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  • 1.
    Adam, Jonathan
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Street Music, City Rhythms: The urban soundscape as heard by street musicians2018Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    The soundscape plays a key, if often overlooked, role in the construction of public urban space. Street music – a conscious deliberate propagation of sound in public space – opens an entryway into comprehending the role of sound in the city, and what it reveals about the city’s inhabitants. Ethnographic fieldwork in Brussels and Stockholm focuses on street musicians of all kinds, exploring how their music is shaped by their personal motivations, how their practices negotiate meaning in sound and in space, and how their rhythms shape, and are shaped by, the city. These explorations give reason to question R. Murray Schafer’s philosophies on soundscape studies, particularly in the urban context. Drawing from Henri Lefebvre’s notions of the production of space, and rhythmanalysis as an analytical tool, the urban soundscape is understood as an ongoing negotiation of individual actions, where dynamics of power, identity, and ideology become audible. Street musicians and their sound cultures feature not just as a topic worthy of study, but also as a guide of how and why to listen to and analyze the rhythms of the city.

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  • 2. Addessi, Anna Rita
    et al.
    Anelli, Filomena
    Benghi, Diber
    Friberg, Anders
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Child-Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children's Musical Improvisation2017In: Frontiers in Psychology, E-ISSN 1664-1078, Vol. 8, article id 65Article in journal (Refereed)
    Abstract [en]

    In this article childrens musical improvisation is investigated through the reflexive interaction paradigm. We used a particular system, the MIROR-Impro, implemented in the framework of the MIROR project (EC-FP7), which is able to reply to the child playing a keyboard by a reflexive output, mirroring (with repetitions and variations) her/his inputs. The study was conducted in a public primary school, with 47 children, aged 6-7. The experimental design used the convergence procedure, based on three sample groups allowing us to verify if the reflexive interaction using the MIROR-Impro is necessary and/or sufficient to improve the childrens abilities to improvise. The following conditions were used as independent variables: to play only the keyboard, the keyboard with the MIROR-Impro but with not-reflexive reply, the keyboard with the MIROR-Impro with reflexive reply. As dependent variables we estimated the childrens ability to improvise in solos, and in duets. Each child carried out a training program consisting of 5 weekly individual 12 min sessions. The control group played the complete package of independent variables; Experimental Group 1 played the keyboard and the keyboard with the MIROR-Impro with not-reflexive reply; Experimental Group 2 played only the keyboard with the reflexive system. One week after, the children were asked to improvise a musical piece on the keyboard alone (Solo task), and in pairs with a friend (Duet task). Three independent judges assessed the Solo and the Duet tasks by means of a grid based on the TAI-Test for Ability to Improvise rating scale. The EG2, which trained only with the reflexive system, reached the highest average results and the difference with EG1, which did not used the reflexive system, is statistically significant when the children improvise in a duet. The results indicate that in the sample of participants the reflexive interaction alone could be sufficient to increase the improvisational skills, and necessary when they improvise in duets. However, these results are in general not statistically significant. The correlation between Reflexive Interaction and the ability to improvise is statistically significant. The results are discussed on the light of the recent literature in neuroscience and music education.

  • 3.
    af Wåhlberg, Daniel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Bosse Broberg: I huvudet på en trumpetare1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 4.
    Ageberg, Erik
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Who's that girl?: Skivbolagskultur och dess påverkan på Robyn2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    ABSTRACT

    Erik Ageberg: Who's that girl? – Skivbolagskultur och dess påverkan på Robyn. Uppsala Universitet: Institutionen för Musikvetenskap. C-uppsats, 2006.

    Robyn has been one of the most successful Swedish pop stars during the last decade. She has during these ten last years gone from being a young star to being the owner of her own record label, Konichiwa Records. As a result of her last record she became an artist, highly respected by her fellow artists and the audience. The aim of this essay is to discuss the term artistic freedom in the light of Robyn's career. The organization of the music industry is the starting point of the discussion. The way the record companies create their artists are linked to the demands of the public regarding the music they wish to purchase. Accordingly, the artistic freedom is limited by the public in an indirect manner. When artists refer to artistic freedom, or lack of it, it is the author's opinion that it should be understood as a confusion of conceptual arguments. The claim of this thesis is that as the artist refers to the negligence of artistic freedom he or she is in fact targeting on the organizational culture of the music company.

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    Who's that girl?
  • 5.
    Agevall, Ola
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Social Sciences.
    Dragspelskampen: Statsbidragen, bildningsförbunden och det folkliga musicerandet 1947-19602010Conference paper (Other academic)
    Abstract [sv]

    Dragspelet var under 1900-talets mittersta tredjedel ett självklart inslag i svenskt folkligt musikliv; samtidigt befann sig dragspelsmusiken på nedersta plats i den genre- och instrumenthierarki som definierade såväl den seriösa musiken som det musikpedagogiska landskapet.

