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Leijonhufvud, SusannaORCID iD iconorcid.org/0000-0003-2250-3939
Publications (10 of 19) Show all publications
Leijonhufvud, S. (2016). Musical cyborg – the human–non-human offspring within music streaming. In: Musikliv i snabb förändring – hur förändras forskningen?: . Paper presented at Music Focused Interdisciplinary Research & Analysis Center (Mirac), Stockholm, Sweden, November 16-17, 2016.
Open this publication in new window or tab >>Musical cyborg – the human–non-human offspring within music streaming
2016 (English)In: Musikliv i snabb förändring – hur förändras forskningen?, 2016Conference paper, Oral presentation only (Refereed)
Abstract [en]

The musical cyborg is the hybrid life form between the musicking human and smart algorithms that inhabits streaming services of music. The neologism derives from Donna Haraway’s cyborg but instead of accounting for technological elements built into the human body the musical cyborg is a hybrid between software code in the shape of algorithms and the human autonomic nervous system which regulates emotions, moods, heartbeats, breathing, and body temperature.

Music streaming services offers a plethora of available music. The amount of musical content is no longer at stake; rather it is the selection of that content aligned with a constant need to find “new” music within the plethora. Therefore, by necessity music needs to be tailored for us in one way or the other. Music streaming companies such as Spotify has since its launch into the Internet focused on these particular issues making social suggestions from peers, the ability “to follow” peers within the Spotify community, recommended playlists etc. as different entrances toward selection and suggestions of music. As a Spotify user it is possible to select or ignore recommendations with a simple screen touch. So far the user have been active on a rather high cognitive level in making decisions like this. However this is about to change.

Quite recently Spotify launched its ‘running app’ an application on the smart phone that can detect the tempo of running and use that input to tweak the tempo of a certain piece of music, which in turn is used by the runner to enforce the running. The whole arrangement shows a looped activity where it is rather difficult to identify and isolate a prompt to the course of events. We know from earlier research within musicology and adjacent research areas that humans uses music for all sorts of purposes for diverse activities like leisure, focus or even therapy. If we add to that the emerging development of Internet of Things (IoT) which conveniently emerges in our everyday life and embraces us like the tempo detectors in our smart phones, the pulse meters on our wrists, smart fabrics detecting body temperature, smart car seats reading pressure points of our backs, screens reading our facial expressions and so on, we are facing a new dawn where the physical input to the digital systems are almost automatic even though the input stems from the human herself.

Whilst studying Spotify as a case example of a music streaming service and combining this with a screening of the inventions of ICT I have come to this conclusion that music can serve as a role model for how the cyborg can bring us closer to humanity than ever before. The modern negotiation represented by Marx, Adorno, and Benjamin where man shall differ himself from he machine. The mission of the humanities, which where music belongs to, have been to offer an alternative to a technological reproduction, affording emancipation and refinement for the human being. I suggest a different reading of contemporary technology in the realm of digitalisation. The originating digital cyborg can actually offer a deepened understanding of what it means to be human and discover our human potential, not in contrast to the machine but on the contrary on behalf of being cyborg in an intertwined relationship between humans and non-humans (i.e. the machine). The musical cyborg is not the end of the modern project where humans cease into the belonging to the machine, instead the cyborg constitute a new beginning post the modern. As it need the human input in order to operate and act. This is an act of Action – the beginning of something new – a musical advent – to quote Hannah Arendt’s biblical words “for unto us a child is born” – I suggest that that child is to be a Musical Cyborg.    

