as profound reflections of a composer contemplating legacy, expression, and the closing chapter of his creative life.

Detta arbete syftar till att utreda och sammanställa de redskap som erfarna sångpedagoger inom kulning samtalar om inom sitt arbete med en-till-en undervisning i kulning. Därtill ämnar arbetet att framföra vilka redskap som dessa erfarna sångpedagoger inom kulning förklarar att de använder sig av samt framför är främjande för elevers utveckling i en-till-en-undervisning. Genom att studera samtal med erfarna sångpedagoger inom kulningvill detta arbete lyfta fram de framträdande redskap som de beskriver att de har nytta av i sin undervisning. Detta för att skapa en djupare förståelse för hur en-till-en-undervisning inom kulning bedrivs samt vad man som sångpedagog kan använda sig av för redskap för att stötta elever i sin utveckling. Detta arbete redogör för redskap som används för att vägleda elever i sin utveckling inom kulning samt de arbetsmoment som dessa används inom och hur de används. Därtill redogör arbetet för rösten, dess fysiologi och funktion samt fäbodkulturen och kulningens uppkomst, tradition och teknik.Resultatet lyfter fram de framträdande arbetsmoment som elever och pedagoger möter under en-till-en-undervisning vilka är förankring av kroppen, att våga låta, härmning, hitta formation av munhåla, få tag i luftflödet och det subglottiska trycket, vallåtsmodus och improvisation. Inom dessa arbetsmoment belyses de redskap som de erfarna sångpedagoger inom kulning använder sig av och som är främjande för att stötta eleven i sin utveckling. Därtill beskrivs sångpedagogernas tankar, reflektioner och åsikter gällande kulning. Detta gör att resultatet även lyfter fram resonemang kring att kulning är rop och inte en sång samt vilka människor som söker sig till utbildning inom kulning och hur dessa elevers tidigare erfarenhet eller icke-erfarenhet har påverkan på deras utveckling inom kulning.

The aim of this study was to revisit previously collected empirical data in which music teachers and teachers of other subjects reflect on the classroom environment and "studiero" (conditions for study/classroom order), in order to increase understanding of this topic. Using qualitative secondary analysis as a method, five texts were selected that presented the perspectives of music teachers and other teachers on creating a focused study environment. The material was subsequently analyzed using Grounded Theory as the theoretical approach. The results generated a theory in which three categories were placed in relation to one another: pedagogical actions, professional approach, and structural frameworks. The pedagogical actions described by the teachers were primarily proactive in nature and involved, for example, communicating expectations and rules, utilizing assigned seating, and using positive reinforcement. The teachers' professional approach highlighted their attitudes toward student behaviors and needs, while the identified structural frameworks concerned factors such as time constraints and teaching formats. In conclusion, the study discusses the opportunities and limitations that structural frameworks in different contexts may present for teachers' ability to establish a focused study environment. Furthermore, the theoretical model of the thesis is presented as a potential explanatory model that can facilitate teachers' professional practice and understanding of these processes.

Singing as an instrument is rooted in the body, which makes it a highly personal instrument. The close connection between singing and the body makes singing as an instrument strongly identity-bearing, which in turn can lead to the emergence of performance anxiety, also known as MPA (music performance anxiety). This qualitative study examines singers' experiences of performance anxiety within the framework of vocal studies, both in groups and individually. Three semi-structured interviews were conducted with singers in higher education and then analyzed from a microsociological perspective. The results show that the singers' performance anxiety can be seen as relational rather than individual, as it primarily arises in relation to others and functions as an indicator of how secure or threatened the student-teacher relationship is perceived. Secure relationships are characterized by a balance between closeness and distance and by an open climate where the student can admit their performance anxiety. Insecure relationships are instead characterized by too much closeness or distance where the student keeps the performance anxiety inside. Relational needs that need to be met in order to experience a reduced level of performance anxiety can be summarized as security, affirmation, reciprocity and clear communication between student and teacher. In summary, the results indicate that student-teacher relationships should be characterized by mutual respect and understanding to provide the conditions for secure relationships to arise, which can reduce the level of performance anxiety.

