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  • 1.
    Brown, Steven
    et al.
    Institutionen för kulturvetenskaper, Göteborgs universitet.
    Volgsten, Ulrik
    Institutionen för kulturvetenskaper, Göteborgs universitet.
    Aesth/ethic epilogue: is Mozart’s music good?2006Inngår i: Music and manipulation: on the social uses and social control of music / [ed] Steven Brown, Ulrik Volgsten, New York: Berghahn Books , 2006, 1, s. 365-369Kapittel i bok, del av antologi (Fagfellevurdert)
  • 2. Brown, Steven
    et al.
    Volgsten, Ulrik
    Institutionen för musikvetenskap, Stockholms universitet.
    Controlling the music: controlling the listener2000Inngår i: Music forum, ISSN 1327-9300, Vol. 6, nr 3, s. 23-25Artikkel i tidsskrift (Fagfellevurdert)
  • 3. Brown, Steven
    et al.
    Volgsten, UlrikDepartment of Musicology, Göteborg University, Göteborg, Sweden.
    Music and manipulation: on the social uses and social control of music2006Collection/Antologi (Fagfellevurdert)
  • 4.
    Brown, Steven
    et al.
    Institutionen för kulturvetenskaper, Göteborgs universitet.
    Volgsten, UlrikInstitutionen för kulturvetenskaper, Göteborgs universitet.
    Music and manipulation: on the social uses and social control of music2006Collection/Antologi (Fagfellevurdert)
  • 5. Pontara, Tobias
    et al.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Allmänna teknologier och privata rum: förutsättningar för den digitala tidsålderns  solipsistiska ljudkultur2019Inngår i: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige, Lund: Mediehistoria, Lunds universitet , 2019, s. 187-205Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [sv]

    Att lyssna på musik i avskildhet, solitärt lyssnande, är en av de mest utbredda formerna av musiklyssnande i vår digitala tidsålder. Men i nästan ett halvt sekel av ljudåtergivningstekniken var olika former av socialt lyssnande normen. I den här artikeln diskuterar vi vad vi ser som de viktigaste förutsättningarna för solitärt lyssnande som det utvecklades under det tjugonde århundradet. Mer specifikt argumenterar vi för att solitärt lyssnande blev den dominerande formen att lyssna vid mitten av seklet som ett resultat av tre olika men sammanhängande faktorer i det moderna samhället: (1) uppkomsten av det moderna vardagsrummet; (2) ankomsten av nya och alltmer sofistikerade teknologier för ljudåtergivning och (3) en ständigt växande individualism i samhället som helhet, vilken främjade en estetisk individualism där solitärt lyssnande fann en naturlig plats. Med internet, digital teknik och moderna ljudavskiljande hörlurar har utvecklingen lett till vad som kan beskrivas som en solipsistisk ljudkultur. Men samtidigt, genom att t.ex. dela musik och musikaliska spellistor på sociala medier, verkar äldre tiders sociala aspekter av musikaliskt lyssnande åter ha kommit till heders.

    Fulltekst (pdf)
    Allmänna teknologier och privata rum: Förutsättningar för den digitala tidsålderns solipsistiska ljudkultur
  • 6.
    Pontara, Tobias
    et al.
    University of Gothenburg, Gothenburg, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Musicalization and Mediatization2017Inngår i: Dynamics of mediatization: institutional change and everyday transformations in a digital age / [ed] Oliver Driessens, Göran Bolin, Andreas Hepp, Stig Hjarvard, Cham: Palgrave Macmillan, 2017, s. 247-269Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter identifies and examines a phenomenon we propose to call musicalization. It discusses how processes of musicalization relate to and interact with processes of mediatization. Musicalization is defined as an ever-increasing presence of music in culture and everyday life. As such it comprises both a discursive and a dramaturgical dimension. In the first part of the chapter these dimensions or aspects of musicalization are considered in detail. The second part discusses how musicalization relates to mediatization. We argue that three possible variants of this relation can be discerned: musicalization may be regarded as (a) quantitatively conditioned by mediatization; (b) a qualitative part of mediatization; and (c) a relatively autonomous phenomenon in relation to mediatization. As such musicalization involves both analogue and digital modes of communication.

  • 7.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Family-centred music therapy during painful procedures in neonatal care2018Konferansepaper (Fagfellevurdert)
  • 8.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre For Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Klässbo, Maria
    Centre For Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Family-centred music therapy during painful procedures in neonatal care2018Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Background: During the most vulnerable period in a child’s life, preterm and sick newborns are exposed to a high number of painful procedures, sometimes without the comfort of their parents. Repeated pain and frequent use of opioids can have consequences for the neurological and behaviour-oriented development of the infant.It is vital to identify a repertoire of effective non-pharmacological interventions.

    Method: Preterm and term infants (n=38) were subjected to venepuncture with and without live lullaby singing, in a randomised order with a cross over design. Parent-preferred lullabies were performed live by a music  therapy student. Standard care (facilitated tucking and oral glucose) was provided for all neonates. Behavioural and physiological pain responses were assessed.

    Results: Live singing with newborn infants is a social communicative interaction. If the vocal performance is predictable and regular from start, it may optimize homeostasis during painful procedures. However, the live lullaby singing did not show a statistically significant effect on the infants' pain score. There was a significantly calmer breathing pattern in the lullaby intervention versus the control condition in the pre-needle stage. There were non-significant indications of fewer and shorter skin punctures with lullaby singing.

    Conclusion: The additive effect of live lullaby singing has not been shown to alleviate infants’ behavioural pain responses during venepuncture; nor has it been shown to be stressful. Pain involves the interaction of biopsychosocial and situational factors,  therefore more research is needed to explore the potential benefits of music therapy including the role of the parents.