 

 

 

National Category
Musicology
Research subject
Musicology
Identifiers
urn:nbn:se:oru:diva-53553 (URN)
Conference
Music Focused Interdisciplinary Research & Analysis Center (Mirac), Stockholm, Sweden, November 16-17, 2016
Available from: 2016-11-18 Created: 2016-11-18 Last updated: 2017-10-18Bibliographically approved
Leijonhufvud, S. & Ferm Thorgersen, C. (2015). Music as Art – Art as Being – Being as Music: A Philosophical Investigation into How Music Education Can Embrace a Work of Art Based on Heidegger’s Thinking. In: Frederik Pio & Øivind Varkøy (Ed.), Philosophy of music education challenged: Heideggerian Inspirations. Music, education and personal development (pp. 113-128). New York: Springer-Verlag New York
Open this publication in new window or tab >>Music as Art – Art as Being – Being as Music: A Philosophical Investigation into How Music Education Can Embrace a Work of Art Based on Heidegger’s Thinking
2015 (English)In: Philosophy of music education challenged: Heideggerian Inspirations. Music, education and personal development / [ed] Frederik Pio & Øivind Varkøy, New York: Springer-Verlag New York, 2015, p. 113-128Chapter in book (Refereed)
Abstract [en]

Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music possesses the power to strike us and hence throw us into Being. The chapter communicates an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. The chapter presents an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. To structure the philosophical investigation two lines were drawn; one investigating Art as an opener to Being and the other line investigating the inescapable nexus of how the Artist makes the Work of Art simultaneously as the Work of Art makes the Artist. The results show that there is an overrepresentation of phenomena connected to what Heidegger refers to as Earth and an underrepresentation of what he refers to as World. According to Heidegger, the phenomenon of art will not reveal itself unless both Earth and World are present, connected to each other throughstrife; a state of tension where Being comes forth. Being, in the Heideggerian sense, has the power to change history and hence constitute history on both a collective and an individual level. Although not explicitly stated in the music syllabus, our results suggest that there are possibilities for art as Being to be expressed in the subject of music.

Place, publisher, year, edition, pages
New York: Springer-Verlag New York, 2015
Series
Landscapes: the Arts, Aesthetics, and Education, ISSN 1573-4528 ; 15
Keywords
Music Art Being Music education Syllabus
National Category
Humanities
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-38237 (URN)10.1007/978-94-017-9319-3_7 (DOI)978-94-017-9318-6 (ISBN)978-94-017-9319-3 (ISBN)
Available from: 2014-10-29 Created: 2014-10-29 Last updated: 2017-10-17Bibliographically approved
Leijonhufvud, S. & Ferm Thorgersen, C. (2015). The Music Teacher in the Nexus of Art Origin. In: Werner Jank & Cecilia Ferm Thorgersen (Ed.), : . Paper presented at International Society for Philosophy in Music Education (ISPME) Symposium X 2015. Frankfurt
Open this publication in new window or tab >>The Music Teacher in the Nexus of Art Origin
2015 (English)In: / [ed] Werner Jank & Cecilia Ferm Thorgersen, Frankfurt, 2015Conference paper, Published paper (Refereed)
Place, publisher, year, edition, pages
Frankfurt: , 2015
National Category
Philosophy Musicology
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-42742 (URN)
Conference
International Society for Philosophy in Music Education (ISPME) Symposium X 2015
Note

Conference minutes:http://ispme.net/index.php/minutes/2015-frankfurt-am-main-germany/

Available from: 2015-02-17 Created: 2015-02-17 Last updated: 2018-06-26Bibliographically approved
Leijonhufvud, S. (2015). The Musical Cyborg: An Offspring between Music Consumers and Smart Algorithms. In: Mark Grimshaw and Peder Kaj Pedersen (Ed.), Nordic Musicological Congress, August 11-14 2015 in Aalborg.: . Paper presented at Nordic Musicological Congress, August 11-14 2015 in Aalborg.. Aalborg
Open this publication in new window or tab >>The Musical Cyborg: An Offspring between Music Consumers and Smart Algorithms
2015 (English)In: Nordic Musicological Congress, August 11-14 2015 in Aalborg. / [ed] Mark Grimshaw and Peder Kaj Pedersen, Aalborg, 2015Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Currently we have the opportunity to get involved in digital distribution of music. This digital consumption of music implies numerous implications for the consumer i.e. the music listener as well as the music producers. This presentation will highlight one of the major findings of my PhD-project that aims to cover these issues using the industry darling Spotify as a lens, the advent of a musical cyborg.