This thesis aims to illuminate the ways in which musical interaction takes place in ensemble teaching in Swedish upper secondary school, more specifically in the genres of pop, soul and jazz. Through direct observations and video documentation, two ensembles were studied through the theoretical lens of multimodality, social semiotics and design for learning. Taking the form of an instrumental case study, the thesis illustrates the complex and specific ways in which teachers and students portray and communicate music in interaction with each other. The result of the study reveals that teachers portray and communicate music through signmaking in multiple modes with multiple semiotic resources. The sign-making consists of both verbal and non-verbal modes, such as speech, singing and gesture, as well as musical signs played on instruments and the use of graphic representations of music. Several signs often occur at the same time or closely together, reenforcing each other and constituting a signcomplex. The signs come with different affordances of meaning, depending on the activity and the student/s at the centre of the interaction. Students tend to interact and express their musical knowledge first and foremost through making music by singing or playing their instrument, or through dialogue. Thus, they do not show the same diversity in their signmaking as teachers and do not initiate interactions or musical activity as often. The analysis also demonstrates that the communication of teachers appears to be dominating interaction, both verbally and non-verbally, but also show the potential of how teachers can enable learning processes and interaction for students through their own multimodal communication and the way that education is designed. The study implies that a further verbalization of musical concepts as well as communicative aspects of music is needed in teaching, but also highlights the importance of teachers’ non-verbal expressions of music in learning music and how to communicate it.

This study explores how music theory teachers at upper-secondary schools and pre-college (folk) schools perceive their work in preparing students for higher education, with a particular focus on the admission tests for music colleges. To explore this, three different music theory teachers from various preparatory programs, as well as one music theory teacher from a music college, were interviewed. The results show that preparation for higher education is complex and involves many varied elements, such as practical exercises, practical knowledge, learning methods, stress management, motivation, and personal responsibility. In addition to this work, the teachers’ views on relationships and communication with other schools are highlighted, along with how such collaborations could contribute to the field. Variation theory has been used as the theoretical framework for analyzing the pedagogical results. By examining variations in the teachers’ methods, different aspects of higher-education preparatory pedagogy have been articulated.

The aim of this study was to explore, through an iterative design process, how game-based teaching elements can be designed to support students' motivation and engagement in eartraining, based on the framework of Self-Determination Theory (SDT). Using a design-based research approach, two learning games Gehörsbingo and Gehörs Quest were developed and tested over two design cycles, with focus group interviews as the method of data collection. The games were designed to address SDT’s three basic psychological needs: competence, autonomy, and relatedness. The results showed that game elements such as immediate feedback, opportunities for choice, and social interaction within the games can promote these needs. Participants reported increased motivation when they could observe their own progression. However, difficulty levels with evaluative connotations was found to inhibit all three psychological needs. The study suggests that gamification in ear training can be an effective tool for enhancing student engagement. The thesis offers both practical and theoretical insights for music educators interested in applying gamification in their teaching practice.

The purpose of the present study is to examine teachers' and in particular music teachers' perspectives on their teaching situations in elementary schools and gymnasiums around the 2011 school reform. To address the study’s research questions, document analysis was used as method, where the selection of data material consisted of articles published in periodical press. The articles were analyzed using critical discourse analysis, based on the concepts of power, hierarchy, and ideology. The results indicate that teachers professional autonomy is shaped in a field of tension between governance, curriculum interpretation, structural conditions, and salary regulations, where autonomy is both enabled and constrained by these factors. Competence emerges through the analysis as a prerequisite for autonomy, with collegial collaboration capable of enhancing both individual and collective competence. The analysis also shows that the subject of music is often marginalized in relation to core subjects, which affects music teachers scope for action. Discourses concerning structural conditions, salary regulations, the practical relevance of curricula, and increased documentation requirements also emerge through the analysis as factors influencing teachers’ autonomy. The findings largely align with previous research presented in the background chapter.

