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  • 1.
    Forssell, Jonas
    Stockholm University of the Arts, University College of Opera. Konstnärliga fakulteten vid Lunds universitet.
    Textens transfigurationer2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the opera text enlightened from four different perspectives: the translator, the librettist, the composer and finally the singer, based on the author’s thirty years of professsional practice, in the spirit of Donald A. Schön’s study from 1983: The Reflective Practitioner; How professionals think in action. The method is basically hermeneutic and the esthetics inspired by Umberto Eco’s Opera Aperta (”The Open Work”) from 1962. Questions from within the perspective of the translator are: In what ways does opera translation differ from other forms of translation, and how does an opera translator work? What is the history of “opera in the ver-nacular” compared to “opera in original language” and are singable translations needed whatsoever in the modern era of subtitling? The perspective of the librettist examines the opera form’s SWOT-analysis, the differences from other “storytelling” art forms, the task of making an adaption compared to choosing to create an original plot, the matter of taste and building the form from dramaturgical principles, the shaping of aria texts, the importance of tight collaboration and cutting, cutting, cutting (“a libretto cannot be short enough” Edgar Istel, 1922). The composer’s perspective contains practical and theoretical words of advice and examples from practice, together with a so ”think aloud”-study from within a composer’s thought process while working. The final chapter, from the singer’s perspective, focuses on whether modern vocal ideals and singing “in original language”, with subtitles, together with expanding performance halls, have made opera text harder to perceive, and rendered earlier established texting techniques forgotten or obsolete. The answers to all these questions are complex. This thesis concludes that the opera form is still expanding, but not necessarily in the direction of creating a new, contemporary canon. “There are about 600 opera houses in the world, all are ‘National Galleries’, none is the Tate Modern” (Per-Erik Öhrn, 2012), but there are also opportunities. Almost all successful new opera productions in recent years have their librettos written in English, a language traditionnally regarded as “weak” in the field of opera. Opera audiences worldwide are nowadays accustomed to hearing and understanding sung English words and comprehending a dramatic context when expressed in English, thanks to 100 years of Anglo-American dominance in popular music and about 50 years of dominance in television and films.

  • 2.
    Gagua, Zaza
    Stockholm University of the Arts, University College of Opera.
    Practical advices for young Opera singers2019Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Opera itself is a combination of music, poetry, acting and plastic where the central role-plays singer-actor. Each singer should try to develop itself every time. During my study period, I have learned a lot from the reading books of successful and famous opera singers; I noted recommendations of my teachers, professors, opera singers I have met; and tried to follow their recommendations. As you have already read, it really affected me. I hope that my work will be useful for the beginners since several year ago I was beginner too, studied a lot, and worked a lot for my future career.As I have already mentioned below I have played the role of Masetto and Commendatore during performance of Mozart’s Don Giovanni. And from my point of view it is quite hard to play both roles but if you will follow the advices that I have mentioned here ineach my chapter I am sure that it will help you to sing properly during your entire singing career. Since when I started to practice thesetwo roles I had quite few time to study and met a lot of challenges. Hoverer I started to look for the solutions howto overcome challenges. First of all I have started to observe why I couldn’t sleep sometimes well, why I had reflux, why my voice wasn’t in a good condition and also I have started to think about faster ways of studying and started to think how I could learn faster and what are the important keys. I am always trying to follow the advices of the famous singers and trying to fit it to myself. I do not tell you how you should develop your voice skills or singing technique because I think that it is up to your voice technique teacher’s job but what I am trying to share with you is that all my selected chapters will help and do not heart you.