         Spotify offers streamed music, which briefly means that the music can be accessed rather than owned. In digital setting attached to this access model the consumer is no longer a passive receptor of a product. Instead the consumers are an inevitably part of the musical assortment range and even participate in the development of the Spotify product. The consumer could even be regarded as a co-creator of the musical piece given the opportunities that digital contexts offer.

         The product of Spotify is regarded as a market place, a polis. This market place is explored due to its actors, where, when and how it can be accessed, what type of goods are offered at the market place; musical pieces, systematic archive system, play lists, personal suggestions of new music, social dimensions of shared musical experiences and so on. The flow and exchange of currency is also investigated, as identity of the user becomes a currency for free usage of musical services. The polis, is also investigated in regard to an agora where social and negotiating aspects of a musical product takes place e.g. the sharing and recommending of music. These actions by the digital music consumer suggests the advent of a musical cyborg, a human digital life form manifested in the usage of smart algorithms used for intelligent recommendation of music is based on data that the user puts into the digital system. Hence, digital music consumption is undoubtedly pushing musical humans towards musical cyborgs as digital presence in physical life is twisted towards physical presence in digital life. 

Place, publisher, year, edition, pages
Aalborg: , 2015
Keywords
streamed music, digital music distribution, Spotify, music consumption
National Category
Musicology
Research subject
Musicology
Identifiers
urn:nbn:se:oru:diva-38235 (URN)
Conference
Nordic Musicological Congress, August 11-14 2015 in Aalborg.
Available from: 2014-10-29 Created: 2014-10-29 Last updated: 2017-10-17Bibliographically approved
Bjerstedt, S., Hanne, F., Leijonhufvud, S. & Lonnert, L. (2015). The playing now: A philosophical investigation of present time in music. In: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015: . Paper presented at Nordiskt nätverk för musikpedagogisk forskning (NNMPF), Helsinki, Finland, 3-5 March, 2015. Helsingfors: Sibelius Academy
Open this publication in new window or tab >>The playing now: A philosophical investigation of present time in music
2015 (English)In: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015, Helsingfors: Sibelius Academy, 2015Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Introduction: Music, such as the duration of a musical piec e or length of a concert, can b e measured by metronomes and clocks in objective time ( chronos ). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time ( kairos) . Music has an intrinsic temporal dimension of experienced time , often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fasc inating object for philosophical exploration. Musical practice em bodie s temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of sem antic fullness , a meaningful moment . Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon o f music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.

Place, publisher, year, edition, pages
Helsingfors: Sibelius Academy, 2015
Keywords
music time perception philosophy presence
National Category
Musicology Educational Sciences
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-42715 (URN)
Conference
Nordiskt nätverk för musikpedagogisk forskning (NNMPF), Helsinki, Finland, 3-5 March, 2015
Projects
Symposium
Available from: 2015-02-17 Created: 2015-02-17 Last updated: 2018-06-26Bibliographically approved
Leijonhufvud, S. & Nyberg, J. (2014). Assessment of musical quality: a case study of achieving a World Champion title in chorus singing. In: : . Paper presented at Nordic Network for Research in Music Education (NNMpF), 23-25 april 2014, Stockholm, Sweden.
Open this publication in new window or tab >>Assessment of musical quality: a case study of achieving a World Champion title in chorus singing
2014 (English)Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

In 2013 the World Champion title in female barbershop singing was awarded the Swedish chorus Rönninge Show Chorus. This achievement was historical not only because the winning score was the highest ever in the history of the competition, but foremost because it was made by a non-American chorus. How did this become possible? All participating choruses are assessed by a standard, which among other criteria includes being in command of American English in order to perfect formants, and thereby the united sound of the Chorus. This event has triggered our interest in researching the assessment protocol of the competition, and how such criteria guide the pedagogical work of the chorus – work that has led to mastery and scoring a new world record. 

