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  • 151.
    Carlfjord, Erik
    Örebro University, School of Music, Theatre and Art.
    Daw Wars: Hur Musikproduktionsprocessen påverkas av verktygen som används2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 152.
    Carlgren, Alexandra
    Örebro University, School of Music, Theatre and Art.
    Från inre harmoni till yttre välklang: En studie av idrottspsykologins mentala träning anpassad för musiker2010Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Sammanfattning

    Syftet med denna uppsats är att undersöka om det är möjligt att från idrottspsykologins mentala träning anpassa och skräddarsy den för mig, som musiker, för att på så sätt kunna sänka både stress och nervositetsnivå.

    Min tanke med uppsatsen är att den förhoppningsvis ska kunna väcka ett intresse för idrottspsykologins mentala träning inom musikaliska kretsar.

    De aspekter av den mentala träningen som jag valt att fokuserat på är att med hjälp av den mentala träningen strukturera upp den mentala förberedelseprocessen: inför, under och efter ett uppträdande.

    De metoder som jag använt mig av är litteraturstudier och praktiska undersökningar, på mig själv som musiker, med hjälp av de olika övningar och teorier som presenteras i den litteratur som jag studerat. Dessa övningar och teorier har jag sen anpassat för mig, som musiker.

    Jag har även valt att läsa boken The inner game of music av Berry Green och W. Timothy Gallwey för att se vilka teorier som redan finns översatta för musiker och för att se om det finns något mer att tillägga.

    Resultatet visar att det är möjligt att sänka både stress och nervositetsnivån med hjälp av de teorier och övningar som jag tagit del av och sedan omvandlat.

    Vidare diskuteras det i analysen och i diskussionen hur en musiker på bästa sätt kan ta till vara på dessa metoder och övningar.

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  • 153.
    Carlsson, Joacim
    Örebro University, School of Music, Theatre and Art.
    "De lever för dagen": Musiklärares tankar om höga ljudnivåer och dess risker2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 154.
    Carlsson, Johannes
    Örebro University, School of Music, Theatre and Art.
    DET VISA REGNTRÄDETS TONER: En studie av interpretation och ljudlandskap genom Rain Tree av Tōru Takemitsu2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Jag har med denna studie önskat djupdyka inom frågor som rör interpretation. Mer specifikt desärskilda aspekter inom interpretationen som rör ljudlandskapen och den atmosfäringivanderumsklang som bildas under musikens förlopp. Syftet med detta arbete har varit att undersöka,samt kartlägga vilka olika verktyg samt strategier som kan användas i interpretationen avslagverksmusik med fokus på ljudlandskap. Utifrån verket Rain Tree av Tōru Takemitsu har jagutforskat detta genom instudering av stycket och allt vad denna process fört med sig, bl.a enutförlig studie av notbilden, loggboksföring av repetitioner samt diverse musikaliskexperimentering. Jag har även tagit del av tre olika musikers åsikter och tankar i form avintervjuer, dels vad gäller verket, deras erfarenheter och relation till detta, såväl som övrigafrågor som berör interpretation och ljudlandskap. Jag har kommit fram till att ett val av klubbor,särskilda praktiska alternativ samt ett visst förhållande till tempot alla varit effektiva verktyg sompåverkat den musikaliska ljudbild som skapats. Exempel på detta är att genom en användning avmjukare respektive hårdare klubbor i en viss passage påverka texturen, karaktären och därav denhelhetsbild som ljudlandskapet utgör. Ett annat exempel är att genom ett val av snabbare ochdärav mer progressivt tempo föra det musikaliska flödet framåt på ett kontrasterande sätt iförhållande till den musikaliska helheten. Även strategier som perspektiv och ett särskiltförhållande till varje musiker och dess stämma har uppfattats som en relevant faktor. Exempelvisgenom att se en viss stämma som mer eller mindre vital i en passage och därav ge denna mereller mindre plats. Genom att belysa några av dessa verktyg och strategier i denna kontexthoppas jag kunna åskådliggöra liknande i andra musikers praktik, samt agera som inspiration ochvärdefull insikt

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    DET VISA REGNTRÄDETS TONER: En studie av interpretation och ljudlandskap genom Rain Tree av Tōru Takemitsu
  • 155. Carson, Charles D.
    et al.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Shifting the Center: Intercultural approaches and “diversified normality” in music teacher education2015Conference paper (Refereed)
  • 156.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Intercultural Approaches and “Diversified Normality” in Music Teacher Education: Reflections from Two Angles2016In: Action, Criticism and Theory for Music Education, E-ISSN 1545-4517, Vol. 15, no 3, p. 37-52Article in journal (Refereed)
    Abstract [en]

    In this article we argue for sustained and contextualized exposure to a variety of musics as a valuable means of developing intercultural approaches in music education as well as in teacher education, approaches which integrate more norm-critical perspectives. Musical diversity in music education concerns issues of participation, citizenship and interaction, not just a presence and representation of differences. It is also about how institutions need to change to reflect the diversity of the society in which we now live, leading to both broadened knowledge, and broadened interest in music. Music education needs to consciously be developed in such a way that it reflects—and is a dynamic partof—the society we live in today.