  • 3.
    Helander, Karin
    Stockholm University of the Arts.
    Kroppen som det skönaste musikaliska instrumentet: om röstpedagogen Cecila Berefelts arbete inom svensk teater och teaterutbildning2012Book (Other academic)
  • 4.
    Hjärpe, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Let us Dance: en undersökning kring jazzdansundervisning för musiker som spelar till dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of my thesis is to attempt formulating methods and strategies functioning as options to broaden

    and develop the knowledge concerning the relationship between music and dance to musicians

    specialized in playing to dance classes. As a dance pedagogue I also try to find ways of developing my

    cooperation with musicians. Teaching jazz dance, the genre used in this essay, I function in different

    pedagogical roles to musicians who accompany dance students. Throughout my study I analyze the

    interviews made with my participants before, during and after my lessons. In my attempts to formulate

    these methods and strategies, different types of pedagogies are used e.g. learning by doing -methodology

    together with dynamic pedagogy.

    Be ing inspired by refle xiv ity, and using it as a tool in my analy zing process, I interpret my partic ipants’

    statements. Especially the final interview discloses that the participants show a broaden understanding

    for movements and the connection between movement and music. Their statements show that they can

    feel the movements, regardless of their dancing the movements or not and this helps them in providing

    music suitable for the specific movements. In order to develop cooperation with musicians, my stu dy

    shows that teamwork is the tool that helps most.

  • 5.
    Hübinette, Nils
    Stockholm University of the Arts, University College of Opera.
    Vad operasångare kan lära av skådespeleri2019Independent thesis Advanced level (degree of Master (Two Years)), 5 HE creditsStudent thesis
    Abstract [sv]

    En lärare som var väldigt viktig för mig i ett visst skede under studietiden, var Thomas Lander. Han introducerade de sångtekniska fördelar man kan hämta från talet, eller som han kallar det, det patetiska talet. Betydelsen, och lärdomarna som kunde hämtas, av talet stannade dock inte här, det breddades till att vara det centrala i hela min filosofi kring kommunikation på scen.Från de rent sångtekniska verktygen som fanns att hämta, kom senare diktionen, och textens hörbarhet. Därefter kom talet i dess mest övergripande form, likt skådespeleri. Vad fanns det egentligen överhuvudtaget för skillnader mellan tal och operasång? Fascinationen uppstod ur det faktum att vi genom trial and error har övat hela livet på att tala, på att till att börja med rent taltekniskt göra oss tillräckligt förstådda, att man hör vad som sägs, och för det andra att vilja uppnå något med vad man säger. Det verkade inte mer än rimligt att använda sig så mycket av det som möjligt, varför uppfinna hjulet en gång till?Frågeställningen blir här därmed: ​Vad finns det för skillnader och likheter mellan skådespeleri och operasång, och vad man lära av det för att bli en bättre sångare?

  • 6.
    Ivarson, Karin
    et al.
    Stockholm University of the Arts, Musikenheten. Dans- och Cirkushögskolan.
    Printz, Sebastian
    Stockholm University of the Arts, Musikenheten. Dans- och Cirkushögskolan.
    Musiken i rörelsen och rörelsens musik: texter om samspelet mellan musik, dans och cirkus2015Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Att som musiker dagligen få möjlighet att samarbeta med dansare och cirkusartister är en stor förmån. Denna antologi är resultatet av ett projekt för att synliggöra och dokumentera musikers erfarenhetsbaserade kunskap när det gäller praxisfältet musik för dans och cirkus. Musiker anställda vid musikenheten på DOCH och även tidigare anställda musiker har skrivit, eller blivit intervjuade, om hur de undervisar i musik, spelar till och komponerar för konstområdena dans och cirkus. Vad gör vi? Varför gör vi det vi gör? Hur kan vi göra för att utveckla vårt musikaliska förhållningssätt i samarbetet med dansare och cirkusartister?

    Musiken och musikerna har haft en stor och viktig plats i de olika utbildningarna genom DOCHs historia, alltsedan Koreografiska Institutet startade 1963 och fram till idag då DOCH, Dans och Cirkushögskolan ingår i Stockholms konstnärliga högskola. Detta arbetsområde inom högskolan har dock aldrig tidigare presenterats eller dokumenterats i text. Vilken musik spelas på olika dansklasser, hur växer musik till en cirkusföreställning fram, vilken musikundervisning behöver studenter i dans och cirkus?

