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  • 1. 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, ISSN 1664-1078, E-ISSN 1664-1078, Vol. 8, 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.

  • 2.
    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
  • 3.
    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.

  • 4.
    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.

  • 5.
    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.

  • 6.
    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.

  • 7.
    Ahl, Ida
    Örebro University, School of Music, Theatre and Art, Örebro University, Sweden.
    ”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
  • 8.
    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.

  • 9.
    Ahlbäck Åkestam, Maria (Mia)
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Gejrot, ClaesRiksarkivet.Andersson, RogerStockholm University, Faculty of Humanities, Centre for Medieval Studies.
    The Birgittine Experience: papers from the Birgitta conference in Stockholm 20112013Collection (editor) (Refereed)
    Abstract [en]

    "The Birgittine Experience" brings together nineteen papers presented at The Birgitta Conference 2011: A Marcus Wallenberg Symposium (Stockholm, 6-8 October 2011). This richly illustrated volume offers a broad view of recent Birgittine scholarship. The plurality of the field is clearly demonstrated by the fact that the authors represent not only several academic disciplines bur also no fewer than ten different countries.Although a rich variety of topics are addressed and many types of source material have been used, the editors have aimed at thematic unity. Thus, the themes of the individual contributions revolve around three main focal points: vernacular text production in the different monasteries, Birgittine art and culture, and the Birgittine Order in an international setting.The reader will meet detailed accounts of Birgittine texts and manuscripts and in-depth studies of matters such as the visual culture, the theological lines of influence or the didactic function of the Revelations. But also more material aspects of Birgittine culture have been considered, for example textiles, paintings and architecture. Some papers deal exclusively with the everyday life and rituals in the European Birgittine convents.

  • 10.
    Ahlman, Isak
    Örebro University, School of Music, Theatre and Art, Örebro University, Sweden.
    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. 

  • 11.
    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
  • 12. 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.

  • 13.
    Alkenäs, Dan
    Örebro University, School of Music, Theatre and Art, Örebro University, Sweden. 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.

  • 14.
    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.

  • 15.
    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.

  • 16.
    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.

  • 17.
    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.

  • 18.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Opera as a showcase for the modern: the Stockholm opera 1790-18202015Conference paper (Other academic)
  • 19.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Recension/review: Kube, Michael, Eriksson, Ola, Lomnäs, Bonnie och Lomnäs, Erling (2012): Franz Berwalds Sämtliche Werke, Band 25, Supplement. (Kassel, Basel, London, New York och Prag: Bärenreiter-Verlag) ISMN 979-0-006-49532-02014In: Svensk tidskrift för musikforskning, ISSN 2002-021X, Vol. 96, no 1, 3-6 p.Article, book review (Other academic)
  • 20.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    La juive in Stockholm- traces and interpretations2014In: Abstract: konferensens hemsida, 2014Conference paper (Refereed)
  • 21.
    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, 85-114 p.Article in journal (Other academic)
  • 22.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rienzi in Swedish (1865): the case of the Stockholm score2015In: The Wagner Journal, ISSN 1755-0173, Vol. 9, no 2, 19-34 p.Article in journal (Other academic)
  • 23.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Ständigt denne Mozart2014In: Programtidning : Radiokören, Sveriges Radios Symfoniorkester, no mars, 6-7 p.Article in journal (Other (popular science, discussion, etc.))
  • 24.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”Judinnan i Sverige”2014In: Judinnan / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, 32-37 p.Chapter in book (Other academic)
  • 25.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Kube, Michael, Erksson, Ola, Lomnäs, Bonnie & Lomnäs, Erling (2012): Franz Berwald Sämtliche Werke, Band 25, Supplement. (Kassel, Basel, London, New York och Prag: Bärenreiter-Verlag) ISMN 979-0-006-49532-02014In: Svensk tidskrift för musikforskning, ISSN 0081-9816Article, book review (Other academic)
  • 26.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Rienzi Score in Stockholm – a Recently Discovered Wagner Autograph?2014In: Dokumenterat, Bulletin från musik- och teaterbiblioteket, ISSN 1404-9899, no 46, 35-59 p.Article in journal (Other academic)
  • 27.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”Hur Figaro kom till Sverige”2014In: Figaros bröllop / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, 50-54 p.Chapter in book (Other academic)
  • 28.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Wagnerreceptionen i Sverige 1840-18652014In: Musikforskning idag, Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Den svenske lexikografen Leonard Höijer (1815–1885) skrev 1864 i sitt Musiklexikon: ”Hans [Wagners] opera Tristan och Isolde har ännu inte blivit uppförd, men utkommit i partitur och clavérutdrag”. Hans kommentar är karaktäristisk för den svenska situationen, där många kände till Wagners sena Musikdramen, redan innan någon av Wagners tidigare operor hade satts upp på Kungliga teatern i Stockholm. Pappret har för avsikt att undersöka den Svenska Wagner-receptionen från 1840-talet, fram till och inkluderande produktionen av Wagners grand opéra Rienzi i Stockholm i juni 1865.