  • 9.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing as affective support during painful procedures: a case study with microanalysis2017Inngår i: Nordic Journal of Music Therapy, ISSN 0809-8131, Vol. 26, nr 2, s. 142-166Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    During the most vulnerable period in a child’s life, preterm and sick infants are exposed to a high number of painful procedures, sometimes without the comfort and affection of their parents. Since repeated pain and frequent use of analgesic drugs may have consequences for the neurological and behaviour-oriented development of the infant, it is vital to identify effective non-pharmacological interventions with regard to procedural pain. This paper reviews the use of live lullaby singing as an adjuvant to the control of premature infant pain. The objectives of this case study were to analyse the live lullaby singing for two premature infants during venipuncture in comparison to standard care only, and the infants’ physiological and affective responses emerging before, during and after this procedure. The empirical data stem from a quantitative clinical study. From this larger study, two premature infants were selected. Through microanalysis, with in-depth analysis of video footage, and pain assessment with Behavioral Indicators of Infant Pain (BIIP), painful standard care procedures with and without live lullaby singing, were analysed. The results show that live lullaby singing with premature infants is a communicative interaction which may optimize the homeostatic mechanisms of the infant during painful procedures. This case study shows the importance of predictability of the affective support, right from the start of the live singing intervention. It is important in a painful context that vocal interactions provide regular and comforting intensity, shape and temporal structures.

  • 10.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Landstinget i Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centrum för klinisk forskning, Landstinget i Värmland, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing as affective support during venepuncture. A case study with microanalysis of two premature born infants.2015Konferansepaper (Fagfellevurdert)
  • 11.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Landstinget i Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centrum för klinisk forskning, Landstinget i Värmland, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing as affective support during venepuncture. A case study with microanalysis of two premature born infants.2015Konferansepaper (Fagfellevurdert)
  • 12.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Landstinget i Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centrum för klinisk forskning, Landstinget i Värmland, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing as affective support during venepuncture. A case study with microanalysis of two premature born infants2016Inngår i: Musikforskning i dag, Linnéuniversitetet, Växjö, 14–16 juni 2016 / [ed] Lars Berglund, Växjö, Sweden: Linnéuniversitetet , 2016, s. 31-31Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Objective: During the most vulnerable period in a child’s life, preterm and sick newborns are exposed to a high number of painful procedures, sometimes without the comfort and affection of their parents. Since repeated pain and frequent use of opioids can have consequences for the neurological and behaviour-oriented development of the infant, it is vital to identify effective non-pharmacological interventions with regard to procedural pain.

    Methods: Preterm and ill term neonates (n=38) were subjected to venepuncture with and without live infant-directed lullaby singing, in a randomised order with a cross over design. Physiological data were collected and the procedures were videotaped. Parents (n=11) and staff (n=11) were interviewed about live singing as affective support. From this larger study two premature infants were selected for a case study. Their behavioural and physiological responses as well as the liveperformed lullaby, were analysed in-depth with microanalysis.

    Results: Transcriptions of the lullaby-performances identified signs of “amodal perception” and “time in movement” by which the infants transposed the vocalization of the live-singing into their behaviour synchronizing in dance-like body gestures with the variations in intensity, shape and temporal structures of the vocal performance. Live singing with premature infants is a social communicative interaction which may optimize homeostasis during painful procedures if the lullaby singing is predictable and regular from start.

    Conclusion: Since emotional regulation is a central feature of music therapy this case study brings important clinical implications for how the affective interaction between the music therapist or the parent and the infant should be composed during painful procedures. Pain involves the interaction of biopsychosocial and situational factors, therefore more research is needed to explore the potential benefits of music therapy including the role of the parents.

    Fulltekst (pdf)
    Live music therapy with lullaby singing as affective support during venepuncture. A A case study with microanalysis of two premature born infants
  • 13.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing as affective support during venepuncture: A case study with microanalysis of two premature born infants2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Introduction: Acute and repeated pain has long-term negative impact on infants’ development and future behaviour. The use of analgesic drugs has negative side-effects, which emphasizes the need for complementary approaches to pain management.

    Objective: The objectives were to analyze the live lullaby singing for two premature infants during venepuncture in comparison to standard care only, and the infants’ physiological and affective responses emerging before, during and after this procedure.

    Methods: Preterm and ill term infants (n=38) were subjected to venepuncture with and without live infant-directed lullaby singing, in a randomised order with a cross over design. Physiological data were collected and the procedures were videotaped. Two premature infants’ behavioural and physiological responses as well asthe live-performed lullaby, were analysed in-depth with microanalysis and with the pain assessment tool Behavioral Indicators of Infant Pain (BIIP).Results: Live singing with premature infants is a social communicative interaction. If the vocal performance is predictable and regular from start, it may optimize homeostasis during painful procedures.

    Conclusion: Since emotional regulation is a central feature of music therapy this case study brings important clinical implications for how the affective interaction between the music therapist or the parent and the infant should be composed during painful procedures.Pain involves the interaction of biopsychosocial and situational factors, therefore more research is needed to explore the potential benefits of music therapy including the role of the parents.

  • 14.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing during painful procedures in neonatal care2016Konferansepaper (Fagfellevurdert)
  • 15.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing during painful procedures in neonatal care2016Inngår i: Nordisk tidskrift for musikkterapi - Nordic Journal of Music Therapy, ISSN 0809-8131, E-ISSN 1944-8260, Vol. 25, nr Suppl. 1, s. 79-Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Background: Acute and repeated pain has long-term negative impact on infants’ development and future behaviour. The use of analgesic drugs has negative side effects, which emphasises the need for complementary approaches to pain management.