    Denna antologi avser att ge kunskap om och inblick i mångfalden av musikaliska uttrycksformer genom musikernas personliga berättelser. Vikten av att utveckla seendet för att kunna gestalta rörelsens musik beskrivs, samt hur ny musikteknik kan bidra till ett utökat musikaliskt ljudlandskap.

    Förhoppningen är även att denna antologi kan inspirera studenter, lärare och andra som är intresserade av musikers arbete och av samspelet mellan musik, dans och cirkus, till ständig vidareutveckling av musiken i rörelsen och rörelsens musik!

  • 7.
    Lindal, Anna
    Stockholm University of the Arts, University College of Opera. Göteborgs universitet.
    Musik och kunskapsbildning: Bor det en pedagog i varje musiker?2011In: Musikens kunskapsbildning: En festskrift til Bengt Olsson, / [ed] Monica Lindgren, Anna Frisk, Ingemar Henningsson, Johan Öberg, Göteborg: Art Monitor , 2011, 1, p. 121-122Chapter in book (Other academic)
  • 8.
    Lindal, Anna
    Stockholm University of the Arts, University College of Opera. Göteborgs universitet.
    Vargen och violinen2009In: Art Monitor nr 7 2009, ISSN 1653-9958, no 7, p. 119-124Article in journal (Refereed)
    Abstract [en]

    Article on intepretation and collaboration between composer and interpreter based on the authors work with music by Øyvind Torvund and Christian Wolff. 

  • 9.
    Lindberg, Matilda
    Stockholm University of the Arts, Dance Pedagogy Department.
    Where's your groove?: Dance teachers' perceptions of groove and how it is taught in streetdance2018Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This is a small-scale qualitative study of perceptions of the phenomenon groove in relation to streetdance, with the purpose of sharing and highlighting groove as a streetdance technique. The data was collected by interviews from five streetdance teachers in Stockholm. Phenomenography was used as a theoretical approach and the analysis resulted in two sample spaces. The first sample space constitutes six description categories relating to perceptions of groove. The second sample space constitutes five-description categories relation to perceptions of teaching groove. The study shares and highlights the phenomenon groove as a bodily technique within streetdance, and contributes to share awareness and consciousness among teachers and others interested in dance pedagogy. 

  • 10.
    Löwenmark, Aino
    Stockholm University of the Arts, The Film and Media Department.
    Fjarill i Gagnef: Reflektioner om hemlängtan, kulturella skillnader och kreativt skapade2019Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I den här essän försöker jag få en förståelse och en inre struktur för mitt yrke och min praktiska kunskap som musiker och sångare i Tyskland. Det handlar om mitt dilemma om att vara utlandssvensk i Tyskland och om min hemlängtan till Sverige. Med hjälp av Aristoteles, Hannah Arendt, Hans Larsson m.fl, binder jag ihop känslorna med kunskapen och får på så sätt nya perspektiv på hur det är att leva mellan två världar. Ja att få tillgång till två länder och att förstå och omvandla min längtan till något kreativt.