In our presentation we will describe the atomistic standard used in the assessment of musical qualities of the female barbershop singing competition environment: Music, Sound, Expression and Showmanship. These four categories are in turn divided into a number of assessment units. In relation to music education we will focus on the first three categories, which we find to be relevant in any musical work. In addition to this, our presentation will describe the underlying choral work based on interviews with the two conductors of the Rönninge Show Chorus. Finally, we will discuss the barbershop learning practice in relation to a musical educational context: What can we learn from this explicit, atomistic judgement practice in the ongoing discussion regarding atomistic and holistic assessment in music education?

Keywords
music, assessment, chorus, singing, musical qualities
National Category
Musicology
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-35480 (URN)
Conference
Nordic Network for Research in Music Education (NNMpF), 23-25 april 2014, Stockholm, Sweden
Available from: 2014-06-24 Created: 2014-06-24 Last updated: 2019-04-12Bibliographically approved
Leijonhufvud, S. (2014). Experience of Singing – a musically vocal confirmation of my existence in the world: A phenomenological investigation from a first-person perspective. In: Jens Knigge & Anne Niessen (Ed.), : . Paper presented at Arbeitskreis Musikpädagogische Forschung, AMPF, Engers Germany, 10-12 okt 2014. Neuwied-Engers, Germany
Open this publication in new window or tab >>Experience of Singing – a musically vocal confirmation of my existence in the world: A phenomenological investigation from a first-person perspective
2014 (English)In: / [ed] Jens Knigge & Anne Niessen, Neuwied-Engers, Germany, 2014Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Experience of Singing - a musically vocal confirmation of my existence in the world

A phenomenological investigation from a first-person perspective

Susanna Leijonhufvud, Fil.Lic.PhD-student in Musicology at Örebro university,Sweden

susanna.leijonhufvud@oru.se

The phenomenon of singing, in music education, is primarily understood through the research of acoustics (Sundberg 1999). This research has formed the base for our understanding of the singing apparatus and hence how singing education should be postulated considering these results. During recent years we have also learned about the psychological and social aspects of singing and different types of health effects that can be added to our previous understanding of the phenomenon (Sloboda 2005, Theorell 2009). I claim that these disciplines have not yet fully described the holistic phenomenon of singing from the perspective of the singer. In this paper presentation I suggest an additional approach towards an understanding of singing – the philosophical phenomenological perspective (Ihde 2007).

The results from my licentiate thesis where the phenomenon of Singing Experience (Erlebnis) is treated will be presented. The purpose of the thesis was to reveal the general essence and the essences that constitute the phenomenon of singing from the singers’ point of view. Singing should, in this context, be understood as a unique human vocal expression carried by tones in a form that is sonorous, alive and fluid (Smith 1979). The first-person perspective experiences the singing whilst singing with others. To reveal essences, content within the phenomenon, the study uses a transcendental phenomenological approach from a first-person perspective (Husserl 1995). The phenomenological methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience (Husserl 2004). In that way, the result point towards the possible and are not, in this sense limited to the situational and particular. In the thesis the result of this eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a theoretical model of the constitution of the phenomenon of singing (Leijonhufvud 2011).

Initially the presentation will briefly describe the entry to the study as well as the background and the method of gathering experiences and analysis of ditto. The main part of the presentation will focus on the results of the thesis, a theory of singing, i.e. a model of a constitution of the phenomenon of singing. The model shows immanent and transcendent essences of singing as well as bodily and emotive essences. The theoretical model also shows the essence of cogito, humanity, time and space, music, love and the divine. At the end of the presentation of the result, I will briefly guide trough the phenomenological reduction that the phenomenon undergoes, through use of the theory, in order to suspend the belief in the existence of the phenomenon itself (Spiegelberg 1994). That means that even if the phenomenon in itself is non-existing, the experience of it must exist if it survives this appraisal of reduction. As we cannot investigate the phenomenon in itself, this epistemology provides a possibility to investigate the intentionality between the phenomenon and the cogito within the living body. Therefore, as Husserl claims, the existence of the intentionality is the closest we can get to the phenomenon itself (Husserl 2004).