    Methods: Preterm and ill term neonates (n = 38) were subjected to venepuncture with and without live infant-directed lullaby singing, in a randomised order with a cross over design. Physiological data were collected and the procedures were videotaped for pain assessment. Parents (n = 11) and staff (n = 11) were interviewed about live singing as affective support. Two premature infants’ behavioural and physiological responses and the live-performed lullaby were analysed in-depth with microanalysis.

    Results: Live singing with premature infants is a social communicative interaction. If the vocal performance is predictable and regular from start, it may optimise homeostasis during painful procedures. Since pain involves the interaction of biopsychosocial and situational factors, more research is needed to explore the potential benefits of music therapy including the role of the parents.

  • 16.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Landstinget i Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskap och medicin.
    Klässbo, Maria
    Centrum för klinisk forskning, Landstinget i Värmland, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing during painful procedures in neonatal care2016Konferansepaper (Fagfellevurdert)
  • 17.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Landstinget i Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Klässbo, Maria
    Centrum för klinisk forskning, Landstinget i Värmland, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Live music therapy with lullaby singing during painful procedures in neonatal care2017Konferansepaper (Annet vitenskapelig)
  • 18.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Singing, sharing, soothing: Biopsychosocial rationales for parental infant directed singing in neonatal pain management: A theoretical approach2018Inngår i: Music & Science, ISSN 2059-2043, Vol. 1, s. 1-13Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Infant-directed singing is a medium for parents and infants to communicate in a mutual relationship. Parental infant-directed singing is a multisensory, biopsychosocial communication that applies to ill and vulnerable hospitalised infants. The primary musical features of infant-directed singing are ideal for emotional coordination and sharing between parent and infant without the risk of over-stimulation. In this article, we suggest that parental infant-directed singing is regarded as a nonpharmacological emotion regulation intervention, which may modify the painful experience for both the infant and the parent before, during and after painful procedures in the neonatal intensive care context. Parents have the biopsychosocial resources to alleviate their infant’s pain through infant-directed singing, if they are empowered to do so and coached in this process. A music therapist specialised in neonatal music therapy methods can mentor parents in how to use entrained and attuned live lullaby singing in connection to painful procedures. Pain and the vast amount of painful procedures early in infancy, combined with early parent–infant separation and lack of parental participation in the care of the infant during neonatal intensive care, place arduous strain on the new family’s attachment process and on the infant’s and parents’ mental health, both from a short and long-term perspective. Therefore, we argue with biopsychosocial rationales, that live parental infant-directed singing should be promoted in neonatal pain care worldwide. Consequently, parents should be welcomed round the clock and invited as prescribed pain management for their infant.

  • 19.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Värmland County Council, Karlstad, Sweden.
    Hugoson, Pernilla
    Department of Music, University of Jyväskylä, Jyväskylä, Finland.
    Forsberg, Malin
    Department of Women's and Children's Health, Karolinska Institutet, Stockholm, sweden.
    Forzelius, Lisa
    Department of Women's and Children's Health, Karolinska Institutet, Stockholm, Sweden.
    Klässbo, Maria
    Clinical Research Center, Värmland County Council, Karlstad, Sweden.
    Olsson, Emma
    Örebro universitet, Institutionen för medicinska vetenskaper.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Westrup, Björn
    Department of Women's and Children's Health, Karolinska Institutet, Stockholm, Sweden.
    Ådén, Ulrika
    Department of Women's and Children's Health, Karolinska Institutet, Stockholm, Sweden.
    Bergqvist, Lena
    Department of Clinical Science, Intervention and Technology, Karolinska Institutet, Stockholm, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper. Region Örebro län.
    Efficacy of Live Lullaby Singing During Procedural Pain in Preterm and Term Neonates2017Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Background: Acute and repeated pain has long-term negative impact on infants’ development and future behaviour. The use of analgesic drugs has negative side-effects, which emphasizes the need for complementary approaches to pain management.

    Aim: This study is the first clinical trial measuring if live lullaby singing can influence behavioural and physiological pain responses during venepuncture in preterm and term neonates.

    Method: Preterm and term infants (n=38) were subjected to venepuncture with and without live lullaby singing, in a randomised order with a cross over design. Parent-preferred lullabies were performed live and standard care was provided for all neonates. Behavioural and physiological pain responses were assessed.

    Results: The live lullaby singing did not show a statistically significant effect on the infants’ pain score. There was a significantly calmer breathing pattern in the lullaby intervention versus the control condition in the pre-needle stage. There were non-significant indications of fewer and shorter skin punctures with lullaby singing.

    Conclusions: The additive effect of live lullaby singing has not been shown to alleviate infants’ behavioural pain responses during venepuncture; however nor has it been shown to be harmful. More research is needed to explore the potential benefits of music therapy including the role of the parents.

  • 20.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan. Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Hugosson, Pernilla
    Department of Music, University of Jyväskylä, Jyväskylä, Finland; Department of Women’s and Children’s Health, Karolinska Institutet, Stockholm, Sweden .
    Forsberg, Malin
    County Council of Dalarna, Mora Hospital, Mora, Sweden.
    Forzelius, Lisa
    County Council of Västernorrland, Sundsvall Hospital, Sundsvall, Sweden.
    Klässbo, Maria
    Centre for Clinical Research, Värmland County Council, Karlstad, Sweden.
    Olsson, Emma
    Örebro universitet, Institutionen för hälsovetenskaper. Region Örebro län. Department of Pediatrics, Örebro University Hospital, Örebro, Sweden.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Westrup, Björn
    Department of Women’s and Children’s Health, Karolinska Institute, Karolinska University Hospital-Danderyd, Stockholm, Sweden.
    Ådén, Ulrika
    Neonatal Research Unit, Department of Women’s and Children’s Health, Astrid Lindgren Children’s Hospital, Karolinska University Hospital, Karolinska Institute, Stockholm, Sweden.
    Bergqvist, Lena
    Department of Clinical Science, Intervention and Technology, Unit of Pediatrics, Karolinska Institute, Karolinska University Hospital, Stockholm, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Efficacy of Live Lullaby Singing During Procedural Pain in Preterm and Term Neonates2017Inngår i: Music and Medicine, ISSN 1943-8621, Vol. 9, nr 2, s. 73-85Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This clinical trial tested the pain relieving effect of live lullaby singing on behavioral and physiological pain responses during venepuncture in 38 preterm and full term neonates. Acute and repeated pain, as well as the use of analgesic drugs, may have long-term negative impact on infants’ development and future behaviour. This emphasizes the need for complementary approaches to pain management such as music therapy.