  • 157.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Intercultural Encounters in Rio de Janeiro: Grassroot Activism and Musicianship2016In: Music in an Intercultural Perspective / [ed] Antenor Ferreira Corrêa, Brasília: Strong Edições , 2016, p. 61-68Chapter in book (Refereed)
  • 158.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Musical Engagement as Social Responsibility in Rio de Janeiro: Cultural Encounters and Carioca Activism2016Conference paper (Refereed)
  • 159.
    Cederblad, Oskar
    Örebro University, School of Music, Theatre and Art.
    Soundet från idé till verklighet: En studie i att spela kärnfullt, pregnant och med intention2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 160.
    Coban, Berk
    Örebro University, School of Music, Theatre and Art.
    Flerkulturella Instrumentallärare: En studie om den flerkulturella bakgrundens betydelse för tre utlandsfödda instrumentallärares yrkesutövning2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats handlar om lärare som har kommit till Sverige i vuxen ålder, utbildat sig här och är yrkesverksamma instrumentallärare i musik- och kulturskolor. Uppsatsens syfte är att utforska den flerkulturella erfarenhetens betydelse för utlandsfödda instrumentallärares yrkesutövande. Invandrare som kommit till Sverige lämnar sina hemländer bakom sig. En del av det som de tar med sig från sin uppväxt i hemlandet, t.ex. språk, utbildning osv. kan bli användbara i Sverige. Hur den utlandsfödda läraren förhåller sig till den ”nya situationen” tas upp i uppsatsen.Kvalitativa intervjuer har genomförts med tre utlandsfödda instrumentallärare som kommer från mellanöstern och är yrkesverksamma inom musik- och kulturskolan. Uppsatsen tar sin utgång i de tre instrumentallärarnas berättelser av sina livsresor; den flerkulturella bakgrundens betydelse i yrkesutövningen och under musikhögskoleutbildningen. Resultaten visar att musiklärarnas undervisning påverkas av de musikutlärande traditioner som är av universell karaktär. Deras val av repertoar påverkas inte av den egna etniciteten och den flerkulturella bakgrunden utan det visar sig att det är instrumentets/ämnets undervisningskulturer och traditioner som bestämmer vilken repertoar lärarna använder i undervisning.

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  • 161.
    Croner, Kevin
    Örebro University, School of Music, Theatre and Art.
    ”Good artists copy...”: Ett undersökande arbete om sampling som kompositionsmetod2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 162.
    Dahlquist, Patrik
    et al.
    Örebro University, School of Music, Theatre and Art.
    Herlitz, Carl
    Örebro University, School of Music, Theatre and Art.
    Att se och uppleva musik som blind2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 163.
    Dahlqvist, Jonatan
    et al.
    Örebro University, School of Music, Theatre and Art.
    Ronnheden, Elin
    Örebro University, School of Music, Theatre and Art.
    Äta, Skita, Musika: Musiklärares legitimering av musikämnet i grundskolan2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 164.
    Dahlstrand, Niklas
    Örebro University, School of Music, Theatre and Art.
    Vad spelar jag för roll?: Mitt bidrag som ljudtekniker i den konstnärliga processen2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 165.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Experience, inclusion and exclusion: an attempt to grasp adolescents' musicking2007Conference paper (Refereed)
  • 166.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Music between us: Orders of identity in adolescents' musicking2013Conference paper (Refereed)
  • 167.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Musik oss emellan: identitetsdimensioner i ungdomars musikaliska deltagande2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis considers ordinary Swedish teenagers and their everyday use of,and views on, music. The aim of the study is to analyse the relationship between identity and adolescents’ use of music in their daily lives. Theories are employed that hold identity to be a process, and that comprise the social as well as the psychological aspects of the individual (Giddens,1991; 1997; Jenkins, 2008). Since for both Giddens and Jenkins the reflexive identity process takes place in everyday life, it is a concept that is essential to this study. The idea that people are active, not passive, in their day-to-day use of cultural products ultimately leads to Small’s (1998) definition of musicking. The empirical part of the study was carried out among fifteen eighthgraders (14–15 years) in two schools in two Swedish cities. An initial questionnaire provided outlines of the adolescents’ musical preferences, and were followed by focus group conversations centred on six music examples. Later, interviews were carried out to chart the informants’ individual relationships with music and their personal use of it. The material is analysed thematically in three chapters on music and ‘them’, music and ‘us’, and music and ‘me’. In the final chapter, a competent musicking agency is held to be a combinationof individual and social factors. Whether these aspects can coexist boils down to the question of authenticity: much like Giddens’s competent agent, the competent musicking agent moves between life sectors, maintaining balance between uniqueness and normality, and is therefore perceived as authentic by both herself and others. In school, pupils tend to choose music that promotes their public image. Instead of yielding to a tussle between self-image and public image, it is suggested that music education should become a free zone where the well known is looked at in newways, and where one could get to know the unknown.