I den här studien undersöks och beskrivs hur olika faktorer påverkar elevers möjlighet att följa med i undervisningen vid övergångar mellan olika moment under en musiklektion. Att byta aktivitet under en lektion kan innebära utmaningar för alla elevers fokus, motivation och delaktighet. Särskilt problematiskt kan det vara för elever med neuropsykiatriska funktionsnedsättningar (NPF).

Studiens teoretiska utgångspunkter är den didaktiska triangeln samt tydliggörande pedagogik. Empirin bestod av sex observationer av musiklektioner i halvklass. Sammantaget tyder studiens resultat på att tydlighet, struktur och relationell kompetens behöver samspela för att eleverna ska kunna följa med i undervisningen fullt ut. Resultaten bekräftar tidigare forskning, men bidrar även med ny kunskap inom specifikt musikundervisning.

När vi läser om Fokus Skärholmen med alla nyabostadsområden som planeras blir det tydligt hurviktig naturen och det gröna är för människorna sombor här. Samtidigt sliter vi människor på naturen.Vi kallas för användare och nyttjare. Nyttan mednaturen beskrivs i sin tur i form av de tjänster denutför för människorna, så kallade ekosystemtjänster.Men ingenstans lyfts behovet många har – och denenorma potential som finns i – att få bry sig om ochge tillbaka till naturen. Var finns platser och tillfällenför oss att bli ”ekosystemtjänstgörare”?

Vi har hört att bostadsbristen breder ut sig hos de underjordiska? Vad behöver ni från oss människor här uppe på ert tak? Vilka ekosystemtjänster kan vi utföra för er? Vi är osäkra på till vem vi ska rikta detta brev. Med hopp om svar! (utdrag ur Jord, en korrespondens).

Elementa är en konstskrift som samlar sex nya konstverk i form av brev till Skärholmen utifrån de klassiska elementen vi är komna ur och beroende av: eld, eter, luft, vatten, våtmark och jord. Utifrån dessa brev har trettiotvå medborgarförslag tagits fram som finns att läsa i skriftens andra del: Stadsdelsdrömmar. Breven utgör utgångspunkt för att forma en livsplan (alternativ till stadsplan) för Skärholmen som illustrerar samspelet mellan människor, djur, vattendrag, mikroorganismer, växter, jord och bergstoppar i vårt ekosystem. Livsplanen anammar medborgarförslaget som readymade och skriften innehåller hela trettiotvå stycken författade för Skärholmen.

Elementa är del av konstprogrammet Konstnärliga avsmyckningar av Fokus Skärholmen som belyser den pågående stadsdelsutvecklingen i Vårberg, Skärholmen, Sätra och Bredäng där 6 300 nya bostäder med social hållbarhet som mål kommer byggas fram till 2030. Konstprogrammets titel är en kommentar på konstnärens roll i stadsbyggnadsprojekt, där enprocentsregeln om konstnärlig utsmyckning föreskriver att en andel av produktionskostnaden för offentliga byggnader och infrastruktur ska gå till offentlig konst och på så sätt göra den demokratiskt tillgänglig. Syftningen med titeln är att konstnären har en ny roll i den offentliga konsten, där konsten är fri och som sådan kan utröna, spekulera, visionera eller avslöja vad som sker bakom stadsutvecklingsvisionen eller avtäcker logiken bakom byggplasten. 