    Parent-preferred lullabies were performed live and standard care was provided for all neonates. Behavioral responses with regard to pain were assessed with Premature Infant Pain Profile-Revised (PIPP-R) and Behavioral Indicators of Infant Pain (BIIP). Heart rate, respiratory rate and oxygen saturation were measured each tenth second.

    Although the live lullaby singing did not show a statistically significant effect on the infants’ pain score, there was a significantly calmer breathing pattern in the lullaby intervention versus the control condition in the pre-needle stage, showing a non-significant trend towards higher oxygen saturation levels and calmer heart rate in the lullaby intervention versus the control condition in the pre-needle stage. There were non-significant indications of fewer and shorter skin punctures with lullaby singing. More research is needed to explore such positive trends in the data.

  • 21.
    Ullsten, Alexandra
    et al.
    Örebro universitet, Musikhögskolan.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Klässbo, Maria
    Region Värmland, Karlstad, Sweden.
    Eriksson, Mats
    Örebro universitet, Institutionen för hälsovetenskaper.
    Live lullaby singing during painful procedures in preterm and term infants2019Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Introduction: Infant-directed singing is a medium for parents and infants to communicate in a mutual relationship. Infant-directed singing is a multisensory biopsychosocial communication that also applies to ill and vulnerable hospitalised infants. The first Nordic implementation process of family-centred neonatal music therapy started in Sweden at the Central Hospital in Karlstad by the first author in March 2010 (Fig. 1). Live lullaby singing during painful procedures is the first clinical trial to measure the pain-relieving effects of live lullaby singing during venepuncture in preterm and term neonates.

    Method: 38 infants were subjected to venepuncture with and without live lullaby singing, in a randomised order with a cross over design. Parent-preferred lullabies were performed live by a music therapy student and standard care (facilitated tucking and oral glucose) was provided for all infants. Behavioural and physiological pain responses were assessed. The data from the RCT was analysed with qualitative and quantitative methods.

    Results: During the lullaby procedures the physiological patterns were more stable and regular. Lullaby singing significantly calmed the infants’ respiration before venepuncture (Fig. 2). There were nonsignificant indications of fewer and shorter skin punctures with lullaby singing. The behavioural pain responses did not show any significant differences between the live lullaby singing and standard care procedures, however, nor did they indicate that live lullaby singing was harmful or stressful.

    Conclusion: Live singing with infants is a biopsychosocial communicative interaction. A music therapist specialised in family-centred neonatal music therapy methods can mentor parents how to use live lullaby singing in connection to painful procedures. More research is needed to explore the potential benefits of family-centred music therapy as procedural support including the voice of the parents.

  • 22.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    A technology and its vicissitudes: playing the gramophone in Sweden 1903–19452019Inngår i: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 38, nr 2, s. 219-236Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This inquiry deals with the changing role of the technology and the use of phonographs and gramophones during the first half of the 20th century. Rather than looking at the UK or USA, which much previous research has done, the focus is on peripheral Sweden. More specifically the question is how phonography turned from being a scientific curiosity into becoming an everyday media technology, and how it thereby influenced culture and everyday musical communication. The findings show two distinct approaches to recorded music, which intermingle in today’s unprecedented musicalisation of culture and everyday life around the globe – approaches respectively described as utilitarian and solipsistic.

    Fulltekst (pdf)
    A technology and its vicissitudes: playing the gramophone in Sweden 1903-1945
  • 23.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Affekt, minne och identifikation: Om makten över musikens makt2018Inngår i: Musikens makt / [ed] Jenny Björkman & Arne Jarrick, Göteborg: Makadam Förlag, 2018, s. 51-66Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [sv]

    Musiken är ett känslornas språk som har makt att påverka oss som hör den. Men hur går det till? Och finns det något positivt sätt att ta tillvara musikens makt på?

    Fulltekst (pdf)
    Affekt, minne och identifikation om makten över musikens makt
  • 24.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Aisthesis, del 1: en tondöv historia2013Inngår i: Nutida Musik, ISSN 1652-6082Artikkel, omtale (Annet vitenskapelig)
    Fulltekst (pdf)
    Volgsten recension Aisthesis 1
  • 25.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Albert Rubenson - liv, kritik, musik2014Inngår i: Levande musikarvArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Albert Rubenson föddes i Stockholm 20 december 1826 och avled i samma stad 2 mars 1901. Studier i violin och komposition i Leipzig 1844−48, där han också spelade i Gewandhausorkestern. Därefter var han altviolinist i Hovkapellet 1850−51. Som tonsättare verkade Rubenson i Mendelssohns och Schumanns anda, med bland annat en symfoni, stråkkvartetter och flera sångsamlingar på sin verklista. Rubenson var också musikskriftställare och propagerade för en ”svensk skola” på professionell grund. Från 1872 fram till sin död verkade Rubenson som direktör för Musikaliska akademiens musikkonservatorium i Stockholm. Ledamot av akademien 1872.

