Suchergebnisse

"Music from the backyard": Hagström's music education, is a PhD thesis that investigates the music education that the company Hagström ran from 1946 to 1983. The aim of the thesis is to investigate and recreate Hagström's music educational history from a Deweyan pragmatist point of departure. The study searched for answers to the following questions: What were the societal and educational settings in which Hagström's music education took place? How did Hagström's music education develop, and what led to its rise and fall? What educational content and pedagogical ideas constituted Hagström's music education? How can Hagström's educational enterprise be understood with the help of Bourdieu's theories of symbolic capital? Because of the historical nature of the study, the availability of empirical material was limited. Hagström had some archived material which I was given access to, and there were a great deal of periodicals from the time with articles about music education on people's spare time. Additionally, the Hagström course books were important documents, since they were the only centralized document to govern the directions for Hagström's music education. The pragmatist perspective of the study led to a desire to highlight parts of the human experience that constituted the history. Based on a snowball-sampling strategy, I traced down eleven persons from Sweden and Norway which were interviewed.The results of the analysis became a story about Hagström in the society - a story that revealed an entrepreneur whose company grew quickly and represented other values than the better parts of the cultural establishment in Sweden. The company rested on several pillars: The production of accordions, and later on even guitars, basses, organs and amplification systems, import of music merchandise, as well as the largest chain of music retail shops in the Nordic countries. The music education started in 1945 in Växjö, and in 1946, the rest of the country. In the beginning they taught accordion and guitar, but later developed to include electric bass, organ and keyboard as well. The courses were organised as group education with a duration of ten weeks in a semester. Geographically they were spread all over Sweden as well as around Oslo, Bergen and Copenhagen. All in all there were close to 100 000 pupils attending Hagström's music education. Hagström's music education was, despite new ideas such as group education and that the student should be able to play a melody as quickly as possible, a fairly traditional master-apprentice kind of education. The teacher demonstrated what he considered to be the correct technique and musical performance, and the student imitated. The pupil had little or no opportunities to influence the content of the education. On a macro level however, Hagström's music school was important in the process towards a more democratic music education in Sweden. Hagström helped to increase the availability of music education through their geographical dispersion as well as the affordability of attending the courses. An important difference from the other agents on the market that aimed to refine the students' musical preferences, was that Hagström had no musical agenda. Hagström might have contributed to Sweden's strong position on the global popular music scene. ; "Från musikundervisningens bakgårdar": Hagströms musikpedagogik är en monografi som behandlar den musikundervisning som bedrevs i företaget Hagströms regi från 1946 till 1982. Syftet med avhandlingen var att undersöka och återskapa Hagströms musikpedagogiska historia med utgångspunkt i ett pragmatisk utbildningspedagogiskt perspektiv. Studien sökte svar på följande frågor: I vilka sociala och utbildningsmässiga kontexter försiggick Hagströms musikutbildning? Hur utvecklades Hagströms musikundervisning och vad ledde till dess uppgång och fall? Vilket pedagogiskt innehåll och vilka pedagogiska var väsentliga i Hagströms musikpedagogiska verksamhet? Hur kan Hagströms musikpedagogiska verksamhet förstås med hjälp av Bourdieus teorier om symbolisk kapital? Som historisk studie var det tillgängliga empiriska materialet begränsat. Hagström hade en del arkivmaterial lagrat som jag kunde få tillgång till, och det fanns en mängd tidskrifter från den aktuella perioden som behandlade utbildningen. Kursböckerna var viktiga dokument genom att de var de enda centraliserade styrdokumentet för hur Hagströms musikskola skulle utformas. Det pragmatiska perspektivet förde med sig ett behov av att synliggöra delar av den mänskliga erfarenhet som konstituerar historien. Baserad på en snöbollssamplings-strategi spårade jag elva personer från Sverige och Norge som jag intervjuade. Resultatet av analyserna blev en historia om Hagström i samhället - en historia som visade en entreprenör vars företag växte snabbt och i opposition till stora delar av det kulturella etablissemanget i Sverige. Bolaget hade flera ben att stå på: Produktion av dragspel och senare även gitarrer, basar orglar och förstärkarsystem, import av musikutrustning, försäljning genom Nordens största kedja med butiker, tryck av noter samt musikundervisning.Musikundervisningen startade 1945 i Växjö och 1946 i resten av landet. Instrumenten som det inledningsvis undervisades på var dragspel och gitarr men det utvecklades till att även inkludera elbas, orgel och keyboard. Kurserna var organiserade som gruppundervisning och en kurs pågick under tio veckor. Geografiskt var de spridda över nästan hela Sverige samt runt Oslo, Bergen och Köpenhamn. Tillsammans estimerar jag att uppemot 100 000 elever har fått undervisning i Hagströms musikskola. Hagströms musikundervisning var, trots nya idéer som gruppundervisning och att eleven snabbt skulle uppnå klingande resultat, en variant av traditionell mästare-lärling-pedagogik. Läraren förevisade vad som ansågs rätt teknisk och musikalisk och eleven imiterade. Eleven hade liten eller ingen påverkan på innehållet i undervisningen. På ett makroplan var Hagströms musikskola viktig i arbetet med att demokratisera svensk musikpedagogik genom att tillgängligheten ökade. Vidare var kursavgifterna överkomliga och det var billigt att hyra instrument. Hagström hade ingen musikalisk agenda, vilket skilde honom från andra aktörer på marknaden som hade som mål att förädla elevernas musikaliska preferenser. Hagströms musikskola kan sägas ha bidragit till vad som nuförtiden kallas det svenska musikundret. ; Godkänd; 2009; 20090501 (kettho); DISPUTATION Ämnesområde: Musikpedagogik / Music Education Opponent: Professor Gunnar Ternhag, Högskolan Dalarna Ordförande: Professor Sture Brändström, Luleå tekniska universitet Tid: Fredag 5 juni 2009, klockan 13:00 Plats: Musikhögskolan Piteå, Sal L165