    Under 1940-talet inträffade två händelser som till dels var betingade av denna situation, och som därutöver bidrog till att skärpa den till ett socialt och organisatoriskt konfliktområde. Den ena händelsen var tillkomsten av Hagström Musiks musikskolor. För ett produktionsföretag med tonvikt på dragspelsframställning framträdde det stora intresset för dragspel som en potentiell marknad, vilken begräsandes till sin fulla utsträckning genom frånvaron av utbildningsinstitutioner villiga att undervisa på dragspel. Hagströms Musikskola blev genom sin storskalighet och inriktning ett konkurrerande musikpedagogiskt alternativ, obundet av de genre- och instrumenthierarkier som dominerade övriga aktörer på det musikpedagogiska fältet.

    Den andra händelsen var införandet av statsbidrag till studiecirklar. Detta följdes en stark expansion av antalet studiecirklar, parat med att en allt ökande andel av dessa cirklar inrättades som musik-, i synnerhet instrumentalcirklar. Bildningsförbundens musikverksamhet hade dittills varit präglade av en musiksyn som uteslöt schlager, dragspel och gitarr. Här betonades folkrörelsernas unisona sång, musikteori och klassisk musik. Men expansionen av antalet och andelen musikcirklar, i förening med intresset för dragspel och med förekomsten av ett musikpedagogiskt alternativ som inte skyggade för det instrumentet, bidrog s.a.s. med hotet om en perforering av bildningsrörelsens rågång mellan dansbana och konsertsal.

    Detta papper vill bidra med en sociologisk analys av de spänningsfält som uppstod när frågan om god smak dels flyttade in på insidan av bildningsrörelsen, dels blev föremål för skarpa beslut om medelfördelning som berörde såväl staten som det enskilda bildningsförbundet och förhållandet mellan bildningsförbunden.

  • 6.
    Agnevik, Maja
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Sara Wennerberg-Reuter: att vara kvinna och kompositör kring sekelskiftet 1800 / 19002013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details.

    Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach.

    The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are;

    a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time.

    b) the access to a network of musically active women, from which a sense of being part of a female community can be created.

    c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

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    MajaAgnevik_SaraWennerbergReuter
  • 7.
    Agstam, Mikael
    Örebro University, School of Music, Theatre and Art.
    Alexanderteknik för emotionellt uttryck i musik: Alexanderteknik som metod för en effektiv spelteknik, och en tillfredsställande musikalisk framställning riktat huvudsakligen till den klassiska gitarristen2009Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this essay, I want to achieve an accessible and applicable entrance to Alexander Technique as a method for learning to use the body in such a way as to allow emotional expression in music. It is necessary to see the real need of Alexander Technique for the active musician, and therefore important components of music-making will be presented. These components are presented from an Alexander-perspective in order to produce a clear picture of the method of application.The prerequisite for emotional expression in music is musicians and music listeners with the ability to generate, and respond after emotional impressions. Alexander Technique provides an approach to make it easier for musicians, especially guitarists, to express emotions in a performance situation.After years of practice and obtaining musical knowledge and practical skills at the instrument, it is common that muscle tension and ingrained patterns contribute to limited expression. Muscle tensions arising from pressured situations such as auditions, competitions and concerts. Repetitive movements contribute to this, and lays the foundation for an insufficient technique. It is clear that traditional learning methods need to be complemented with an approach that treats body awareness as an essential part of musical performances. The notion that the use of the body affects mental states is now a truism, and one can see an opening towards new approaches that facilitate learning as well as performance of musical works. The emotional expression is in focus here, and this study deals with musical production based on the philosophy that music should be driven by decisions involving emotional expression.

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    FULLTEXT01
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    Framsida
  • 8.
    Ahl, Ida
    Örebro University, School of Music, Theatre and Art.
    ”Att de ska få uppleva nånting av det liksom… det är målet”.: En studie om fyra slagverkslärares tankar om didaktiska möjligheter i slagverksundervisning på gymnasiet.2015Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
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  • 9.
    Ahlbeck, Bengt
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Musikutbildningen och examination vid Kungl. Musikaliska Akademien under "Pehr Frigel-epoken", 1796-18421994Licentiate thesis, monograph (Other academic)
    Abstract [en]

    In this lecentiate disseratation music education and examination at the Royal Academy of Music (KMA) during the period 1796-1842, hear called the Frigel era, is described. The theory of culture provides a general perspective for the disign of the dissertation and the illustration of the issues. A model of analysis, which is a method of investigation rather than a finished model, forms a point ot departure in my attempt to demonstrate that education and examination had a double effect in society. It meant a cultural pluralism rather than a secularization.

    Education during the Frigel era starts with an Elementary Singing School, but after 1815 its professional aim becomes gradually more obvious. Subjects during the period in question are the theory of music, singing, piano and organ. The examination for a post at school, at sixth form college or senior high school and in church is extensive. During a twenty-year period 80 music teachers, 90 precentors and 600 organists are examined.

    Important issues discussed in this essay concern education content, education quality and examination demands related to school and church activities and also to the improtance of education in the development of society.

  • 10.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    Den nordiska vallåtens tonspråk2019In: Fäbodlandskap och vallmusik / [ed] Jennie Tiderman-Österberg, Falun: Dalarnas Fornminnes och Hembygdsförbund , 2019, 1, p. 115-119Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln presenterar musikaliska egenskaper i traditionell fäbodmusikens i Sverige, med fokus på vallmusikens tonalitét, melodik och form. Artikeln sammanfattar ny forskning i fäbodmusikens tonspråk på ett enkelt sätt och nya rön baserade på unika  korpusstudier med metoder hämtade från modern kognitiv musikforskning ställs i relation till tidiga musikvetenskapliga studier av ämnet.