  • 26.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Anders Hillborg: Liquid Marble (1995/rev. 1997)2014Inngår i: Stockholms konserthusArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Fulltekst (pdf)
    fulltext
  • 27.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Between critic and public: listening to the musical work in Stockholm during the 19th century2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    It is widely assumed that the perception of the musical work changed radically around the beginning of the 19th century. Not only aestheticians and music theorists, but listeners too, started to listen to music as if the sounds heard were the aural signs of autonomous musical works. Works became heard as structurally unified wholes represented by composers in scores—the works, once created, were assumed to exist like Platonic entities after their creators had died, irrespectively of whether they were performed or listened to at any given time. This picture of 19th century listening can be questioned on many grounds. Here it is done by studying the music criticism of the daily press in Stockholm during the years 1835, -55, -85, and 1905. Although Stockholm can be considered peripheral on both geographical and cultural grounds, as such it may nevertheless give a reasonable idea of what the lay listener of the average audience may have heard. To this end, it is argued, examination of the daily criticism may be a more plausible source of information than the scholarly journals more commonly examined by musicologists and music historians. Should the Stockholm case turn out to be an anomaly among the cities of Europe (a question not answered here), this in itself would call for an explanation. Here the no less challenging question is limited to asking if, and if so by which terms, the Stockholm audience of the 19th century listened to musical works?

  • 28.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Between critic and public: listening to the musical work in Stockholm during the long 19th century2015Inngår i: Swedish Journal of Music Research, ISSN 2002-021X, Vol. 97, nr 1, s. 1-25Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    It is widely assumed that the perception of the musical work changed radically around the beginning of the 19th century. Not only aestheticians and music theorists, but listeners too, started to listen to music as if the sounds heard were the aural signs of autonomous musical works. Works became heard as structurally unified wholes represented by composers in scores—the works, once created, were assumed to exist like Platonic entities after their creators had died, irrespectively of whether they were performed or listened to at any given time. This picture of 19th century listening can be questioned on many grounds. Here it is done by studying the music criticism of the daily press in Stockholm during the years 1835, -55, -85, and 1905. Although Stockholm can be considered peripheral on both geographical and cultural grounds, as such it may nevertheless give a reasonable idea of what the lay listener of the average audience may have heard. To this end, it is argued, examination of the daily criticism may be a more plausible source of information than the scholarly journals more commonly examined by musicologists and music historians. Should the Stockholm case turn out to be an anomaly among the cities of Europe (a question not answered here), this in itself would call for an explanation. Here the no less challenging question is limited to asking if, and if so by which terms, the Stockholm audience of the 19th century listened to musical works?

    Fulltekst (pdf)
    Between Critic and Public
  • 29.
    Volgsten, Ulrik
    Göteborgs universitet, Institutionen för kulturvetenskaper.
    Between ideology and identity: media, discourse and affect in the musical experience2006Inngår i: Music and manipulation: on the social uses and social control of music / [ed] Steven Brown, Ulrik Volgsten, New York: Berghahn Books , 2006, 1, s. 74-100Kapittel i bok, del av antologi (Fagfellevurdert)
  • 30.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Den förmedlande länken: om språkets och känslornas roll för musikupplevelsen2007Inngår i: Konstverk och konstverkan / [ed] Göran Rossholm, Göran Sonesson, Eslöv: Symposion Brutus Östlings bokförlag, 2007, 1, s. 200-220Kapittel i bok, del av antologi (Fagfellevurdert)
  • 31.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Den officiella svenska synen på musik är förlegad2013Inngår i: Respons: recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, nr 2, s. 56-58Artikkel, omtale (Annet vitenskapelig)
  • 32.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Emotions, identity and copyright control: the constitutive role of affect attunement and its implications for the ontology of music2013Inngår i: The emotional power of music: multidisciplinary perspectives on musical arousal, expression, and social control / [ed] Tom Cochrane, Bernardino Fantini, Klaus R. Scherer., Oxford: Oxford University Press, 2013, 1, s. 341-356Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this chapter I tie together three lines of argument. In line with existing research, I show that music is an important component in human identity construction and development, both on an individual and collective level. Moreover I argue that music fulfills these identity functions through its affective and emotional qualities.

     In my second line of argument I claim that these identity functions become severely restricted by today’s copyright-laws. As, for instance, national copyright-laws are increasingly forced to harmonize with the global TRIPS-agreement (Trade Related Aspects of Intellectual Property Rights), music becomes subject to the private rights of multinational corporations and media-conglomerates, whereby music loses its independence as a dynamic cultural expression and individual self-object.

    Against the totalizing threat of today’s copyright regime I claim, as my third line of argument, that the same principles that underlie music’s power to fulfill human identity functions show that music cannot be reduced to an expression subject to private rights. Music is more than a material set of sounds with a predictable physiological effect. Nor can music be reduced to an immaterial cognitive object. Music’s ontological status derives to an irreducible extent from the affective investment of its listeners.

  • 33.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Fantasy control: Implications for distributed imagination and affect attunement in music and sound2019Inngår i: The Oxford Handbook of Sound and Imagination, Volume 1 / [ed] Mark Grimshaw-Aagaard, Mads Walther-Hansen & Martin Knakkergaard, Oxford: Oxford University Press, 2019, 1, s. 229-249Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter deals with the control of imagination. Three thematically distinct aspects of sonic imagination are investigated – archive, context, and identification – together with two modes of connection with the environment – metaphorical projection and affect attunement. It is argued that much of the available work on sonic imagination, music perception, and embodied cognitive science suffers from a one-person perspective, unable to explain either the difference between environmental sound and culture-specific music, or the dominant role of feelings in our musical experiences. In its stead an approach is suggested that assigns central importance to affect attunement in our encounters with sound and music. Through a case study, different types of sonic control are exemplified, showing that control of sonic imagination may be both negative and positive for the listener.