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis o

Fourteen disabled persons used a one-hand chordic device for typing. This keyboard was designed to minimize physical exertion and to inhibit unwanted psychomotor reactions so as to facilitate its use by persons with cerebral palsy, muscular dystrophy, and related disorders. The keyboard fits the fingers of one hand. A character is typed by pressing a combination of fingers corresponding to a typing code developed earlier. Typing rates of text transcription ranged from 8 to 14 words/min after 5 h of practice. These results indicated that the physical configuration and cognitive operation of a chordic keyboard would permit disabled persons to use computers.

History comes across as a product of the effort to create social memory, written or verbal. It is based on information and documents and avoids emotional biases. Music, on the other hand, is a multifaceted phenomenon and its aim to entertain shapes it. On one hand, it interprets emotions, and on the other hand it bears the social, cultural and historical codes of the society to which it belongs. For this reason, it is possible to discover specific details of historical events in the kilams/songs of dengbêjs, important exponents of the Kurdish music of orality. This study focuses on unveiling traces of historical events in the songs of the dengbêjs, in context of the relationship between history and music. Information and documents dealing with the Kozanoğlu events in kilam/songs are compared. A good example of the importance of the dengbêjs in Kurdish history is taken from when in the 19th century, the Ottoman state established a military unit called Fırka-i Islahiye as a part of its policy of asserting its full dominance in rural areas, and also to carry out compulsory resettlement policies. In order to support the operation, the Kurdish chief Sürmeli Memed Pasha set out, taking with him under his auspices Evdale Zeynikê, a dengbej singer. However, the Kurdish troops reaching Kozan were defeated due to the climatic conditions and the cholera epidemic. Witnessing all the events, Evdale Zeynikê sang kilam/songs for every stop on the route and on the death of the Pasha. Throughout this account, which is based in Kurdish culture and immured with a strong dengbêj tradition, it is possible to find details of Kurdish history in the kilams/songs of the dengbêjs.

Introduction/purpose: This paper provides an overview of research on computer system vulnerabilities caused by compromised electromagnetic radiation by wireless keyboards. Wireless devices that use event-triggered communication have been shown to have critical privacy issues due to the inherent leakage associated with radio frequency emissions. Wireless connectivity technology is a source of signal emanation that must be protected in terms of performance and security. Methods: Wireless device vulnerabilities and side-channel attacks are observed, along with electromagnetic emission of radio waves. Results: The findings highlight a specific wireless keyboard's security and encryption flaws. The results of penetration testing reveal vulnerabilities of targeted wireless keyboards in terms of outdated firmware, encryption, wireless reliability, and connection strength. Conclusion: Wireless keyboards have security flaws that disrupt radio communication, giving a malicious user complete access to the computer to which the keyboard is connected. An attacker can steal sensitive data by observing how the system works using compromised electromagnetic emissions.

This volume offers the first systematic exploration of the past as manifested in music of the later Middle Ages and the early modern period. It takes the reader on a journey of discovery across the continent, from the genesis of a new sense of a musical past in early thirteenth-century Paris to the complex and diverse roles and pedigrees given music of the past in sources, media, genres, communities, and regions in the Age of Reformations. Particular attention is given to the use of older styles and musical traditions in changing constructions of religious and political identity, laying the groundwork for a revised narrative of European music history that accommodates within its framework the full plurality of styles and regions found in the sources. The volume concludes with reflections on the conflicting appropriations and effects of the musical past today in composition, performance, musicological discourse, and tourism.

The article devoted to the disclosure of historical facts in distance learning of musical art. Analyzes the methodological and technological problems that teachers faced at different stages of Internet technologies and their implementation in process of teaching music. Revealed the effectiveness of distance learning future musicians. Described the main limitations of online training and ways to avoid them. A conclusion was about the current trends and prospects for development of distance music education.

Scholars are increasingly turning to rock'n'roll and its many genres as a means of exploring the recent past. What is electrifying about popular music in all its myriad forms is that it becomes a channel for rethinking social relations and affective communities (those held together by emotional ties) in the post-war period. These new identities and unconventional groupings exploded onto national societies, and their emancipatory programmes and inventive scenes drove democratisation. Societal responses to rock'n'roll indicate that popular music and the spaces where it manifested were highly contested, confrontations that enable scholars to reconsider historical narratives from alternative perspectives. Perhaps most importantly, as an expressive genre both driving and recording change, popular music is uniquely positioned to initiate and then document, through its material output, the efforts by individuals to alter everyday life and, as such, is an ideal vehicle for exploring the tremendous transformations that society has undergone in the post-war era.