  • 11.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    MITIS - Musical Information  Technology in Schools: How can interactive  music technology be used to support learning of music literacy?2021Conference paper (Other academic)
    Abstract [en]

    MITIS – Musical Informational Technology in School

    The aim of the MITIS - project is to explore possibilities to create interactive teaching materials where new technology is used to distribute knowledge about musical structure (i.e. notation) as well as content in an interactive and creative way. This is carried out as a collaborative project between a group of music teachers, the company DoReMir, and researchers and staff from the Institution for Folk Music and the Institution for Music, Pedagogics and Society at the Royal College of Music in Stockholm.

    The core foundation of the project is literacy in music – for example reading and writing notation (Asmus, 2004). Notation is for most musicians an important tool to use both for taking part of, interpreting, documenting and pass music on (Hultberg, 2000). In connection with the digitalization of society and digital tools to do things such as interpreting, documenting and pass music on made available to a broader public, traditional notation has got a more hidden place in music education in schools. In the Swedish curricula for the compulsory School, notation is explicitly mentioned in 1969. In the later Curricula’s, different kind of notation is mentioned, but not as explicitly as in earlier years (Skolöverstyrelsen, 1969; Skolverket, 2019). This also aligns with the development of society as a whole, and with the strategy for digitalization that was established by the Swedish government in 2017 (Regeringen, 2017) and can be seen as a development towards a wider view on different forms of notation. However, in the aesthetic program for the upper secondary school, reading traditional notation on a basic level, is required in the Curricula (Skolverket, 2020). Furthermore, to get access to higher music education in Sweden, the skill of reading traditional notation, is required. We argue therefore, that to increase music literacy, also in regard to reading notation, can be seen as an democratic issue. To make learning notation available and possible in an easy and digitalized way, with devices available to pupils in school, may be an important step to advance possibilities for every child to access higher music education.

    An important part of the project is to develop and support learning and interpretation of notation in different creative ways. One of the starting points for this project is the technique for digital music interpretation that has been developed by DoReMir Music Research AB. This technique has been used in an app called Notysing, for learning to read and sing traditional notation with a digital device such as a reading tablet or mobile phone. The project has been running since 2018. The first year the focus was to develop the app, test it within a small group of music teachers, and ensure good technical quality as well as pedagogical foundations for the design. In 2019 testing started in compulsory as well as in upper secondary School in Sweden, with focus on gathering qualitative data through a digital survey in the app. During autumn 2020 a qualitive study has been conducted, and in-depth interviews are in progress. Pupils in San Diego has been included in 2020, also as a part of finding new teaching strategies for distance education during the Covid19 pandemic. It has been developed and tested with over 200 pupils and music teachers.

    Preliminary results suggest that pupils and music teachers are positive to learn notation through an app that uses gamification to enhance and motivate learning, and that issues that arise are mostly technical, and that the equipment of the schools, and technical skills ana knowledge of the music teacher are crucial for success. Furthermore, the results indicate that regards must be taken to

    different systems for managing IT in different schools and municipalities. Last but not least, there are great school-cultural differences in how schools work with notation in San Diego and in Sweden, which once again raises questions about how to work with it in our context, and also, why we work with it the way we currently do.

    References

    Asmus, E. P. (2004). Music Teaching and Music Literacy. Journal of Music Teacher Education, 13(2), 6–8. https://doi.org/10.1177/10570837040130020102

    Hultberg, C. (2000). The Printed Score As a Mediator of Musical Meaning – Approaches to Musical notation on Western Tonal Tradition. [Doctoral thesis, Malmö Academy of Music].

    Regeringen. (2017). Nationell digitaliseringsstrategi för skolväsendet. Utbildningsdepartementet: Bilaga till regeringsbeslut I:1, 2017-10-19.

    Skolöverstyrelsen. (1969). Läroplan för grundskolan 1 Allmän del. Utbildningsförlaget

    Skolverket (2019). Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011. Reviderad 2019. Skolverket. Skolverket.( 2020). https://www.skolverket.se/undervisning/gymnasieskolan/laroplan-program-och-amnen-i-gymnasieskolan/gymnasieprogrammen/amne?url=1530314731%2Fsyllabuscw%2Fjsp%2Fsubject.htm%3FsubjectCode%3DMUS%26courseCode%3DMUSINS01S%26tos%3Dgy&sv.url=12.5dfee44715d35a5cdfa92a3#anchor_MUSINS01

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  • 12.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    Notysing – notläsning för alla!2021Conference paper (Other academic)
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  • 13.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    Stylistic Feature Mapping for Music Performance2021Conference paper (Other academic)
    Abstract [en]

    Stylistic Feature Mapping for Music Performance 

    In the late 1970s, the Royal College of Music in Stockholm (KMH) started professional performance programs for musicians outside the domain of Western Classical Music, including e.g. Jazz and Swedish Folk music. In the beginning, it was regarded an opportunity for informally trained musicians in these genres to receive proper music education. 