    Fulltekst (pdf)
    Fantasy control: Implications for distributed imagination and affect attunement in music and sound
  • 34.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Fonogrammets roll för synen på det förtingligade musikverket i det tidiga upphovsrättsliga tänkandet2011Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    Enligt filosofen och musikhistorikern Lydia Goehr etableras vid övergången mellan 17- och 1800-talen en allmän syn på musikverket som ett objekt vars existens överskrider både tid och rum, en syn som sägs råda än i dag. Detta originella musikverk blir enligt samma musiksyn till genom en genial skapandeakt (kompositörens). Goehr noterar att upphovsrätternas framväxt under 1800-­‐talet bidrog till att stärka denna uppfattning. Här är det det omvända förhållandet som står i fokus, det vill säga att den uppfattning som Goehr beskriver har påverkat upphovsrätterna och dessutom legat till grund för upphovsrätternas legitimitet.

    Denna föreställning om upphovsman och verk förutsätter på ett mindre uttalat plan också en publik. Tillsammans utgör upphovsman, verk och publik en mycket specifik historisk version av en mer allmängiltig tankefigur som kan beskrivas som en enkel kommunikationskedja, med avsändare, meddelande och mottagare. När upphovsmannen reser krav på ersättning från publiken för rätten att konsumera verket är det i regel denna kommunikationslogik som strukturerar argumenten; när det estetiska tänkandet inte struktureras enligt samma logik sätt faller det sig däremot inte naturligt att kräva någon ersättning på samma sätt.

    Jag kommer att visa hur denna tankefigur är beroende av musikens massmediering. Fastän figurens beståndsdelar (själva leden i kommunikationskedjan) artikuleras vid olika tidpunkter i musikhistorien, är det först i och med fonogrammets uppkomst som det tillgängliggörs en konkret ”modell” för hur kommunikationen mellan upphovsman och publik kan se ut, en modell som kan överföras från fonogrammets massmediala paradigm till musikalisk kommunikation över huvud taget. Det är först i samband med fonogrammet som delarna länkas samman och tankefiguren tar form, först då som förtingligandet av det musikaliska objektet blir meningsfullt och först då som den av Goehr nämnda musiksynen med tillhörande upphovsrätt blir möjlig. Detta sker, till skillnad mot vad Goehr hävdar, först mot slutet av 1800-talet.

  • 35.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Fredrik Samuel Silverstolpe – operasemiotik och musikaliska memoarer2015Inngår i: Levande musikarvArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Fredrik Samuel Silverstolpe föddes i Stockholm 28 december 1769 och dog i samma stad 2 december 1851. I sin ungdom studerade han musik för bland andra Joseph Martin Kraus. Silverstolpes musikproduktion innefattar över 130 sånger, men ännu intressantare är hans musikkritiska produktion som förutom artiklar i dagspressen omfattar en biografi över Kraus och en omfattande analys av dennes opera Aeneas i Carthago. Invald i Kungl. Musikaliska akademien 1798.

  • 36.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Från evig sanning till privat egendom: musik och frånvaron av upphovsrättsligt tänkande i sverige under 1800-talet2012Inngår i: Tolvtoner / [ed] Halla Sigurdadóttir, Göteborg: Röhsska Gunnebo Akademien , 2012, 1, s. 58-71Kapittel i bok, del av antologi (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 37.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Från snille till geni: den svenska kompositörsrollens omvandlingar från Kraus till Måndagsgruppen och dess betydelse för synen på musik2013 (oppl. 1)Bok (Fagfellevurdert)
    Abstract [en]

    What is a composer? What does a composer do? Until the end of the 18th century a composer was primarily a musician. The end of the compositional activity, as witness Johann Mattheson’s Der vollkommene Kapellmeister (published in 1739), was the musical performance. During the following century this view changed and the composer became a creator of musical works, a musical genius. How did this change in the view of the composer come about, and was it similar in all European countries? This book traces the change from a Swedish perspective and argues that the transformation took a different route from that of central Europe in general, and the German speaking lands in particular. As an analytical tool, two ideal-types are proposed: an idealist and a national romantic view of the genius-composer, articulating opposite views on 1) the source of creativity, 2) the necessary features of the genius’ musical work, 3) the proper attitude of the listener/audience. According to the idealist type, the source of creativity is located to the individual soul of the composer, whereas the national romantic type locates musical creativity to the collective soul of the nation, the “national spirit”. Likewise the formally complex “work” stands in opposite to the simple melody of the folksong. And whereas the idealist type requires a contemplative, distanced attitude on the part of the listener, the national romantic type favors devotional communion among the audience. Although the conceptual frame of reference derived mainly from German philosophy (e.g. Kant and Herder), the emphasis in Sweden during the 19th century accorded with the national romantic ideal type, rather than the idealist. A change would not come about until the 1920:s, after Sweden’s first copyright legislation in 1919. And it would take until after the Second World War for the composer genius of the idealist view to capture the hegemonic center stage – a position it still possesses at the beginning of the 21st century.