  • 11.
    Nowitz, Alex
    Stockholm University of the Arts, University College of Opera.
    Monsters I Love: On Multivocal Arts2019Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    Proposing a ‘multivocal practice’ in the vocal arts, this exposition (documented artistic research project) embodies an inclusive approach to four core categories for the contemporary performance voice: the singing, speaking, extended and disembodied voice. The culmination of a four-year PhD project in the Performative and mediated practices, with specializations in choreography/film and media/opera /performing arts, it documents artistic research sub-projects through the presentation of multimedia material, interweaving performance recordings with reflection and informative threads. Multivocality addresses various models of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that bridge the vocal terrains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’. When voice and body meet technology-related practices that aim at the expansion of the vocal realm by using custom and gesture-controlled live electronics, a performance æsthetics of the in-between emerges. This is explored via the ‘strophonion’, formerly built at STEIM in Amsterdam and, during the course of the PhD, further developed by Berlin-based software programmer Sukandar Kartadinata who created an intricate configuration on the basis of the audio processing application Max/MSP. Through the formulation and performance of ‘The Manifesto for the Multivocal Voice’—a ‘discursive solo performance act’ that aims to provide insights into principles and premises, and to develop the discourse on the politics of today’s performance voice—the exposition attempts to establish a potential theoretical and philosophical grounding for multivocality. Meanwhile, its second major concern relates to the poetics of the voice, investigating the thresholds of highly individualised vocal practices by asking: what are the boundaries of and where is the performance voice today? The exposition (on Research Catalogue) comprises video and audio documentation of public live performances, lectures and artists’ talks as well as studio productions and rehearsals. The user is invited to study scores and varied texts, such as poems, extended programme notes, translations, performance instructions, comments and other reflections. But central is the collection of essays and articles guiding the user through the edifice of ideas that the artistic research project has unveiled.

  • 12.
    Olby, Pia
    Stockholm University of the Arts, The Department for Acting.
    Sången ädla känslor föder?: Sånggestaltning; möte mellan musikalisk och scenisk gestaltning på lika villkor2017 (ed. 1)Book (Other academic)
  • 13.
    Sairanen, Anna Pauliina
    Stockholm University of the Arts, University College of Opera.
    Mental training in opera2019Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I started thinking about mental training in singing quite late in my studies. I had many problems with my nerves when I was at the beginningof my professional studies. I remember having a course for three months that was called ”Performancetraining”. When I look back the only thing I remember from that course is what not to do and getting even more nervous when walking on the stage. I remember thinking that I cannotdo this, I will never be a good singer. I have luckily had good singing teachers who have had a lot of time, understanding, commitment and compassion towards me. I have managed to control my nerves and learned to love to perform.What happens if a singingteacher cannotsolve these problems? I myself have studied to be a singing teacher and during my studies I have never faced the challenge to solve these kinds of difficulties. It requires a good understanding in the human psyche to train people to reach their very best and to overcome traumas that prevents us to perform on our best. It takes a whole village to raise a child, as the saying goes. So why should the training of the voice, becoming a great individual performer and artist, rely on the shoulder of the singing teacher? When I think about the singing lessons, shouldn ́t most of the time be spend on training the voice, exercising the muscles that help us to sing? Have you ever heard a football player going to the practise and spending 50% of that timein solving problems they have faced? Probablynot. I’m notsaying that football players don’t have problems they feel are holding them back in playing football and performing at their best. They just have another time and place to fix these problems. Thiswork happens with the mental trainer.

  • 14.
    Tjerned, Veronica
    Stockholm University of the Arts, The Department for Acting.
    Granatäppleblomknopp: rytm som dramatisk båge2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    ABSTRACT

    How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form?

    I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative. 

    To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connected by being strung together on a basic rhythm. During this work I have followed different strands of evolution within me as a kathak dancers as well as personal experiences that has led up to this need of making it my kathak dance, rather than my Indian kathak dance. It’s also a close study of the relationship between a student and her master and how the master forces his student to mature to become her own master. 

    I want to use the kathak dance as an artistic expression to create performances based on topics interesting to me. I want to use the rhythmical patterns to enhance, elaborate and ornament the story told. How can I use the bols and sound from the kathak dance and Hindustani music? What happens if I instead of using bols create similar material but based on the Swedish language? The unexpected result of my research, the unexpected finding of what happened with me after I decided to drop India, and to focus my gaze to my own cultural space by being a native Swedish person living in Stockholm was that I lost my dance. I lost my geography. 