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  • 168.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Secondary school students' views on musical competence inside, and outside, school2011Conference paper (Refereed)
    Abstract [en]

    This study investigates the tension between normalizing discourses and the personal use of music in teenagers’ identity formation. The point of departure is a doctoral thesis in progress about music’s social and personal meanings, where the methods used are focus groups and in-depth interviews conducted with 15 Swedish teenagers (14-15 years old). The focus of this paper is on teenagers’ views of their own and others’ musical competence. I take a broad view on music education, which includes both formal and informal learning. Public instances like the school as well as the TV show Swedish Idol  have a clear normalizing effect on how the teenagers perceive musical competence. Both the jury in the TV show and music teachers are regarded as authorities, but in different ways. The members of the jury are referred to as “those who know”. Watching the show, the teenagers themselves are allied with the experts. When it comes to music education in school, it is described as being concerned with teaching “what they think we need to learn”, but the teenagers often don’t see how the musical skills can be useful in real life. In a way, this creates distance and insecurity. However, the teenagers’ descriptions of their personal use of music and media reveal quite a lot of self-confidence and empowerment. One preliminary result is that the teenagers’ talk about their own music is characterized by familiarity skills and know-how. At the same time, when it comes to music within the school context, the focus tends to be on a perceived shortage, or lack, of capacity.

  • 169.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Synen på musik i Lpo94 och dess föregångare2008In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, p. 215-228Article in journal (Refereed)
    Abstract [en]

    The purpose of this article is to discuss the main ideas about music and music education in the Swedish compulsory school, as presented in the Swedish curriculum and the music syllabus. Music is there portrayed as 'a social and general cultural instrument', 'a part of cultural heritage' and 'a language that transcends boundaries'. These views on music are interesting to analyse more in detail, and therefore this article will focus particularly on four areas of music. These are

    • Music as a social and cultural phenomenon
    • Music as a part of cultural heritage
    • Music as a language
    • Music as a means for transcending boundaries

    In order to illuminate and analyse these particular areas, previous Swedish curricula and relevant literature within the areas of music education, sociology, ethnology and philosophy will be reviewed.

  • 170.
    Danielsson, Annika
    et al.
    Örebro University, School of Music, Theatre and Art.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Democracy, equality and participation - issues for the context of music education2013Conference paper (Refereed)
  • 171.
    Danielsson Kihlström, Izak
    Örebro University, School of Music, Theatre and Art.
    Förståelsen av konstnärlig identitet och dessinverkan på producerande av musik2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att undersöka hur förståendeprocessen mellan en musikproducent ochen artist går till, och att i det utforska mitt tillvägagångssätt för att bevara artistens vision under inflytandet av min konstnärligaidentitet. Arbetet innefattar tolkandet av både min och artistens konstnärligaidentiteter vilket görs genom besvarandet av konstnärliga frågor innan vigår in i studion. Ett nytt sätt för mig att angripa och se på en skapandeprocess.

    Undersökningen görs från en mall vilken påvisa olika faktorer som påverkar slutresultatetinom ett konstnärligt samarbete mellan en artist och en producent. Jag är intresserad av attsynliggöra hur jag som musikproducent och min konstnärligaidentitet påverkar en artists uttryck, samt hur jag kan förvalta och tolka en artists konstnärliga vision på bästa sätt. Metodenför arbetet består utav tre huvudsakliga delar och framförallt läggs fokus på att göra ett välplanerat förarbete, detta i form av en intervju. Svaren jag får i intervjun utgör grunden för helaskapandeprocessen och jag får genom den möjligheten att synliggöra olika steg i min produktionsprocess. Svaren från intervjun ger dessutom möjlighet för mig att på ett enkelt sätt utföradet tredje och sista steget vilket är analyserande av arbetet. Resultatet av undersökningen ger mig insikter inför framtida arbetsprocesser och användandet utav intervjun som ett obligatoriskt steg innan jag utför undersökningens andra del; produktionsprocessen.