    Fulltekst (pdf)
    fulltext
  • 38.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Identität, Authentizität und Qualität als Komponenten von Kultur2014Inngår i: Kulturelle Identität und soziale Distinktion / [ed] Stefan Gies & Frauke Heß, Innsbruck: Helbling Verlag , 2014Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [de]

    Musik ist Kultur. Man könnte diese Aussage für eine Binsenweisheit, eine Tautologie oder eine Selbstverständlichkeit halten. Aber ist das so? Ist Musik Kultur? Was bedeutet das, wenn es so ist? Ich will im Folgenden versuchen, diese Frage zu beantworten, indem ich von einigen zentralen Begriffen der Kulturtheorie ausgehe: Identität, Authentizität und Quali- tät. Was es mit der Bedeutung dieser Begriffe im Kontext von Kultur auf sich hat, will ich an konkreten Beispielen aufzeigen. Die Überlegungen münden in einen Vorschlag, der es möglich werden lässt, dass die Musik (und die Musikpädagogik) durch die Art und Weise, in der Fragen der Qualität in Bezug auf die Kategorien Identität und Authentizität betrachtet werden, ein besonderer demokratischer Auftrag in der Gesellschaft zukommt. 

  • 39.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Identität, Authentizität und Qualität als Komponenten von Kultur2013Konferansepaper (Fagfellevurdert)
    Abstract [de]

    Musik ist Kultur. Man könnte diese Aussage für eine Binsenweisheit, eine Tautologie oder eine Selbstverständlichkeit halten. Aber ist das so? Ist Musik Kultur? Was bedeutet das, wenn es so ist? Ich will im Folgenden versuchen, diese Frage zu beantworten, indem ich von einigen zentralen Begriffen der Kulturtheorie ausgehe: Identität, Authentizität und Quali- tät. Was es mit der Bedeutung dieser Begriffe im Kontext von Kultur auf sich hat, will ich an konkreten Beispielen aufzeigen. Die Überlegungen münden in einen Vorschlag, der es möglich werden lässt, dass die Musik (und die Musikpädagogik) durch die Art und Weise, in der Fragen der Qualität in Bezug auf die Kategorien Identität und Authentizität betrachtet werden, ein besonderer demokratischer Auftrag in der Gesellschaft zukommt. 

  • 40.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Inledning: Medialisering och musikalisering i Sverige2019Inngår i: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige / [ed] Ulrik Volgsten, Lund: Mediehistoria, Lunds universitet , 2019, 1, s. 5-21Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [sv]

    Musiken har genomgått en medialisering utan like de senaste hundra åren. Elektrifiering och digitalisering av musikmedierna har inneburit att musik kan höras så gott som överallt och när som helst. Vid sidan av medialisering introducerar föreliggande antologi begreppet musikalisering. Medan medialisering handlar om mediernas långsiktiga påverkan på vardagspraktiker och kommunikation, handlar musikalisering om förändringar i musikens roll. Förutom att vara en naturlig komponent i allt fler vardagssammanhang bidrar musik i allt högre grad till att strukturera och organisera uppfattningar om, erfarenheter av och förväntningar på den levda verkligheten.

    Fulltekst (pdf)
    Inledning: Medialisering och musikalisering i Sverige
  • 41.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Konsten, konstnären och konstverket: föreställningar, förutsättningar och funktioner under den tidiga moderniteten2003Inngår i: Artes: kvartalsskrift för konst, litteratur och musik, ISSN 0345-0015, Vol. 29, nr 04, s. 92-103Artikkel i tidsskrift (Annet vitenskapelig)
    Fulltekst (pdf)
    konsten_v2
  • 42.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Kulturteori: Introduktion till några centrala teman2014Inngår i: Musik för alla: Filosofiska och didaktiska perspektiv på musik, bildning och samhälle / [ed] Øivind Varkøy & Johan Söderman, Lund: Studentlitteratur AB, 2014, s. 57-78Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [sv]

    Musik är kultur. Påståendet borde vara en truism, en tautologi, en självklarhet. Men är det så? Är musik kultur? Vad kan det i så fall innebära? I det följande besvaras frågan med utgångspunkt i tre centrala kulturteoretiska teman: identitet, autenticitet och kvalitet. Med denna utgångspunkt ger författaren en överblick hur musiken, som kulturellt fenomen, förhåller sig till andra komplexa fenomen som globalisering, media, genusfrågor, med mera. Avslutningsvis skisseras konturerna till ett argument för musikens inneboende potential som kulturellt fenomen.

  • 43.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    La pirateria, l’opera musicale e la concezione monosessuale della creatività: È tempo di sbarazzarsi di una metafora obsoleta e di affermare la mothership connection?2014Inngår i: Estetica. Studi e Ricerche, ISSN 2039-6635, Vol. 3, nr 1Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The essay highlights the interrelation of the notions of piracy, musical work and genius composer. It is shown how the metaphor of the pirate requires a treasured object to steal. This object is the immaterial musical work, composed by a musical genius. Although this genius is a myth of romanticism, it is also shown how it is founded on an ancient notion of «monosexuality». This notion, it is argued, has negative consequences for composers, musicians and listeners alike. Together, the metaphors of the pirate, the genius and the work constitute a figure of thought that fulfills a legitimizing function for a malfunctioning present day copyright. It is therefore suggested that the pirate metaphor be jettisoned along with that of the romantic genius and the immaterial musical work. In its stead the mothership connection may be a more constructive metaphor.