What meets my eyes on this sunny day in early September is a green and flowering island with glimmering ponds and massive windmills beating the wind. They fill the air with a slow and steady beat. Among the buzzing insects and screeching birds, it's hard to believe that beneathe a thin layer of soil, more than ten meters of white, hard phosphogypsum extends down into the sea, a material testimony of the Swedish city of Landskrona's past as a centre for fertilizer production. This island exists because synthetic fertilizers exist. In the by-product phosphogypsum, naturally occurring heavy metals have accumulated, together with fluoride, radon and high levels of phosphate. Despite its distressing history as a deposit for polluted waste – the construction began in 1978 – the artificial island locally known as Gipsön has today become a site so popular that the number of visitors needs to be regulated. How come this toxic dump, measuring approximately 36 hectares, has gathered such widespread attension and become a ceremonial site gathering people from near and far in a yearly celebration of multispecies herirages and futures? Sometimes, unexpected alliances occur around a common cause and that is precicely what happened on Gipsön. Let's rewind.

 This study aims to contribute knowledge about autistic people's experiences of music lessons in primary school. Previous studies have rarely been based on the perspective of autistic people, but the research that has been conducted shows that autistic students may need adaptations in teaching. In order to investigate autistic people's experiences of music lessons in primary school in this study, qualitative interviews have been conducted with three autistic people aged 20–25. Two interviews were conducted with each informant. Hermeneutics has been used as an interpretive tool in the analysis of the collected material and Embodiment Theory has been chosen as the theory formation. The results of the study show that the informants had a great interest in music but often experienced music lessons in primary school as stressful due to, for example, auditory and visual impressions and group work. The informants needed adaptations in the form of, for example, ear protection, breaks during the lesson or individual work. The consequences of their needs not always being met were that they were exposed to large amounts of impressions during music lessons, which contributed to anxiety, stress, headaches and burnout. The impressions could, for example, consist of high sound volumes or bright fluorescent lights. The informants had wished that the sound volume during lessons had been lower, that there had been access to ear protection, clearer instructions, the possibility of breaks and individual work. The results of the study, linked to previous research in the area, indicate that autistic people may need adaptations in music education and that this can have psychological and physical consequences if these needs are not met. The results can contribute knowledge about the experiences and needs of autistic people during music lessons, which can be useful in the professional work of music teachers.

The purpose of this work has been to examine music education as it exists outside the swedish context, based on an international stay in another culture with different conditions and structures. The aim of the work has also been to gather new pedagogical insights beyond the swedish perspective that can contribute to the multifaceted teaching profession. The approach consisted of a return visit to a previous internship placement in South Africa, where observations were conducted and a field journal was kept on the selected arts school’s music teaching. This was carried out as a case study, which involves an in-depth and context-based understanding of a specific case. The focus was to study the structural factors and cultural practices that shape key aspects of music education at the school. The collected data was analysed using a sociocultural perspective, which is grounded in how learning and development occur through social interaction within groups, cultures, and various tools. The results show that resource allocation and centrally governed curricula have a significant influence on how music education takes shape, along with the teacher’s role at this particular school. South Africa is a country with a deep history connected to many different cultural identities and traditions, often reflected in a wide range of South African musical traditions that can be regarded as important indigenous music prior to colonisation. The results also indicate that the music teaching lacks a certain musical diversity, as Western musical tradition consistently becomes the primary framework around which instruction is organised. In the local context, south african musical traditions were more frequently present outside the music classroom, which revealed how Western and local traditions occupied space in different practical settings.The findings from this case study provide detailed knowledge about the specific case and can be used to understand pedagogy from new perspectives, but they should not be generalised to other situations without further research. Future studies in this field could involve examining several South African arts schools instead of just one, allowing more of South Africa’s indigenous musical traditions to be explored and contribute deeper knowledge to the field of music education.