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    Förståelsen av konstnärlig identitet och dessinverkan på producerande av musik
  • 172.
    Danstål, Emma
    Örebro University, School of Music, Theatre and Art.
    Kan alla spela allt?: Om teaterlärares överväganden vid rollsättning inom gymnasieskolans estetiska program.2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 173. Dartsch, Michael
    et al.
    Konrad, SigridRolle, ChristianÖrebro University, School of Music, Theatre and Art.
    Neues hören und sehen... und vermitteln: Pädagogische Modelle und Reflexionen zur Neuen Musik2012Collection (editor) (Refereed)
  • 174.
    Daveby, Philip
    Örebro University, School of Music, Theatre and Art.
    Om betydelsen av musikens formella aspekter för användandet av EDM: - en studie i hur improvisationen påverkas av att öva gehör2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 175.
    Davidsson, Karin
    et al.
    Örebro University, School of Music, Theatre and Art.
    Fernström, Olle
    Örebro University, School of Music, Theatre and Art.
    När det musikaliska och sociala går hand i hand: Gymnasieelevers syn på samspel i ensemble.2015Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
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  • 176.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Addressing Gender Inequalities in Music: Sweden as a Comparative Case Study2017Conference paper (Refereed)
    Abstract [en]

    Increasing media attention has been given to gender inequalities within the music industries, and across genres, in global Northern nations. Whilst noting that gender inequalities exist in different genres is not new, their persistence, as well as identifying successes in strategies to change them, require further exploration.In this respect, Sweden, a country with an international reputation for comparatively greater equality between binary genders, as well as popular music ‘folkbildning’ traditions, provides an important case study.This paper will address how notions of gender equality are constructed in activist and policy measures in Sweden. It notes how these influence and, in turn, are influenced by material resources which shape strategies in different ways. Drawing from 10 interviews with key-stakeholders in the UK and Sweden, as well as comparative policy analysis, the paper argues that both ‘cultural democratic’ and ‘gender mainstreaming’ traditions help to counter entrenched sexism and misogyny across genres. At the same time, it also advocates the need to extend and develop these in order to integrate more firmly intersectional understandings of equality as both an ethical and aesthetic concern.

  • 177.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Book Review: Masculinities in Contemporary American Culture: An Intersectional Approach to the Complexities and Challenges of Male Identity2018In: Men and Masculinities, ISSN 1097-184X, E-ISSN 1552-6828, Vol. 21, no 5, p. 759-761Article, book review (Other academic)
  • 178.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Book Review: Young Men Navigating Contemporary Masculinities2021In: Men and Masculinities, ISSN 1097-184X, E-ISSN 1552-6828, Vol. 24, no 5, p. 904-905Article, book review (Other academic)
  • 179.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Bored of Bourdieu?: On the Limits of Bourdieusian Approaches to Music Sociology2017In: Beyond Bourdieu?: International Symposium, 22nd - 24th September 2017, Delmenhorst, Germany. Abstracts, 2017, p. 3-4Conference paper (Refereed)
    Abstract [en]

    Bourdieu-inspired approaches have been the most influential in sociological research on music in many Western and Northern European nations, since the publication of Distinction in 1979. Cultural capital, particularly, was popularised in Anglophone countries through work on popular music aesthetics (Frith 2002) and notions of ‘subcultural capital’ (Thornton 1995) during the 1990s, whilst, more recently, habitus and cultural capital’s explanatory force in relation to music, have most obviously been indebted to large-scale projects around cultural capital and social exclusion (Bennett et al. 2008; Bihagen and Katz-Gerro 2000; Savage et al. 2015). In the Nordic countries, too, questions of music education and gentrification have also taken up Bourdieu’s concepts to explain the acquisition, deployment and institutionalisation of music taste (Burnard et al. 2015; Dyndahl et al. 2017). 

    A number of scholars have challenged Bourdieu’s formulation and the way in which his work has been taken up in relation to music specifically (see Prior 2013; Rimmer 2012). The question is how to locate a discussion of social inequalities of music whilst carrying out meaningful social research which takes into account material practices of music listening (DeNora 2003) in relation to (unevenly) globally dispersed, technological change.

    This presentation outlines how a range of quantitative and qualitative sociological methods may help to reveal more complex, intersecting forms of inequalities and notions of aesthetic experience than are currently offered by Bourdieusian frameworks. It also seeks to offer insights from postcolonial and posthumanist-feminist theorising as a means of rethinking the linear value-hierarchy between hexis/doxa, subject/object and material/cultural which work to reinscribe simplistic notions of hierarchically determined taste. Through this, the presentation aims to raise some implications for sociologically grounded studies of music education, specifically around notions of value and musical development which take account of Bourdieusian insights but are not limited to their frameworks.