    However, it soon became clear that these students, in order to develop their artistic practice within their own genres within the domain of academic music performance training, needed terminology, concepts and methods for to describe the values, aesthetics, expressions, musical structures, instrumental techniques etc. of importance in their musical practice. 

    In the clash between musical styles developed outside of the music academies and the art music with its rich history of prescriptive descriptive concepts, there was a need for communication of expressional qualities between different musical styles – and this need for revealing the tacit knowledge of non- academic performers were in particular prominent in Folk Music. An artistic research project was initiated, conducted between 1983 and 1987 (Ahlbäck 1987), with the aim to study, document and describe performance style and techniques in Swedish fiddle music from a performance perspective, however making style comparisons possible. 

    One outcome of the project was a system for description and mapping of performance style qualities, and this ‘style mapping model’ originally developed for fiddle music emerged into a more general model for describing performance style qualities that has been used in artistic reflective training and in thesis work at KMH for more than 30 years, as a tool for developing, describing, documenting and communicating artistic directions and concepts. 

    This paper discusses the features of this model in relation to musicological and music psychological approaches to music expression and style and presents empirical results from the application of the system within performance training for over 30 years including over 250 students, as well as examples of influences on contemporary musical practice. 

    How has this approach been used for development of musical concepts in different artistic reflective works? What can be learned from applying this mapping system in the meeting between musicians with different musical values? 

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  • 14.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    ”We hear what we know” - On the power of concepts: how traditional fiddle music in contemporary society can benefit fromfolk music theory2021Conference paper (Other academic)
    Abstract [en]

    ”We hear what we know” - On the power of conceptsand how traditional fiddle music in contemporary society can benefit fromfolk music theorySwedish fiddle music, just as many other fiddle traditions, has a strong connection to dance. Making people want to move their feet is one of the chief tasks ofthe fiddler, and this connection still influences the music today, even thoughthe music might be played on concert stages or be digitally streamed.So what constitutes this knowledge of the fiddler? What is important when playing a certain local styleof Swedish polska so people actually can dance to it?    If you live in an isolated community with no contact with the outside world you might not have to reflect on what is the stylistic features of your tradition but today folk music generally lives in a multi-stylistic world where different value systemsthat originates from other music traditions than fiddle music dominates. Today’s fiddlers will have to relate to today’s world of music, whether we want it or not.In Sweden, since the 19th century, there has been a tradition of mystifying the knowledge of the fiddler, making the competence of playing a matter of socio-cultural background,  geography and ancestry.The perils of this view is that the qualities of  art of fiddling might be obscuredand  actually might be lost when music transforms - as music always do.In this talk Sven Ahlbäck, who is a traditional fiddler deeply rooted in traditional Swedish FolkMusic and very involved in development of new ensemble playing and teaching, will talkabout how conceptualising stylistic qualities of Swedish fiddle music such as e.g.asymmetrical beats, swing, bowing and intonation have influenced the developmentof today’s Swedish folk music, even beyond the fiddle.

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  • 15.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music. Kungliga Musikhögskolan, Stockholm.
    What does AI learn from music?: on the problem of ground truth in music and the power of concepts2020Conference paper (Refereed)
    Abstract [en]

    Many AI applications on music relates to music theoretical models, in the sense of musical concepts and ideas of how music works, that are not always made explicit, explicitly discussed or questioned. Already the choice of representations of music and sound as well as the selection of data for training models can influence models and creative output greatly. Here we will give some examples of problems arising when modelling basic musical features, from the experience of developing  automatic music notation.

  • 16.
    Ahlman, Isak
    Örebro University, School of Music, Theatre and Art.
    VAD ÄR KUNSKAP I MUSIK?: - En intervjuundersökning av två musiklärares uppfattning om kunskap i musik2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna magisteruppsats är att undersöka två musiklärares uppfattning om kunskap i musik. Uppsatsen baseras på en diskursanalys där jag i intervjuer med två musiklärare ställt frågor som berör deras kunskapssyn. Utsagorna vittnar om två ganska skilda beskrivningar där det musikaliska uttrycket betonas i den ena medan vikten av att eleverna har de verktyg som krävs för och musicera i grupp den andra. Även om utsagorna skiljer sig åt verkar instrumentalspelet och sången spela en viktig roll. I ena fallet som en form av kanal för det musikaliska uttrycket medan det i det andra fallet fungerar som en typ av färdighetsmässig nyckel till den gruppgemenskap som musicerandet innebär. I sina beskrivningar av andra moment som musikteori och musikhistoria framstår de som betydelsefulla först då det vävs samman med instrumentalspelet och sången. I musiklärarnas utsagor framträder en bild där vissa kunskapsmoment värderas högre än andra vilket också får betydelse för musikundervisningen. 