The results highlights the findings of the acoustic extension of the phenomenological body of the singer, the different aspects of listening to one's own voice as well as the tight connection the phenomenon of singing has with the very existence of what I experience as me. The result also reveals essences of transcendence. This last finding might be provoking in music educational settings. If the transcendent, hence transcendent knowledge is knowledge that lacks a priori knowledge, how then can a music educator play a part in the developing of such transcendent skills in singing? How shall we treat such aspects of singing whilst singing together or teach singing? The final discussion will invite further questions regarding the study of a musical phenomenon from a first-person and a third-person perspective. The target of such a problematization is how we, as music educators, can work with the other who only has access to her/his own experience of her/his singing voice, tone and timbre when we make music together? How is it at all possible to tune in into an inter-subjective experience of singing considering these issues?

ReferencesHusserl, E. (2004). Idéer till en ren fenomenologi och fenomenologisk filosofi. Stockholm: Thales. Original title: Ideen zu einer reinen Phänomenologie und phänomenologischen Philosophie. Erste Buch, 1913. Translation: Jim Jakobsson.

Husserl, E. (1995). Fenomenologins idé. Göteborg: Daidalos. Original title: Die Ideen der Phenomenologie, 1907. Published 1950. Translation: Jan Bengtsson.

Ihde, D. (2007). Listening and Voice: Phenomenologies of Sound. State University of New York Press, 1976.

Leijonhufvud, S. (2011). Sångupplevelse - en klingande bekrä¤ftelse på min existens i världen: en fenomenologisk undersökning ur första-person perspektiv. (Licentiate dissertation). Stockholm: KMH-förlaget. http://www.diva-portal.org/smash/get/diva2:446147/FULLTEXT01.pdf

Theorell, T. (2009). Noter om musik och hälsa. Stockholm: Karolinska Institutet University Press.

Sloboda, J. A. (2005). Exploring the musical mind: cognition, emotion, ability, function. Oxford: Oxford Univ. Press.

Smith, J. F. (1979). The Experience of Musical Sound. Gordon and Breach Science Pub. Inc.

Spiegelberg, H. (1994). The Phenomenological Movement. The Netherlands: The Kluwer Academic Publisher. (Part V: The Essentials of the Phenomenological Method, s. 677-719).

Sundberg, J. (1999). Perception of singing. In: The Psychology of Music. Second Edition. Academic Press Series in Cognition and perception. California: San Diego (ed.) Diana Deutsch, p. 171-214.

Place, publisher, year, edition, pages
Neuwied-Engers, Germany: , 2014
Series
Susanna Leijonhufvud
Keywords
singing, phenomenology, first-person, transcendence, Husserl, Gesang, Phänomenologie, der ersten Person, Transzendenz, Husserl
National Category
Musicology Educational Sciences
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-42738 (URN)
Conference
Arbeitskreis Musikpädagogische Forschung, AMPF, Engers Germany, 10-12 okt 2014
Available from: 2014-06-24 Created: 2015-02-17 Last updated: 2017-10-17Bibliographically approved
Leijonhufvud, S., Ferm Thorgersen, C., Zandén, O., Rolle, C. & Lehmann-Wermser, A. (2014). Leistungsbewertung im kompetenzorientierten Musikunterricht Videobasierte Unterstützungssysteme zur Bewertung musikpraktischer Leistungen: Anregungen aus Schweden. In: : . Paper presented at Bundeskongress Musikunterricht, Leipzig, Germany, 17-21 Sep 2014..
Open this publication in new window or tab >>Leistungsbewertung im kompetenzorientierten Musikunterricht Videobasierte Unterstützungssysteme zur Bewertung musikpraktischer Leistungen: Anregungen aus Schweden
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2014 (German)Conference paper, Oral presentation only (Other academic)
National Category
Humanities
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-38236 (URN)
Conference
Bundeskongress Musikunterricht, Leipzig, Germany, 17-21 Sep 2014.
Available from: 2014-10-29 Created: 2014-10-29 Last updated: 2020-01-28Bibliographically approved
Zandén, O. & Leijonhufvud, S. (2013). Bedömningsstöd i ämnet musik: uppdrag, överväganden och design. In: Øivind Varkøy (Ed.), : . Paper presented at Nordic Network for Music Educational Research NNMPF 2013, Bergen, Norway, February 26 - March 1, 2013.
Open this publication in new window or tab >>Bedömningsstöd i ämnet musik: uppdrag, överväganden och design
2013 (Swedish)In: / [ed] Øivind Varkøy, 2013Conference paper, Oral presentation with published abstract (Refereed)
Abstract [sv]