     

  • 15.
    Unander-Scharin, Carl
    et al.
    Stockholm University of the Arts, University College of Opera. Kungliga tekniska högskolan.
    Unander-Scharin, ÅsaLuleå tekniska universitet.Höök, KristinaKungliga tekniska högskolan.
    The Vocal Chorder: – Empowering Opera Singers with a Large Interactive Instrument2014Conference proceedings (editor) (Refereed)
    Abstract [en]

    With The Vocal Chorder, a large interactive instrument tocreate accompaniment, opera singers can get more powerover the performance. The device allows performers to interactivelyaccompany themselves through pushing, leaningon and bending steel wires. The design was guided by theunique needs of the solo-singer, explored through autobiographicaldesign and material explorations, some on stage,and later tested by other singers. We discuss how designingfor opera and for the stage requires extraordinary durabilityand how opera performances can change with a bodilyorientedinstrument such as The Vocal Chorder. Through adesignerly exploration, we arrived at a device that offered(1) a tool for singers to take control over the rhythmicalpace and overall artistic and aesthetic outcome of their performances,(2) an enriched sense of embodiment betweentheir voice and the overall performance; and (3) a means toempower opera singers on stage.

  • 16.
    Borin, Per (Conductor)
    Stockholm University of the Arts, University College of Opera.
    Missa a la breve: offentligt prövande/experimenterande/jämförelser av av de härskande traditionella tempi-konventioner gentemot Mozarts original anvisningar gällande tempi, fraseringar och skanderingar baserade på min Mozart-forskning2019Artistic output (Refereed)
    Abstract [sv]

    ”Missa a la breve?!”

    Offentligt prövande/experimenterande/jämförelser av av de härskande traditionella tempi-konventioner gentemot Mozarts original anvisningar gällande tempi, fraseringar och skanderingar baserade på min Mozart-forskning.

  • 17.
    Nowitz, Alex (Composer, Creator)
    Stockholm University of the Arts, University College of Opera.
    Moving Tongues: Playing Space (for Voice, Strophonion and Video)2018Artistic output (Refereed)
    Abstract [en]

    Proposing a ‘multivocal practice’ (German: Praxis der Vielstimmigkeit) in the vocal arts, the doctoral research project embodies an inclusive approach to the four core categories of the contemporary vocal art performance: the singing, speaking, extended and disembodied voice. Multivocality addresses various modes of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. The project is driven by the investigation of the voice’s boundaries within the field of vocal performance art as of today. On the basis of the highly subjective approach to the vocal arts through the researcher’s own voice, the posed question is what the performance voice could be and sound like rather than just asking what it is or represents. Either by extending the potential ranges of the multi-register voice or by examining the in-between and the unknown of an interdisciplinary and interdependent approach to oral, vocal, bodily and technology-related practices, the performance not only uncovers that these idiosyncratic practices are informed by additional questions pertaining to technical issues to bridge the vocal terrains, but also unfolds what is conceived as a bountiful vocal imaginary.

  • 18.
    Lundberg, Leif (Researcher, Creator)
    Stockholm University of the Arts, University College of Opera.
    Rösten i gestaltningen: reflektioner kring dualismen inom den mänskliga rösten och om interaktionen mellan röst och gestaltning2019Artistic output (Unrefereed)
    Abstract [sv]