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    I_Ahlman
  • 17.
    Ahlqvist, Petra
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Skön låt eller enformig?: En attitudundersökning om unga vuxnas sätt att tala om musikgenrer2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 18.
    Ahlsved, Kaj
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Idrottsföreningars sång- och musikkultur ur ett jämlikhets och medborgarperspektiv2022In: Saga och sed: Kungl. Gustav Adolfs Akademiens årsbok, ISSN 0586-5360, no 2021, p. 55-64Article in journal (Other academic)
  • 19.
    Ahlsved, Kaj
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Idrottspropagandans klingande former: Helsingfors gymnastikklubbs uppvisningsverksamhet 1875–19002021In: Finsk tidskrift : kultur, ekonomi, politik, ISSN 0015-248X, E-ISSN 2670-2541, no 7-8, p. 9-40Article in journal (Refereed)
  • 20.
    Ahlsved, Kaj
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Sang som våpen: Historier om sangens slagkraft2023In: Puls: Journal for Ethnomusicology and Ethnochoreology, E-ISSN 2002-2972 , Vol. 8, p. 112-115Article, book review (Other academic)
  • 21.
    Ahlsved, Kaj
    Umeå University, Faculty of Arts, Department of culture and media studies. Åbo Akademi, Åbo, Finland.
    Velocipedmusik från stålhästens decennium - hur lät den?2023In: Toiminta soi, ISSN 2737-016XArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    På 1890-talet var intresset för cykling stort i Finland. Intresset avspeglades även i musikkulturen eftersom det började komponeras musik med cykeltema. Endast en liten del av den musiken har getts ut kommersiellt i Finland. Kaj Ahlsved har grävt i arkiven och i samarbete med musiker levandegjort musiken så som den finns nertecknad i version för hornensemble i Finlands armés stämböcker. Hur lät ”cykelmusiken”, vem komponerade den och varför?  

  • 22.
    Ahnstedt, Pontus
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Visualiserad musik: Hur medier och sinnen blandas2022Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats redovisar en explorativ undersökning och studie av fenomenet och frågeställningar kring hur musik kan bli visuell och hur rytm och ton relaterar till färg. De två teorier som jag använder är intermedialitet och synestesi. Jag gör en kvalitativ intervju med olika kompositörer verksamma på folkhögskolor, musikhögskolor och universitet. Fokus i frågorna ligger på tekniska medier, de inre skeendena, kropp/känsel, gehör och visuell konst. Vad som kan konstateras genom denna studie är att den visuella aspekten av musik är mycket viktig för och flitigt använd av kompositörer. I denna uppsats får vi en inblick i deras process av detta visualiserande i komplext musikskapande. Jag diskuterar hur rytm, ton och färg har en del gemensamt. Även om rytm inte direkt för en synestetiker alstrar färger på samma sätt som toner kan göra, så tolkar jag det som att rytmen finns med i det mönster av färger de kan uppleva tillsammans med dessa klingande toner. Vidare finner jag att medier och sinnen hos kompositörer blandas hela tiden. Det kroppsliga, det auditiva och det visuella är ständigt delar av en kreativ process allt efter en kompositörs inre vision för sin musik.  

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  • 23.
    Akkerman, Renske
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Film music as a guide in complex temporal narratives: An analysis of the narrative function of Hans Zimmer’s film music in Inception (2010) and Interstellar (2014)2023Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    This thesis analyses Hans Zimmer’s film music in Inception (2010) and Interstellar (2014) that resulted from his collaboration with director Christopher Nolan. The focus lies on the narrative and temporal functions that film music can attain when used in temporal complex narratives. The analysis looks into how time is presented, manipulated, and connected through the music. Three aspects that are examined are: 1) how musical motifs function as a guide for understanding narrative themes, 2) how music gives temporal clarity within a narrative, and 3) how sound design contributes to an understanding of the temporal structure of the narrative. This thesis offers more insight into how music can function temporally, a subject worthy of more academic attention. It concludes that Zimmer’s “minimalistic maximalism” style and his creative process with Nolan are essential to how the music of Inception and Interstellarfunctions.

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  • 24. Aldskogius, Maj
    "… kunn’ I dock så wackert låta …": Uppsala Akademiska Kammarkör 50 år2007Collection (editor) (Other academic)
    Abstract [en]

    A 50th anniversary portrait of the artistically ambitious Academy Chamber Choir of Uppsala is drawn by a variety of authors: choristers, listeners and musicologists,all familiar with choral singing and choral music.

    The characteristics of the choir repertoire are extensively described by conductors, composers, Swedish and foreign soloists and instrumentalists. The choir has commissioned and delivered first performances of works by a number of Swedish composers.

    It can also be noticed how economic and organizational changes in society influence the motility of choristers, the number of performances in concert halls, churches as well as other circumstances and possibly also the very choral sound.

    The choir is invited to choral festivals, goes on tours in Europe and North America and hosts visiting choirs. The choir can also be heard on records.

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  • 25.
    Alexandersson, Sara
    Royal College of Music in Stockholm, Department of Jazz.
    Sångens roll i filmmusik: En undersökning om filmmusik utan film kan gestalta en tydlig berättelse med känsla och budskap.2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    One thing that has inspired me about film music is that it has always managed to easily pull me into a different reality. In this essay I have gone deeper into different methods of convey- ing storytelling through music. I have composed nine songs to four different filmmakers materials. This was performed at KMH the 6th of April. I did some thorough research before composing, which affected my way of approaching the music. The methods I used was proven helpful for me, not only in a compositional stage, but useful also in my vocal interpretation, when conveying the material to a band and when thinking about how the concert was going to be executed. I will use these methods further in my work as a singer and composer.