I anslutning till genomförandet av den stora läroplans- och bedömningsreformen Lgr11 har Skolverket producerat material som syftar till att underlätta arbetet med att implementera reformen. En del i Skolverkets material är ett så kallat bedömningsstöd. Detta paper kommer att presentera uppdraget, överväganden och design av bedömningsstödet i ämnet musik för årskurs nio respektive årskurs sex, ett arbete som undertecknande har genomfört.  Bedömningsstödets explicita syfte är att öka likvärdigheten i betygsättning mellan olika skolor i Sverige. Vid utarbetandet av stödet för årskurs nio gavs relativt fria händer att, med förankring i en referensgrupp musiklärare, utforma materialet. Bedömningsstödet för årskurs sex hade något snävare gränser, bland annat för att det förväntades anknyta till stödet för årskurs nio. En utgångspunkt för båda bedömningsstöden var att de skulle centreras kring elevers konkreta musicerande och behandla frågor om musikalisk kvalitet i anslutning till eller helst med klingande exempel. Samtidigt ville vi undvika att skapa ”benchmarks”, det vill säga modeller för vad man ska prestera som helhet för att få ett visst betyg. Bedömningsstödet i musik för årskurs nio innehåller i stället omfattande diskussioner om kvalitetsaspekter i elevers musicerande och bedömer dessa aspekter med kunskapskravens terminologi och värdenivåer utan att ge summativa omdömen om de enskilda elevernas helhetsprestationer. Bedömningsstöden innehåller inspelningar av elevers musikskapande och musicerande, inspelade såväl som skriftliga lärarkommentarer, referenser till forskning om bedömning samt förslag på hur materialet kan användas som fortbildning och för professionalisering inom musiklärarkåren. Under arbetets gång har vi fått balansera mellan uppdraget, våra musikaliska och musikdidaktiska värderingar samt vårt ansvar som forskare. I presentationen kommer vi att beskriva och illustrera uppdraget, några av de kritiska överväganden vi gjort, materialets slutliga utformning samt, förhoppningsvis, något om hur det blivit emottaget av musiklärare. 

National Category
Musicology Educational Sciences
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-42747 (URN)
Conference
Nordic Network for Music Educational Research NNMPF 2013, Bergen, Norway, February 26 - March 1, 2013
Available from: 2013-02-06 Created: 2015-02-17 Last updated: 2018-05-26Bibliographically approved
Leijonhufvud, S. (2013). Filosofiskt perspektiv på sångupplevelsen som fenomen (1ed.). In: Cecilia Ferm Thorgersen (Ed.), Perspektiv på praktiknära musikpedagogisk forskning: utkomster av en forskarskola (pp. 207-227). Luleå: Luleå Tekniska Universitet
Open this publication in new window or tab >>Filosofiskt perspektiv på sångupplevelsen som fenomen
2013 (Swedish)In: Perspektiv på praktiknära musikpedagogisk forskning: utkomster av en forskarskola / [ed] Cecilia Ferm Thorgersen, Luleå: Luleå Tekniska Universitet , 2013, 1, p. 207-227Chapter in book (Refereed)
Place, publisher, year, edition, pages
Luleå: Luleå Tekniska Universitet, 2013 Edition: 1
National Category
Educational Sciences Musicology
Research subject
Musicology esp. Musical Education
Identifiers
urn:nbn:se:oru:diva-42728 (URN)978-91-7439-748-2 (ISBN)978-91-7439-749-9 (ISBN)
Available from: 2013-10-24 Created: 2015-02-17 Last updated: 2018-05-26Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-2250-3939

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