  • 180.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Changing men, changing masculinities2022In: Norma, ISSN 1890-2138, E-ISSN 1890-2146, Vol. 17, no 4, p. 213-218Article in journal (Refereed)
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  • 181.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art. Department of Sociology, Wentworth College, University of York, York, United Kingdom.
    Cheer up emo kid: rethinking the ‘crisis of masculinity’ in emo2014In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 33, no 2, p. 225-242Article in journal (Refereed)
    Abstract [en]

    ‘Emo’, an abbreviation of the word ‘emotional’, is a term both used to describe music which places public emphasis on introspective displays of emotion and a pejorative phrase applied to fans of a diverse range of music. It is overwhelmingly male-dominated in terms of production and it has been suggested that the development of emo can be explained with reference to a ‘crisis in masculinity’. This implies that explicit, male emotional expression is historically incompatible with the performance of Western ‘masculinity’. This article first briefly explores how emo emerged and how it has been linked to the idea of a crisis. It then moves on to conduct a lyrical, discursive analysis around three themes: emotional expression and relationships; overt chauvinism; and ‘beta male misogyny’. Through these concepts I suggest that, rather than indicating a crisis or ‘softening’ of masculinity, there are actually a number of historical continuities with masculinities as a means of sustaining gendered inequalities.

  • 182.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art. Department of Sociology, Wentworth College, University of York, Heslington, UK.
    Contesting ‘sex’ and ‘gender’ difference in emotions through music use in the UK2016In: Journal of Gender Studies, ISSN 0958-9236, E-ISSN 1465-3869, Vol. 25, no 1, p. 66-84Article in journal (Refereed)
    Abstract [en]

    This article builds on social psychological critiques of ‘hardwired’ gender difference inemotions, looking at the topic through the emotional use of music. Starting from thepremise that gender differences in emotion are socially and discursively constructedrather than innate, it moves on to challenge existing work in which masculinity andfemininity are treated as singular, oppositional concepts, that are ‘normally’ attached toideas of existing sex differences. Drawing on data, generated from a UK-based onlinesurvey of 914 respondents (male = 361; female = 553), this article highlights thatwhilst gender plays a significant part in shaping the emotional experience of music, thisis often mediated heavily by age and personal experience. It suggests that music is apractical means of moving beyond ideas of differences in gender or sex differences inemotional display, towards ideas of diversity, especially given that existing face-to-face research has often found men to be ‘unable’ to communicate emotional experiencein particular ways. Both inductive quantitative trends and open-ended fragments frompeople’s emotional experiences of music are included in order to demonstrate howemotions and gender intersect discursively.

  • 183.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Cultural Capital and Music in the UK and Sweden: Exploring Class and Gender Inequalities2015In: Societies in transition: Progression or regression? : BSA Annual Conference 2015, Durham: British Sociological Association , 2015Conference paper (Other academic)
    Abstract [en]

    As Prieur and Savage (2011) observe, Bourdieu's notion of cultural capital does not entail a timeless, fixed set of social relations. For example, some have pointed out that there are strong gender, rather than class, divides in 'highbrow' taste in Sweden (Bihagen and Katz-Gerro 2000) whereas in the UK, participation rather than consumption may often be a better indicator of social inequality (Bennett et al. 2008). How certain types of participation accrue symbolic value cross-culturally and temporally can therefore help illuminate differing forms of structural inequalities. Music has often been one of the most distinguishing measures in terms of class (Bennett et al. 2008: 46). Nevertheless a Bourdieusian approach to music tends to reduce its role entirely to its social function (Frith 2002: 251); neglects questions of aesthetics (Born 2010; Prior 2011), affect (Hennion 2007) and listening; and often fails to explore how inequalities can be subverted. Focusing on reproduction is important however we need to outline how groups renegotiate and contest symbolic violence also. This paper foregrounds the first stages of postdoctoral research project looking at inequalities in music practices in the UK and Sweden. Using a 3 stage mixed-methods research design, it aims to outline different types of 'public' and 'private' participation and provide a detailed picture of how music attachments (Hennion 2010) and practices relate to gender and class. Through highlighting the similarities as well as the differences between the two countries, this will help to expand on and extend the insights of cultural capital theory.

  • 184.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art. School of Music, Theatre and Art, Örebro University, Örebro, Sweden.
    Digitalization and the Musical Mediation of Anti-Democratic Ideologies in Alt-Right Forums2022In: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712, Vol. 45, no 1, p. 48-66Article in journal (Refereed)
    Abstract [en]

    Popular music research has explored digital technologies’ potential for democratizing music consumption, distribution, and produc-tion. This article, however, focuses on the anti-democratic implica-tions of digitalization for popular music by exploring discussions of music in 1,173 posts in 6 Alt-Right forums, from 2010–2018. It demonstrates that, first, owing to algorithmic architecture, inter-pretations of musical politics are mutually reinforcing in these spaces. Second, a large degree of musical “omnivorousness” in these forums is both a feature of contemporary far-right strategy and a consequence of digitalization. Third, by articulating “reac-tionary democratic” principles through music criticism, these move-ments more easily evade regulation.