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    Examensarbete - Sara Alexandersson
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    Slutet Money Man - separat bilaga
  • 26.
    Ali, Nadja
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Nina Simone In Concert: Identifying Activism and Self-awareness Through Interactive Qualities2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The singer and activist Nina Simone played a crucial role in the political and musical outcome of the Civil Rights Movement in the 1960’s. This thesis aims to assess how Simone’s activism and self-awareness are expressed through interactive qualities by doing a case study of the performances of “Go Limp” and “Mississippi Goddam” on the live album In Concert. A relational approach has been suggested, where the focus has been on sociological elements of musical encounter such as interaction, rather than the aesthetical. Searching within four dimensions of social relations within which culture is enacted (division of labor, relations of power, tuning in and cultural embeddedness), constructed by sociologist of culture William G. Roy, shows that musical encounter is highly dependent of the social relations within which it manifests. Expressing social strategies such as irony, sing-along and humor as interactive methods shows that the performances of “Go Limp” and “Mississippi Goddam” were not solely defined by their composition and musical content, but also by how they were performed.

    Seeking beyond aesthetical features on the album In Concert have shown that the interactive qualities within the performances of “Go Limp” and “Mississippi Goddam” are highly dependent of and defined by Simone’s activism and self-awareness.

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  • 27.
    Alkenäs, Dan
    Växjö University, Faculty of Humanities and Social Sciences, School of Education.
    Får man spela fel?: Studier kring improvisationens betydelse i musikundervisning.2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.

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    FULLTEXT01
  • 28.
    Alkenäs, Dan
    Örebro University, School of Music, Theatre and Art. Linnéuniversitetet.
    Mitt Komponerande, Kreativitet Och Teknik: Självstudie av den egna kompositionsprocessen2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay describes a single case self-study of a music composer in order to track the compositional process in real time. In the study the subject and the researcher are the same person. The study builds on previous empirical studies that have used methodological approaches such as analysis of computer-based digital data collection, verbal protocol and video observations. It deals with issues of the compositional process related to for example time consumption, number of artistic decisions, the different roles and skills of a music composer, and methods of research in the musical composition process. During three shifts the researcher worked as a music composer dealing with the issue of converting an audio sketch of a composition into a representative finished audio product. The aim of the study was to highlight a specific phase the composititional process. The results can be divided into artistic and a scientific perspective. An artistic result is a developed and improved musical composition. Examples of scientific results is making visible and discussing artistic strategies in the context of musical composition. The study discusses different artistic roles that the composer uses during composing, each role with different skills and conditions, and how this role-playing significantly may influence the artistic result.

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  • 29.
    Allan, Jon
    et al.
    Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
    Leijonhufvud, Susanna
    Royal College of Music, Stockholm, Sweden.
    Listener Preferences in Streamed Music2022In: Journal of The Audio Engineering Society, ISSN 1549-4950, Vol. 70, no 3, p. 156-176Article in journal (Refereed)
    Abstract [en]

    A cross-disciplinary study between the two research areas of Audio Technology and Music Education was performed to assess how different aspects of education and experience may influence the experience of music listening given a typical streaming service-Spotify.(1) The point of departure is that streamed media facilitates a plenitude of versions of the same song. The paper focuses on the differences that these different songs yield from various mastering processes and production choices motivated by the end distribution media and user settings in the playback system that aim to alter the sound. These variations may all lead to differences in musical dynamics and timbre. A listening test was conducted to examine listeners’ preferences, the assessed audio quality, and subjects’ reports on how the music content affected them when given the possibility to compare versions in a controlled environment. The test subjects (n = 76) represented populations with various educational backgrounds and experience within music and audio technology. Among the results, it was found that education and experience in some cases do affect preferences.

  • 30.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

    In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

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  • 31.
    Almeida, Daniel
    et al.
    Linnaeus University, School of Business and Economics, Department of Management.
    Hensch, William
    Linnaeus University, School of Business and Economics, Department of Management.
    Den digitala valutans roll i musikbranschen: En undersökning av hur antalet streams, likes och följare påverkar svenska och danska artisters karriärer2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna undersökning fokuserar på hur digitala interaktioner påverkar motivationen hos svenska och danska artister inom populärmusikgenrer. Genom en kvantitativ ansats formulerade vi fyra propositioner och genomförde en enkät med 99 artister, främst DIY-artister som har släppt musik under den digitala eran.

    Resultaten bidrar till en fördjupad förståelse av hur digitala interaktioner kan ses som en form av social feedback och hur det påverkar artisternas motivation att bygga en karriär inom musikbranschen.

    Vi kan konstatera att digitala interaktioner, även om de inte är den enda faktorn, är en viktig faktor att beakta för att etablera sig inom musikbranschen, särskilt under den digitala eran då möjligheterna har ökat.

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    Den digitala valutans roll i musikbranschen
  • 32.
    Almer, Anton
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Hur känns harmoni?: En musikpsykologisk undersökning om betydelsen av ackord för framkallade känslor2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna undersökning handlar om hur en reharmonisering påverkar unga vuxna musikers känslomässiga uppfattning av låten ”Tryggare kan ingen vara”. För att få reda på vilka känslor deltagarna kände fick de fylla i ett formulär som var baserat på Geneva Emotional Music Scale (förkortat som GEMS). Utöver detta formulär fick de även svara på två korta frågor samt fylla i ett formulär om sin musikaliska bakgrund.