    Jag har tidigare skrivit om Manuel Garcia som arbetade med sångare tills ett årinnan han dog. Han var 106 år gammal när han dog. När han inte orkade undervisa längre sahan: ”Jag önskar att jag hade haft ett liv till för att utforska den underbara mänskliga röstensalla möjligheter”. Själv är jag bara 65 år, i skrivande stund. Att jag skulle bli 106 år ärtvivelaktigt. Men jag förstår hans utsaga och håller med.Under mitt, trots allt, ändå ganska långa yrkesliv bland sångare har jag ständigtförsökt utforska och reflektera över de vokala processerna och interaktionen mellan gestaltningoch instrument. Om man är medveten om röstliga processer kan man anpassa arbetet medbåde musikalisk instudering och musikalisk gestaltning, det som jag lagt mest tid på, på ettsådant sätt att man ”lurar på” sångaren en sund vokalteknisk utveckling på kuppen. Minerfarenhet är också att sångaren bättre utvecklar och minns teknik kopplad till ett musikalisktuttryck än teknik kopplad till ett rent mekaniskt övande. En ”mekanisk” teknik, om nu en godsådan skulle kunna finnas för en sångare, står dessutom ofta på näsan när den konfronterasmed gestaltande krav.Jag har försökt att skriva metodiskt och belysa samma fenomen från olika hålleller med samma utgångspunkt försökt beskriva olika fenomen. Skriverierna bör ändå merbetraktas som en verktygslåda än som en receptbok. I det enskilda fallet behövs ofta ettmycket stort mått av flexibilitet inom ramverket. Men något att hålla sig till måste man ändåha. Dessutom har jag själv, bara under den period jag skrivit, hittat en mängd nya infallsvinklarsom inte kommit med i denna betraktelse. Sådan är den underbara mänskliga rösten och denfantastiska hjärna som styr processerna, där bara ca 10% är intelligens. För vokala ochkonstnärliga processer behövs även de 90% där bl.a. känslolivet sitter. Där styrs mycket av denröstliga processen och där försiggår mycket av det gestaltande arbetet. Ibland kan vi klä detsom sker där i ord. Men inte alltid. Det vore att reducera konsten till pedagogik. Det finnsnågot magiskt också. Vi vet vad det är, men vi kan inte definiera det med ord. En genial poetkommer väl i så fall närmast.Mina skriverier är däremot i allra högsta grad pedagogiska och praktiska. Debygger på min praktiska kunskap och på reflektioner rörande de motsättningar inominstrumentet som där uppdagats och på reflektioner över de konflikter mellan gestaltning ochinstrument som där uppdagats. De visar också på möjliga sätt att handskas med detta i detpraktiska arbetet. Det är oundvikligt att det blir så om man som huvudintresse har hur konst, imitt fall musik överhuvudtaget, kan uppstå och hur den kan kommuniceras från helapersonligheten till hela personligheten. Då blir det praktiska hantverket centralt. Har man ettintresse som mer lutar åt vad konsten kan användas till ur dagsaktuell politisk och samhälleligsynpunkt, en mer instrumentell konstsyn, är det möjligen annorlunda. Mitt intresse har intelegat där. Mitt intresse har legat i hur den, i mitt fall främst musiken i allmänhet ochoperakonsten i synnerhet, kan få en människas inre liv berikat, bryta instängdheten i det egnasinnet och möjligen, som i mitt eget fall, hjälpa människor att i vissa svårare tider överleva, gedem en mening och en tröst till den inre människan - något att kunna spegla sin inre människa ioch därmed förstå något om de primitivaste innebörderna av vad det är att vara människa -bortom ålder, kön, sexualitet, social bakgrund eller samtida samhälle. Det räcker för mig. Attmed det vuxna intellektet ha samma tillgång till det fria inre livet som man hade innan manlärde sig ljuga i femårsåldern. ”Om ni inte blir som barn (som ni var innan ni lärde er att ljuga,min kommentar) kommer ni aldrig in i Guds rike”, sa Jesus. Inte i musikens och sångens rikeheller. Tror jag.Med detta sagt är det så att jag gärna, likt Garcia, skulle vilja ha ett liv till föratt undersöka den fantastiska mänskliga röstens och den underbara musikens och detfascinerande skådespelets oändliga möjligheter att var för sig och tillsammans, som i opera,den omöjliga men ändå möjliga konstformen, öppna människors sinnen och tillföralivsavgörande upplevelser som bryter instängdheten i det egna medvetandet.

  • 19.
    Sunesson, Jenny (Artist, Creator)
    Stockholm University of the Arts, The Film and Media Department. Norske program for kunstnerisk utviklingsarbeid.
    The lost and found project: Imagineering fragmedialities2019Artistic output (Refereed)
    Abstract [en]

    The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture. I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do. To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method. By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites. I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).

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