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  • 185.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Editorial: is masculinity toxic?2019In: Norma, ISSN 1890-2138, E-ISSN 1890-2146, Vol. 14, no 3, p. 147-151Article in journal (Refereed)
  • 186.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Emotions and affect in organizing men and masculinity/ies2023In: Routledge Handbook on Men, Masculinities and Organizations / [ed] Jeff Hearn, Kadri Aavik, David L. Collinson, Anika Thym, London: Routledge, 2023, 1Chapter in book (Refereed)
    Abstract [en]

    This chapter explores the role of emotions and affect in terms of men’s organizing from a predominantly sociological focus, including some approaches from cultural studies and social psychology. It starts with an explanation of the differences between approaches to emotions and affect, as well as key differences within traditions. The chapter observes that while the literature on emotions has often looked at emotions as properties of individuals, which can be “worked on” approaches to affect have conceptualized embodied responses more in terms of how they circulate and structure relations between people. In relation to men and masculinity/ies, while there has been a tendency to view acceptable and unacceptable emotions within organizations as inherently gendered – including a focus on men’s unemotionality – there has been a move towards exploring how men express emotions within and in relation to organizations as part of a broader discourse around “softening” and “caring” masculinity. The chapter finally draws on the affective turn in feminist theory, to indicate how thinking about men’s organizational behaviour and organizing as structured through affective practice is a means to avoid the progressive/regressive binary associated with a focus on men’s emotional expression while still foregrounding emotional experience.

  • 187.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Fighting Gender Inequalities in Music: Comparing the UK and Sweden2017In: Popular Music Studies Today: Abstracts for the conference of the International Association for the Study of Popular Music, June 26-30, Kassel, Germany / [ed] Julia Merrill and Jan Hemming, 2017, p. 136-137Conference paper (Refereed)
    Abstract [en]

    Many have documented how gendered discrimination impacts on inequalities across music scenes and genres (eg. Davies 2001; Donze 2010; Farrugia 2012; McClary 1991; Rustin and Tucker 2008). These studies have shown that gender influences access to, participation in and engagement with music, in a variety of different ways, providing important critiques of objective notions of musical ‘excellence’ and utopian views of music subcultures.Studies on gender inequalities in music have often focused on Anglophone countries. Yet research on Sweden (eg. Bergman 2014; Björck 2013; Gavanas and Reitsammer 2013) – a supposedly much more gender-equal nation - has demonstrated that many of the same issues are present. This indicates the prevalence of transnational discourses around popular music and a need to recognise the work of activists, networks and musicians in challenging such practices.This paper draws on research with 10 representatives from networks, in the UK and Sweden, involved in fighting gender inequalities in music. It outlines what benefits can be gained from a cross-national, comparative perspective before exploring how gender inequalities and equality are understood by networks working across and within particular genres. It links organizational strategies to structural differences between the two nations, before noting how these networks articulate their limitations.

  • 188.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Gender Equality in Music: A Comparison of the UK and Sweden2016Conference paper (Refereed)
  • 189.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Gender Inequalities and Higher Music Education: Comparing the UK and Sweden2018In: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 35, no 1, p. 23-41Article in journal (Refereed)
    Abstract [en]

    Whilst the impact of gender inequalities has been studied in relation to music education,especially in the UK, relatively little has been written about their impact on higher musiceducation (HME). This article compares data on HME programs and courses, in the UK andSweden, from 2010 to 2014. It looks at similarities and differences in the numbers of menand women who applied to HME subjects, compared to those who were offered a place ontheir chosen program or course, in both nations. Through this it demonstrates that whilst aSwedish HME appears to show less institutional discrimination against women, there arestill similar transnational divisions in men’s and women’s HME subject choices. Howeverthe article uses these data to build on existing critiques around a need for intersectionalunderstandings of gender inequalities, before arguing that a critique of neoliberalism isessential to tackling gender inequalities in HME.

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  • 190.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Gender Inequalities in Higher Music Education: Comparing the UK and Sweden2017In: The 22nd Annual Conference of the Nordic Network for Research in Music Education, March 14-16 2017: Abstracts, Senior research, NNMPF 2017, 2017, p. 19-21Conference paper (Refereed)
    Abstract [en]

    A number of studies have either directly or indirectly pointed to the role of music education in reproducing broader gender inequalities, in broader music life, across genres (eg. Abeles 2009; Abeles and Porter 1978; Armstrong 2011; Bogdanovic 2015; Branch 2012; Gould 2004; Green 1997). Crucially, gender inequalities shape instrument and activity choices (Wych 2012) as well as perceptions about the relative value of those activities (Georgii-Hemming and Kvarnhall 2015). Such processes operate is alongside active discrimination against girls and women, as well as differential (and often preferential) treatment of individuals and groups on the basis of gender. Many, though not all, of these studies have been based on Anglophone countries. Yet despite its international reputation as a more ‘gender equal’ nation than many countries in other respects (U.N. 2014), music continues to be one field where people of non-male genders are excluded and discriminated against through ‘informal’ practices (Bergman 2014; Björck 2013; Kvarnhall 2015). 