  • 44.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Lyssnarhistoriska förutsättningar för musikfonogrammet2013Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    I sin bok om ljudinspelningens utveckling ställer Michael Chanan frågan hur det kommer sig att fonografen inte utvecklades förrän i och med Edisons plåtcylinder 1877 – fastän den teknologi Edison använder sig av fanns tillgänglig långt dessförinnan. Något entydigt svar ger inte Chanan. En del av svaret har utan tvekan med musik och synen på musik att göra. Det är ju först när musikfonogrammet slår igenom som Edisons uppfinning får sitt stora kommersiella genomslag. Så länge musik uppfattas som en aktivitet är den inte intressant att höra efter att den ägt rum (jämför med sportevenemanget: vem vill se fotbollsmatchen i repris?). Omvänt, det är först som fruset objekt musiken blir intressant att lyssna på vid upprepade tillfällen, på det sätt fonogrammet inbjuder till. Hur denna objektifiering av musiken och det motsvarande musiklyssnandet gick till har jag i stor utsträckning diskuterat i boken Musiken, medierna och lagarna (2012). Men detta är endast en del av svaret. Här vill jag ventilera vad jag tror är ytterligare en bidragande orsak, en förbisedd och mycket viktig orsak. Detta är det borgerliga salongslyssnandet under 1800-talet. Min hypotes är att den borgerliga 1800-talssalongen fostrade en publik som för (kanske) första gången i den västerländska musikhistorien vande sig att lyssna på musik i sitt eget ”vardagsrum”, det privata rum som fonogrammet i så hög grad tycks förutsätta. Hur detta vardagsrum med tillhörande lyssnarvanor utvecklades ur den äldre salongen är en fråga som ännu väntar på svar.

     

  • 45.
    Volgsten, Ulrik
    Historiska institutionen, Stockholms universitet, Stockholm, Sverige.
    Löpsedlarna, publiken och det offentliga rummet: en teori om hur vi påverkas av media2010Bok (Annet vitenskapelig)
    Fulltekst (pdf)
    FULLTEXT01
  • 46.
    Volgsten, Ulrik
    Göteborgs universitet.
    Miles Davis: "Om jag blickar bakåt så dör jag!"2004Inngår i: Hjärnstorm, ISSN 0348-6958, nr 83/84, s. 72-74Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Fulltekst (pdf)
    fulltext
  • 47.
    Volgsten, Ulrik
    Stockholms universitet.
    Music and the ideological body: The aesthetic impact of affect in listening2000Inngår i: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, Vol. 22, nr 1, s. 83-96Artikkel i tidsskrift (Fagfellevurdert)
    Fulltekst (pdf)
    Volgsten Body Affect
  • 48.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Music, Culture, Politics: Communicating Identity, Authenticity and Quality in the 21st Century2014Inngår i: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, E-ISSN 2000-8325, Vol. 17, nr 1, s. 114-131Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The author suggests that music harbours a special capacity for its listeners to sympathetically relate to foreign sets of values. Music has the ability to function as a limit-transgressing and unifying link at both a collective and individual level. That music is particularly suited for this has to do with the emotional power of music, the affective impact by which music in its very specific way becomes a felt experience in time. On the one hand listeners may be affectively addressed by (in principle) any music, irrespectively of cultural difference. But above all, music – one’s «own» music – has the possibility to become a confirming self-object, enhancing a self-confidence that enables critical assimilation, rather than authoritarian dismissal. This may thereby facilitate and enable constructive and enriching encounters with others. Listening to and learning about the aesthetic values that define different cultures, styles and genres of music – but also others’ individual preferences and aesthetic appraisals – may thus function as cultivation of social competence in an aesthetic context. However for this sympathetic function of music to come off certain requirements must be met. 

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    fulltext
  • 49.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Music, imagination, and affect attunement: an extended model2016Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Why is it that we tend to hear music as expressive of human emotion? That imagination is somehow part of the answer has been suggested by several aestheticians and philosophers of music. As listeners, it is said, we imagine the sounds of music to be expressive of emotion. But why? To this question the many answers part. In this paper an extended model is proposed that explains music’s affective impact by highlighting its homologous relation to human self-development. By merging insights from psychologists of various disciplines (social, developmental, and cognitive psychology, psychology of music) with those of music aesthetics, it will be shown how music emerges as a result of affect attunement to the protomusical qualities afforded at a basic level of sound. Explaining imagination as the subsequent linkages between nodes in associative networks, musical imagination can be understood in relation to semantic, procedural and autobiographical memory. And perhaps more controversial, the affective qualities of music cannot be dismissed as any extramusical add on, or even as fancy metaphorical projections. Because of its ultimately social and corporal character, music’s affective qualities prove to be part of its constitution.

  • 50.
    Volgsten, Ulrik
    Örebro universitet, Musikhögskolan.
    Music, media and the law: the musical work and the establishing of an idealistic copyright2012Konferansepaper (Fagfellevurdert)
    Abstract [en]

    According to the philosopher and music historian Lydia Goehr, a widespread view of the musical work as an object whose existence transcends both time and space was established at the turn from the 18th to the 19th century, a view Goehr claims is still valid today:

    “most of us tend … to see works as objectified expressions of composers that prior to compositional activity did not exist. We do not treat works as objects just made or put together, like tables or chairs, but as original, unique products of a special, creative activity. We assume, further, that the tonal, rhythmic, and instrumental properties of works are constitutive of structurally integrated wholes that are symbolically represented by composers in scores. Once created, we treat works as existing after their creators have died, and whether or not they are performed or listened to at any given time” (Goehr, 1992, 2).

    Goehr claims further that this view of musical works gained support from the emerging copyright laws of the time. In contrast to Goehr’s thesis, I claim that this view of music—which I choose to call an idealist view of music—which equates the musical work with a reified immaterial form, did not emanate until the second half of the 19th century. Whereas the abstract form of the individual work is conceptualized by writers such as Hanslick and A. B. Marx (rather than by Hoffmann, as Goehr claims), it is not until the emergence of the elementary communication model—sender (composer), message (work), receiver (listener)—that this abstract work becomes fully reified. This happens at the turn of the 20th century, as a result of telecommunication and the phonogram, i.e. approximately a hundred years later than Goehr would have us believe. Moreover, the final strokes of this reificational process, which involves a substitution of a basically Aristotelian view of form for a modernized Platonism, is provided by jurisprudence rather than by aesthetics. In consequence, this means that the modern Western work concept, if not the modern Western view of music, to an important extent is a result of copyright legislation.

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