    Studien visar att unga vuxna musiker känslomässigt reagerar annorlunda på olika harmoniseringar av ”Tryggare kan ingen vara”. De mest intressanta skillnaderna presenteras och analyseras med hjälp av uträknade median- och medelvärden utifrån formuläret som är baserat på GEMS. Dessa siffror jämförs sedan med de andra frågorna som deltagarna fick svara på och det förs resonemang kring varför de möjligen svarade som de svarade.

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  • 33.
    Alsing, Hans-Jörgen
    University of Gävle, Department of Humanities and Social Sciences, Ämnesavdelningen för kultur- och religionsvetenskap.
    Vad har Jungs arketyper med musik att göra?2009Independent thesis Basic level (university diploma), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Ansatsen på denna uppsats är att undersöka om de går att identifiera arketyper enligt de förutsättningar Carl Gustav Jung anger i musik och vilka krav som ställs för att arketyperna ska framträda. Författarens ambition är också att se om de presenterade resultaten kan användas som förklaringsmodell till de fenomen som bland annat uppträder i musikterapisituationer.

    En betydelsefull utgångspunkt för arbetet är att undersöka om vaggvisan kan betraktas som en symbol i jungiansk mening och därigenom fungera som en länk till det kollektiva omedvetna. För att vaggvisan ska få sin numinösa laddning krävs emellertid att tre krav är uppfyllda:

    • Först och främst krävs att utövaren (föräldern) är helt och hållet närvarande i situationen.
    • Den musik som produceras måste innehålla arketypiska element.
    • Mottagaren måste känna sig utvald.

    Utifrån det material som presenteras kan vaggvisan accepteras som en symbol i jungiansk mening, vilket också banar väg för att lansera en arketyp som författaren kallar: ”Dansknytningens arketyp”. Utgångspunkten för denna arketyp är att betrakta musiken som tonsatt rörelse och att vaggvisan i sin djupaste mening har en starkt anknytande funktion. Fenomenet uppstår sannolikt också i andra musiksammanhang och genom att närmare se på vad i musiken som appellerar till det arketypiska blir det möjligt att finna flera argument för att acceptera musiken som bärare av arketypiska budskap.

    Musiken besitter ett antal lekande funktioner och läkande egenskaper som inte tillmäts något större värde av det rationella samhället. Med en större förståelse för hur det kollektiva omedvetna påverkar oss människor och vilken betydelse musiken skulle kunna ha i sammanhanget öppnas kanske vägar för ett samhälle i bättre balans mellan det verbala och existentiella. Avsikten med denna uppsats är kanske pretentiös men genom att belysa denna problematik och tydliggöra att människan och musiken är en odelbar helhet går det kanske att ta ett steg i den riktning jag önskar.

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  • 34.
    Alsterfors, Linn
    Örebro University, School of Music, Theatre and Art.
    Musik och sport: Med ”tro i våra hjärtan”.: En kvalitativ studie om musiken ochsupportramsornas funktion och användning i hockeysammanhang.2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsen efterforskar vilken funktion och användning supportramsor och deninspelade musiken har i hockeysammanhang och för fem unga vuxna i Sverige med intresse förÖrebro hockey, som uppsatsen är avgränsad till. Studien undersöker även om musiken ellersupportramsorna kan ha en roll som identitetskonstruktörer för publiken. Arbetet utgår frånföljande huvudfrågeställningar, Vilken funktion och användning har musiken som spelas iarenan och hur upplever publiken den ur ett individuellt som kollektivt perspektiv? Hur användssupportramsor vid lagsportevenemanget hockey? Har musiken och supportramsorna enfunktion som identitetskonstruktör för publiken, och i sådana fall hur? För att undersöka dettahar jag genomfört fem semi-strukturerade kvalitativa intervjuer. Detta för att lyfta fram varjeinformants erfarenheter och personliga åsikter om ämnet. Studien tar teoretisk utgångspunkt iStuart Hall och Paul du Gays definition av begreppet identitet (Hall & du Gay, 1996) sominnebär att identitet inte är något statiskt utan det formas i ett samspel med omgivningen ochLars Lilliestams resonemang om musikens betydelse för människan, hur den ger reaktioner ikroppen samt hur musik kan reglera vårt humör.Det finns lite tidigare forskning om musikens funktion i hockeysammanhang. Denna uppsatsbidrar med kompletterande perspektiv till de få studier som har gjorts (Ahlsved 2014, 2017).Uppsatsen visar i likhet med tidigare forskning hur musiken har specifika funktioner under enhockeymatch samt hur supportramsorna är ett tecken på samhörighet och gemenskap. Dennagemenskap visar även hur supportramsorna och musiken fungerar som identitetsmarkörer förpubliken. På grund av att det inte finns mycket tidigare forskning om just musik och hockey såutgår detta arbete från mina informanters perspektiv. Resultatet för uppsatsen avser inte att varaheltäckande utan det är en fallstudie utav en grupp supportrar om deras upplevelser, tankar ochidéer om musiken och supportramsorna.