    Furthermore, whilst many approaches have focused on primary (grundskola) and secondary (gymnasiet) education, relatively few have actively explored the state of gender inequalities in higher music education (HME). Given HME’s increasingly important role in the professionalization of music careers across Europe (Allsup 2015) a focus on gender inequalities in higher education is of critical importance (Bogdanovic 2015; Born and Devine 2015). Such an approach entails asking where the problems lie, how gender inequalities manifest themselves and, crucially, how to change them given that course choices are, already, often shaped by years of specialisation in ‘lower’ education.

    The first part of this paper presents comparative HME statistics from Sweden and the UK from 2010-2014, surrounding music course choices amongst undergraduate students. Drawing from statistical analysis on comprehensive data from UHR (Sweden) and UCAS (UK), it compares application and acceptance rates for men and women. This allows us to point to the extent to which institutional discrimination or previous education play a part in shaping participation rates at HME institutions at a national level. It relates similarities and differences between the two national contexts to key contextual features in the way music education is established and executed as well as broader societal commitments to gender equality.

    However whilst Sweden has adopted a highly-successful gender mainstreaming agenda, something which clearly has an impact on HME, it is problematic to represent inequalities only in terms of inequalities of representation. Attempts to ‘fix representation’ may do very little to challenge patriarchal assumptions on which different music traditions are founded (Macarthur 2010; 2014); traditions such as all-male canons (Citron 2004), instrumental fetishisation (Pellegrini 2008) or masculinist aesthetic judgment (Macarthur 2002). Furthermore it may actively lead to preferential treatment of men in areas where women are now better represented, despite historical exclusion - the so-called missing males problem in choirs for example (Koza 1993; O'Toole 1998) - as well as overlooking how intersectionality  impacts on different forms of gendered exclusion. In this respect, a gender-mainstreaming focus in Sweden has also tended to overlook how class, ethnic and racial inequalities in other areas influence gender inequalities (de los Reyes 2016); something which could well extend to music.

    The second part of the paper therefore outlines some of the issues the data throws up around how to define, understand and combat gender inequalities in HME. It makes specific reference to how gender mainstreaming approaches may discriminate against trans* individuals (Hines 2013), and how efforts to increase women’s representation may miss more fundamental strategies in engaging and transforming men’s attitudes and behaviour. Crucially, in doing so, it also touches on more complex issues around what the marketization of higher education means for gender inequalities at a university level. Comparing the more-recently neoliberal free-market system in the UK (Allen et al. 2013; De Angelis and Harvie 2009; Radice 2013), with the more ‘public institution’ approach in Sweden, allows for debate as around how universities should challenge already-gendered ‘consumer’ choices and how far they can seek to actively change those choices. These questions centre not just on the subjects that are offered but the way in which the subjects are marketed to appeal to a range of groups.

  • 191.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Gender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities2023In: Nordic Research in Music Education, E-ISSN 2703-8041, Vol. 4, p. 35-41Article, book review (Refereed)
    Abstract [en]

    The article is a review of Gender Issues in Scandinavian Education: From Stereotypes to Multiple Possibilities (Silje Valde Onsrud, Hilde Synnøve Blix and Ingeborg Lunde Vestad, editors) by Sam de Boise (School of Music, Theatre and Art, Örebro University, Sweden).

  • 192.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Gender Mainstreaming in the Music Industries: Perspectives from Sweden and the UK2019In: Towards Gender Equality in the Music Industry: Education, Practice and Strategies for Change / [ed] Catherine Strong and Sarah Raine, London: Bloomsbury Academic, 2019, p. 117-130Chapter in book (Refereed)
  • 193.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    I’m Not Homophobic, “I’ve Got Gay Friends”: Evaluating the Validity of Inclusive Masculinity2015In: Men and Masculinities, ISSN 1097-184X, E-ISSN 1552-6828, Vol. 18, no 3, p. 318-339Article in journal (Refereed)
    Abstract [en]

    Anderson’s concept of “inclusive masculinity” has generated significant academic and media interest recently. It claims to have replaced hegemonic masculinity as a theoretical framework for exploring gender relations in societies that show “decreased” levels of cultural homophobia and “homohysteria”; this clearly has important implications for critical studies on men and masculinities (CSMMs). This article is divided into two parts and begins with a theoretical evaluation of work using the framework of inclusive masculinity and what it claims to offer over hegemonic masculinity. The second half is an analysis of inclusive masculinity’s conceptual division of homophobia and homohysteria. Through this analysis, it is suggested that there are several major theoretical concerns, which call into question the validity of research utilizing the framework of inclusive masculinity.