The aim of this interview study is to explore the educational potential that hip-hop culture holds. To achieve the purpose of the study the research questions that got proposed were: how do female hip-hop artists describe that they have grown personally and artistically through hip-hop, how do they describe the educational potential of hip-hop and how have they been affected by social norms that permeate hip-hop culture? The theoretical framework of this study is based in norm-critical pedagogy with a sociocultural understanding of education and learning. Methodologically the study consists of three interviews with female hip-hop artists, with some also being teachers, with a norm-critical perspective on hip-hop music and culture. The informants described hip-hop as simultaneously an open, free environment where learning from one another was prevalent, butand simultaneously a very male-centered and sometimes toxic environment for women, a somewhat contradicting result. The informants also held creative writing as the most important tool for learning through hip-hop. The results of the interview study brought insight into the educational potential of hip-hop and led to discussions about how to incorporate hip-hop in the music curriculum and the importance of a conscious practice of norm-critical pedagogy, where analyses of different power structures are highly valued.

It seems that the music of Bax is mostly remembered by his early tone poems, in particular the trio of Tintagel, November Woods and Garden of Fand. Connoisseurs and scholars of Bax will name his symphonic cycle which is already less known by the general public and beyond that the odd chamber work will be known by the members of its representing instrument. Of these instruments the viola seems to hold a special role throughout Bax’s output. When starting my research into Bax’s work, I quickly realized that his interest towards the instrument, far from containing itself to the sonatas and other chamber works, is also felt throughout his orchestral writing. Therefore, a selection of works from different genres is analyzed from the perspective of the viola part to highlight the composer’s choices pertaining said instrument. Thus, the aim of this paper is to present a somewhat complete view of the role the viola takes in all of his music.

Imaginary Associations is the result of a over twenty year long collaboration with master Dan Tranh musician Nguyễn Thanh Thủy whom I met in Malmö for the first time in 2005. We have collaborated on a number of pieces, projects, improvisations and texts. To develop a shared understanding for each our practices has always been at the center. /The Six Tones/, name of the group as well as the title of my ensemble piece marked the beginning of this long relationship.

Although /Imaginary Associations/ is not a piece that has grown out of a close interaction between Thủy and myself, I still see it as a collaborative work, the main ingredient of which is the Scordatura. After initially poposing the tuning as a series of gradually detuned (from an equal temperament perspective) pentatonic scales starting from a low E gradually progressing through the entire instrument, Thủy made a suggestion that had a significant impact on the way the music turned out. Dividing the instrument in two regions where the first eight strings were tuned an octave lower. This gave the instrument a very particular sound with had a big impact on the way the piece was composed.

This paper documents the deployment of a mobile, web-based, real-time distributed reverberation chamber named the Auxtrument designed for a live concert setting. Rather than presenting a technical case study, the project is framed as an artistic and collaborative investigation into how networked audio systems can inform and transform musical composition and performance. In close collaboration with a contemporary orchestra, we composed two (2) site-specific works that utilise the inherent latency and uncertainty of WebRTC media streams over a mobile network as musical parameters. Through this process, we explored new aesthetic possibilities afforded by the system, foregrounding temporal instability and environment as integral compositional tools.

This article addresses the question of experiential dimensions of space in sound, in electroacoustic music and sound arts practices in particular.We suggest that these practices are limited by the generalised way that spatial audio techniques are communicated, and we attempt to develop atentative method that would enable discussion and sharing of spatial aspects in sonic environments. These modes of articulation would permita translation of the experience of space in sound into other modalities. Reporting from a series of workshops, we outline a three-phase methodthat moves through the stages of listening, describing, recreating and imagining the sonic spaces. In the final stage, a speculative designapproach shows that shared sonic spatial experiences are essentially relational. Topics relating to expectations, biases and language – such asmemory and imagination – and the methods of mapping and speculative design are addressed in the discussion. Through the explorationspresented in this article it becomes evident that different artistic musical practices still show the same need to develop articulations that enablethe integration and communication of spatial relationships. The divide between the development of new technologies for spatial audio and theconceptual frameworks for understanding and communicating spatial sonic knowledge can be bridged, and eventually the development ofspatial audio should be fuelled by the dynamics between these two poles.