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  • 35.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Amphions of the North: Court Kapellmeisters in the Musical life of Sweden around 18002020In: Performing Arts in Changing Societies: Opera, Dance, and Theatre in European and Nordic Coutries around 1800 / [ed] Randi Margrete Selvik, Svein Gladsø, Anne Margrete Fiskvik, Routledge , 2020, p. 96-113Chapter in book (Refereed)
  • 36.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    An inventory of Swedish music vol. III: twenty 19th-century composers from Du Puy to Söderman2013Book (Refereed)
  • 37.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Anders Edling: Emil Sjögren.2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 92Article, book review (Other academic)
  • 38.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Aspects Concerning the Institutionalisation of Swedish Musical life in the 19th Century and the Case of Grand Opéra in Stockholm.2010In: Musikleben des 19. Jahrhunderts in nördlichen Europa. Strukturen und Prozesse/19th-Century Musical Life in Nothern Europe. Structures and Processes: / [ed] Toomas Siitan, Kristel Pappel und Anu Sooro, Hildesheim, Zürich, New York: Georg Olms Verlag , 2010Conference paper (Other academic)
  • 39.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berättelsen om hur Rienzipartituret hamnade i Stockholm2016In: Tidskriften Opera, ISSN 1651-3770, Vol. 5, p. 68-71Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Die Königliche Schwedische Hofkapelle und die Meyerbeer-Tradition in Stockholm2008In: The Opera Orchestra in 18th and 19th Century Europe: II: The Orchestra in the Theatre - Composers, Works and Performance, Berlin: Berliner Wissenschafts Verlag , 2008Chapter in book (Other academic)
  • 41.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Musikvetenskap.
    Die Rezeption des Rienzi in Stockholm 1844–19052015In: Wagnerspectrum, ISSN 1614-9459, Vol. 22, p. 85-114Article in journal (Other academic)
  • 42.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Erik Kjellberg, Arvet efter Johann Sebastian Bach: En äventyrlig historia2019In: Tidig musik: magasinet för musik från medeltid, renässans och barock, ISSN 1400-5123, Vol. 39, no 3, p. 33-33Article, book review (Other (popular science, discussion, etc.))
  • 43.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Four Marriages and a Funeral" - Die Institution des Hofkapellmeisteramtes in Stockholm 1792-18182018In: Das Amt des Hofkapellmeisters um 1800: Bericht des wissenschaftlichen Symposiums zum 250. Geburtstag des dänischen Hofkapellmeisters Friedrich Ludwig Aemilius Kunzen (1761-1817), Det Kongelige Danske Videnskabernes Selskab / Royal Danish Academy of Sciences and Letters, 27. September 2011 / [ed] Joachim Kremer, Heinrich W. Schwab, Neumünster: Bockel , 2018, p. 59-89Chapter in book (Refereed)
  • 44.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Franz Berwald Sämtliche Werke, Band 25, Supplement. Ola Eriksson, Michael Kube, Bonnie Lomnäs och Erling Lomnäs. Red: Margareta Rörby. Kassel: Bärenreiter, 20122014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 96, no 1, p. 3-6Article, book review (Other academic)
  • 45.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunnar Bucht. 2016. Mitt liv är en roman som intresserar mig mycket. Hector Berlioz: musiken, människan, tiden.2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 101, p. 293-295Article, book review (Other academic)
  • 46.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halevy's La juive in Stockholm 1835-18662017In: Dokumenterat, E-ISSN 1404-9899, Vol. 49, p. 17-41Article in journal (Other academic)
  • 47.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halévy’s La Juive in Stockholm, 18662018In: Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe / [ed] Jens Hesselager, Routledge, 2018, p. 80-94Chapter in book (Refereed)
    Abstract [en]

    The opera La Juive by Fromental Halévy was first performed in Paris in 1835. It rapidly became a worldwide success, and was performed – and discussed – all over Europe within a few years of the Parisian premiere. La Juive was first performed in Stockholm 1866. This chapter deals with especially the press reactions to the first performance. The case of the reception of Halévy’s La Juive is a good example of the complex interaction and mobility of ideas, aesthetics, musical works, performers, performance practices, vocal and instrumental techniques, but also in acting, direction, production and scene techniques during the period.

  • 48.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur Figaro kom till Sverige2014In: Figaros bröllop / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, p. 50-54Chapter in book (Other (popular science, discussion, etc.))
  • 49.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur importen byggde upp kulturlivet: Essärecension av Tomi Mäkelä ”Fredrik Pacius, kompositör i Finland”2010In: Hufvudstadsbladet, ISSN 0356-0724, no 21/1Article, book review (Other (popular science, discussion, etc.))
  • 50.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Joachim Nikolas Eggert: Symphony in E-Flat Major (Score) (Edited by Avishai Kallai and Jari Eskola) Stockholm: Musikaliska konstföreningen, 2010. och Joachim Nikolas Eggert: Symphony in C-Major (Score) Stockholm: Musikaliska konstföreningen, 20102011In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 93, p. 96-98Article, book review (Other academic)
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