    Första delen behandlar Wagnerreceptionen i Sverige före Rienzi: svenska musikers (sångare, dirigenter) kontakter med Wagners musik och skriftställeri under resor och studieuppehåll på kontinenten; de tidigast kända Wagnerframförandena (Foroni, Smetana, Czapek) i Sverige; publicering av noter och texter samt Wagner i massmedia.

    Andra delen behandlar förberedelserna inför och framförande av Rienzi 1865. Uruppförandet placeras in i sin historiska kontext samt yttre förutsättningar (den svenska grand opéra-traditionen, besättningsutveckling). Framförandet i Stockholm var det första av Rienzi utanför det tyska språkområdet och det andra över huvud taget av en Wagneropera. (Det första var det beryktade Tannhäuserframförandet i Paris 1861.) Det svenska källmaterialet är synnerligen rikhaltigt och i flera avseenden intressant. Receptionshistoriska aspekter.

  • 29.
    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, Vol. 92Article, book review (Other academic)
  • 30.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Tomi Mäkelä: Fredrik Pacius, kompositör i Finland2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92Article, book review (Other academic)
  • 31.
    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.))
  • 32.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Robert Schumann 200 år2010In: Musikmagi, Berwaldhallens programtidning, no janArticle in journal (Other (popular science, discussion, etc.))
  • 33.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Ludvig Norman. Konsertstycke för piano och orkester F-dur op 54.2008Other (Other (popular science, discussion, etc.))
  • 34.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Traces of a performance: A presentation and critical examination of the sources regarding the Rienzi premiere in Stockholm 18652015Conference paper (Refereed)
  • 35.
    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)
  • 36.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Johann Gottlieb Naumann und die Hofkapelle in Stockholm2006In: Johann Gottlieb Naumann und  die Europäischen Musikkultur des Ausgehenden 18. Jahrhunderts: Bericht über das internationale Symposium vom 8. bis 10. Juni 2001 im Rahmen der Dresdner Musikfestspiele 2001 / [ed] Ortrud Landmann und Hans-Günther Ottenberg, Hildesheim, Zürich, New York: Georg Olms Verlag , 2006, 227-248 p.Chapter in book (Refereed)
  • 37.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ’… musikens högsta och rikaste konstform …’ – aspekter på instrumentation, orkestrering och satsteknik i Alfvéns tre första symfonier2012In: Hugo Alfvén – liv och verk i ny belysning / [ed] Gunnar Ternhag och Joakim Tillman, Hedemora: Gidlunds , 2012, 41-64 p.Chapter in book (Refereed)
  • 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 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)
  • 40.
    Ander, Owe
    Stockholm University.
    "Svenska sinfoni-författares karaktäristiska orkester-egendomligheter": aspekter på instrumentations-, orkestrerings- och satstekniken i Berwalds, Lindblads och Normans symfonier2000Doctoral thesis, monograph (Other academic)
  • 41.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Hallgren, Karin
    Franz Berwald. Profane Vokalwerke II.: Franz Berwald Sämtliche Werke Band 22.2.2010Other (Other academic)
  • 42.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Lundberg, Mattias
    Principer, frågor och problem i musikvetenskapligt editionsarbete.: Exempel från pågående inventerings-, editions- och utgivningsprojekt.2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article in journal (Refereed)
  • 43.
    Andersson, Anders-Petter
    Malmö högskola.
    "Shoot ’em up -musik": om musikaliska strukturer för interaktivt berättande i tevespelet Rez2003In: NM/T Nutida Musik/Tritonus, ISSN 0029-6597, no 2, 26-30 p.Article in journal (Other academic)
    Abstract [sv]

    Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.

  • 44.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Europeiska ljudlandskap – tur och retur: en betraktelse inifrån av ett soundscape-projekt2010In: Nutida musik, ISSN 1652-6082, no 1, 45-47 p.Article in journal (Refereed)
  • 45.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Interaktiv musikkomposition2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.

  • 46.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society. Kristianstad University, Forskningsplattformen Hälsa i samverkan.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Vocal and tangible technology for music and health2013In: Book of abstracts: setting the tone: cultures of relating and reflecting in music therapy / [ed] Gro Trondalen, Oslo: The Norwegian Academy of Music , 2013, 24-24 p.Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience. They are also essential for our way to communicate and build relations cross borders like abilities, ages, locations, backgrounds and cultures. Voice and tangibility gradually become more important when developing new music technology for the Music Therapy and the Music and Health fields, due to new technology possibilities that have recently arisen. For example smartphones, computer games and networked, social media services like Skype. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project. The goal is to improve health for families, adults and children with severe disabilities through use of collaborative, musical, tangible sensorial media. We build on use of voice in Music Therapy and studies by Lisa Sokolov, Diane Austin, Kenneth Bruscia and Joanne Loewy. Further we build on knowledge from Multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible, sensorially stimulating interactive media, that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross- media techniques, to create rhythms, melodies and harmonic chords to stimulate body- voice connections, positive emotions and structures for actions. The reflections in this paper build on action research methods, video observations and research-by-design methods. We reflect on observations of families and close others with children with severe disabilities, interacting in three vocal and tangible installations.