  • 194.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Men, masculinities and music2020In: Routledge International Handbook of Masculinity Studies / [ed] Lucas Gottzén, Ulf Mellström, Tamara Shefer, London: Routledge, 2020, p. 414-424Chapter in book (Refereed)
  • 195.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Men, masculinity, music and emotions2015Book (Refereed)
    Abstract [en]

    This book examines how we can reconcile the widely held belief that men are 'less emotional' than women, with a history of emotions in music. A belief that men identify with an ideal of rationality  - understood as the separation of emotion from rational action  - has informed critical studies on men and masculinities. Yet engaging with a wide range of music to stimulate, reflect and express, as well as manage particular types of emotions continues to be the key to music's appeal. Through detailing how judgments about emotions are expressed in relation to music tastes and distastes, this book demonstrates that emotions are as much social, value judgments as embodied, affective responses. It therefore raises the importance of looking at music listening contexts, culture, personal experience and a history of emotions in order to contest the orthodoxy that men's privilege stems from the 'repression' of emotions.

  • 196.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Music and misogyny: A content analysis of misogynistic, antifeminist forums2021In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 39, no 3-4, p. 459-481Article in journal (Refereed)
    Abstract [en]

    Research exploring the relationship between misogyny and music has been divided between those who argue that certain music causes, confirms or is a manifestation of misogyny. Yet this often takes for granted the link between certain genres (predominantly hip hop, rap and metal) and misogynistic 'messages'. Instead of asking what types of music might be misogynistic, this article instead asks how music is discussed amongst those who actively espouse misogynistic views. Through content analysis of 1173 posts, from 6 ‘misogynistic antifeminist movement’ (MAM) forums, it shows that whilst hip hop, rap and metal genres and artists are the most commonly mentioned, there is significant variation in terms of musical preferences and justifications. Whilst masculinist lyrics were the main reasons for music preferences, this study shows how MAM communities’ musical judgments are a confluence of sonic and extra-musical discourses which are shaped and amplified within these online communities.

  • 197.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Music and Online Far-Right Extremism2021Other (Other (popular science, discussion, etc.))
  • 198.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Music Participation Matters: Gender Inequalities and Higher Education Music Course Selection in the UK and Sweden2015Conference paper (Other academic)
  • 199.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Post Bourdieusian Moments and Methods in Sociologies of Music2016In: Global Societies: Fragmenting and Connecting: BSA Annual Conference 2016, Aston University, Birmingham, Wednesday 6 - Friday 8 April 2016, BSA Publications Ltd. , 2016, p. 258-258Conference paper (Refereed)
    Abstract [en]

    Bourdieu’s theoretical shortcomings in his approach to music have been heavily critiqued, leading to what Prior (2011) has called, an emerging trend toward a ‘post-Bourdieu moment’ in the sociology of music. Yet despite sustained criticism, many recent empirical studies have tried to ‘update’ his initial approach whilst avoiding questions of aesthetics, social change and questions of production. The uses of cultural capital and habitus, particularly, have tended to depict a certain cohesion in increasingly complex music practices which go far beyond the nation state. Enormous, global, technological changes have also not only impacted on the way in which many consume, but also write and engage with music.

    A ‘post-Bourdieu moment’ in the sociology of music raises particular methodological and theoretical issues; primarily, how can we integrate a non-deterministic approach to musical sociology which recognizes music’s sensory and affective qualities, without negating questions of power and the focus on critical, large-scale, empirical research. This paper makes the case for new interventions in empirical frameworks for exploring music in relation to social inequalities. It argues that we need to be sensitive to the impact of digital technologies, the changing structures of the music industries and adopt a much more explicit focus on listening practices. Drawing on mixed-methods, empirical data from my own research, the paper looks particularly at focusing on ‘music engagement’ in order to understand not only how music relates to inequalities but also how it offers a means of contesting them, without reverting to static models of taste.

  • 200.
    de Boise, Sam
    Örebro University, School of Music, Theatre and Art.
    Post-Bourdieusian Moments and Methods in Music Sociology: Toward a Critical, Practice-Based Approach2016In: Cultural Sociology, ISSN 1749-9755, E-ISSN 1749-9763, Vol. 10, no 2, p. 178-194Article in journal (Refereed)
    Abstract [en]

    Bourdieu’s work has been hugely influential in sociological research on music and society, especially in shaping research on the relationship between social inequalities and music. Recent sociological work has also ‘updated’ his approach in order to demonstrate how his central insights are still relevant today, demonstrating strong links between music and social inequalities. Despite a move toward a ‘post-Bourdieu moment’ in the sociology of music (Prior, 2011), few have attempted to outline empirical strategies which are critically sensitive to social inequalities, whilst addressing questions of aesthetics, value, resistance and social change. This article acknowledges Bourdieusian contributions to the sociology of music as well as attempts to ‘update’ Bourdieu’s initial approach. However, it argues that a new understanding of musical subjectivity, a broader focus on music engagement, as well as greater methodological flexibility, are required in order to help us explore increasingly complex relationships between music and social inequalities today.

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