  • 47.
    Andersson, Anders-Petter
    et al.
    The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Designing empowering vocal and tangible interaction: 2013In: The International conference on new interfaces for musical expression / [ed] Kyogu Lee, Kaejeon, Korea: Seoul National University , 2013, 406-412 p.Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-experience, and our communication and relational possibilities. They gradually become more important for Interaction Design due to increased development of tangible interaction and mobile communication. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible media. We build on the use of voice in Music Therapy and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that through use reduce isolation and passivity and increase empowerment for the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 48.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Research Platform for Collaboration for Health.
    Cappelen, Birgitta
    Oslo School of Architecture and Design.
    Vocal and tangible interaction in RHYME2014In: Music, Health, Technology and Design / [ed] Stensæth, Karette, Oslo: Norwegian Academy of Music , 2014, 21-38 p.Chapter in book (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for Information and Communication Technology (ICT), due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the fields of Assistive Technology, Health Technology and Universal Design. In this paper we present and discuss our work with voice and tangible interaction in our on-going research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use, can reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 49.
    Andersson, Anders-Petter
    et al.
    Institute of Design, The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    Institute of Design, The Oslo School of Architecture and Design.
    Vocal and tangible interaction crossing borders2013In: Include Asia 2013 Proceedings: global challenges and local solutions in inclusive design, Conference on inclusive design / [ed] Jeremy Myerson, London: Helen Hamlyn Centre of Design, The Royal College of Art in London, The Hong Kong Design Centre , 2013Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for ICT, due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the Universal Design field. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 50.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Research Platform for Collaboration for Health.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Musical interaction for health improvement2014In: Oxford handbook of interactive audio / [ed] Karen Collins, Bill Kapralos, Holly Tessler, Oxford: Oxford University Press , 2014, 247-262 p.Chapter in book (Refereed)
    Abstract [en]

    During the past decade, tangible sensor technologies have matured and become less expensive and easier to use, leading to an explosion of innovative musical designs within video games, smartphone applications, and interactive art installations. Interactive audio has become an important design quality in commercially successful games like Guitar Hero , and a range of mobile phone applications motivating people to interact, play, dance, and collaborate with music. Parallel to the game, phone, and art scenes, an area of music and health research has grown, showing the positive results of using music to promote health and wellbeing in everyday situations and for a broad range of people, from children and elderly to people with psychological and physiological disabilities. Both quantitative medical and ecological humanistic research show that interaction with music can improve health, through music’s ability to evoke feelings, motivate people to interact, master, and cope with difficult situations, create social relations and experience shared meaning. Only recently, however, the music and health field has started to take interest in interactive audio, based on computer-mediated technologies’ potential for health improvement. Here, we show the potential of using interactive audio in what we call interactive musicking in the computer-based interactive environment Wave. Interactive musicking is based on musicologist Christopher Small’s concept “musicking”, meaning any form of relation-building that occurs between people, and people and things, related to activities that include music. For instance, musicking includes dancing, listening, and playing with music (in professional contexts and in amateur, everyday contexts). We have adapted the concept of "musicking" on the design of computer-based musical devices. The context for this chapter is the research project RHYME. RHYME is a multidisciplinary collaboration between the Centre for Music and Health at the Norwegian Academy of Music, the Oslo School of Architecture and Design (AHO), and Informatics at the University of Oslo. Our target group is families with children with severe disabilities. Our goal is to improve health and wellbeing in the families through everyday musicking activities in interactive environments. Our research approach is to use knowledge from music and health research, musical composition and improvisation, musical action research, musicology, music sociology, and soundscape studies, when designing the tangible interactive environments. Our focus here is interaction design and composition strategies, following research-by-design methodology, creating interactive musicking environments. We describe the research and design of the interactive musicking environment Wave, based on video documentation, during a sequence of actions. Our findings suggest some interactive audio design strategies to improve health. We base the design strategies on musical actions performed while playing an instrument, such as impulsive or iterative hitting, or sustainable stroking of an instrument. Musical actions like these can also be used for musicking in everyday contexts, creating direct sound responses to evoke feelings that create expectations and confirm interactions. In opposition to a more control-oriented, instrument and interface perspective, we argue that musical variation and narrative models can be used to design interactive audio, where the audio is seen as an actor taking many different roles, as instrument, co-musician, toy, etc. In this way, the audio and the interactive musicking environments will change over time, answering with direct response, as well as nose-thumbing and changing response, motivating creation, play, and social interaction. Musical variation can also be used to design musical backgrounds and soundscapes that can be used for creating layers of ambience. These models create a safe environment and contribute to shared meaning.

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