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  • 1.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Att kalla på Echo: Musiken och rummet2012In: På tal om musikproduktion. Elva bidrag till ett nytt kunskapsområde / [ed] Ternhag, Gunnar; Wingstedt, Johnny, Göteborg: Bo Ejeby Förlag , 2012, 123-139 p.Chapter in book (Other academic)
  • 2.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Det imaginära rummet.: Inspelningspraxis och produktion av konstmusikfonogrami Sverige 1925-19832008Doctoral thesis, monograph (Other academic)
  • 3.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Listening to Recorded Sound and Music as Representations of Room-Time2010In: Listening and Technology seminar, Köpenhamn, 2010Conference paper (Other academic)
    Abstract [en]

    There is no fixed limit where sound ceases to be only “sound” and will be “music". In different kind of sound-art or electro-acoustic music, we see this clearly, but in a different way also in other music. Nevertheless, from a western musicological perspective there are certain types of sounds that are musical. Even if we, for example in Frank Zappa’s recorded works, often find long sections with clean dialogues we could hardly consider dialogues to be musical if they were isolated. They become music only when they are part of a musical context. What is it that conceptually creates music? Of course, such things as melodic, rhythmic, polytonal, polyphonic or other harmonic, instrumental or vocal structures. Although the limits between sound and music, music and non-music, will always be problematic, a specific element can be said to give a specific key to which organized sound is perceived as musical structures: The virtual, imaginary roominess, the spatiality. The importance of the spatial roominess has been underestimated in musicology as a symbolic, sounding and compositional component of music. Before the days of recording technology, it was obvious that music was always played in real places and premises. On the other hand, it is obvious that in recorded music the spatial roominess will be different from live music roominess. In the same way as the drum-beats on a disc with jazz or rock music not mainly is there to serve as a simple metronome for the other musicians, but fulfils an essential musical function, the virtual roominess on a music recording is not only the residue of music reflections against the walls of the recording room. The place and the roominess have real meanings. The represented, recorded three-dimensional spatiality may in particular have a real musical importance when connected to the fourth dimension, namely the flow of time. This musical room-time can be homogenous but also heterogenous, it may contain unity-rooms or multi-rooms. The imaginary rooms may represent the acoustic room in which music sounds, but also a resident internal, mental place, or combinations of these. Thus, in recorded music it is possible to use parts of representations of physical and/or imaginary positions of the listening subject in the room or use the internal awareness of a musical thinking subject in room-time. In the same way as music can be embodied, the imaginary spatiality and roominess of musical recordings can be seen as an expression – both for represented embodiment and for a represented internal awareness – and its positions in the room-time. The presentation will contain sounding examples from various genres.

  • 4.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Recension: C Symes (2004): Setting the record straight: a material history of classical recording2008In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 90, 156-158 p.Article, book review (Other academic)
  • 5.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Recension: H Lagher & L Ermalm (2007): De legendariska åren - Metronome Records2008In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 90, 136-138 p.Article, book review (Other academic)
  • 6.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Recension: Stump, P 2005. Gentle Giant: Acquiring the taste. London: SAF Publishing2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, no 92, 182-184 p.Article, book review (Other academic)
  • 7.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Recension: Ternhag, G 2009. Vad är det jag hör? Analys av musikinspelningar. Göteborg: Ejebys2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92, 194-196 p.Article, book review (Other academic)
  • 8.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Skyskrapornas och de röda stugornas musik: Ett försök till förståelse av fusionen av jazz och svensk folkmusik2000In: STM Online, ISSN 1403-5718, Vol. 3Article in journal (Refereed)
  • 9.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Spatialitet och temporalitet i Hugo Alfvéns musik: Analys av gestaltning utifrån inspelningar.2010In: Hugo Alfvén-symposium, Stockholm, 2010Conference paper (Other academic)
  • 10.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Svunna rum: Produktion av konstmusikfonogram i Sverige 1925-19832010In: Kulturhistorisk medieforskning 2.0, Vadstena, 2010Conference paper (Refereed)
    Abstract [sv]

    Fonogrammet är i flera avseenden det glömda mediet. Trots att en av de viktigaste kanalerna för bevarande, utveckling och spridning av musik i de flesta genrer under 1900-talet och därefter skedde genom 78-varvsskivor, LP-skivor, EP-skivor, rullband, kassetter och CD-skivor, glöms detta medium ofta bort i mer generella diskussioner om medierna och deras betydelse. Likaså glöms fonogrammet inte sällan i motsvarande diskussioner om 1900-talets musiksamhälle. Men detta medium satte på ett avgörande sätt sin prägel på all musik under 1900-talet. I Sverige spelade t.ex. skivbolagen och Sveriges Radio en avgörande roll för hela musiksamhället som producenter av fonogram långt före det ”Svenska musikundret”, som kan sägas ha grundlagts redan under första världskrigets dagar och som tog ordentlig fart i slutet av det andra världskriget. Intressant nog var det periodvis inte inom populärmusikproduktionen som den mest innovativa tekniska och fonogramspecifika utvecklingen utspelade sig, utan snarare inom produktionen av konstmusikfonogram. Det producerades under 1950-, 60- och 70-talen i Sverige av svenska skivbolag tekniskt och auditivt avancerade inspelningar på tusentals LP-skivor, med ett stort antal verk av svenska tonsättare, där inspelningarna kopplades till ett grafiskt nytänkande där multimediala estetiska strategier präglade konvolut och konvolutkommentarer. Ett antal viktiga inspelningar och fonogram, liksom en analysmodell för fonogrammet som Multimedial Musikprodukt, kommer att presenteras under föredraget.

  • 11.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    "Så fick vi med en flicka till": Spatialitet, temporalitet och identitet i Hugo Alfvéns inspelningar av Midsommarvaka och Bergakungen 19542012In: Hugo Alfvén - liv och verk i ny belysning / [ed] Gunnar Ternhag & Joakim Tillman, Möklinta: Gidlund , 2012, 239-272 p.Chapter in book (Other academic)
  • 12.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    "The Art of Record Production", London, den 17-18 september 2005: Konferensrapport2006In: STM Online, ISSN 1403-5718, Vol. 9Article in journal (Refereed)
  • 13.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    The Imaginary Room: Recording Practice and Production of Art Music Phonograms in Sweden 1925-19832009In: The Art of record Production, Cardiff, 2009Conference paper (Refereed)
  • 14.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Tukkipoika: Some Comments on recordings of North Swedish Folk Music2013In: Nordisk forskarkonferens inom Ljud- och musikproduktion Falun 13-14 november 2013: Conference proceedings / [ed] Berk Sirman, Falun, 2013, 8-8 p.Conference paper (Refereed)
  • 15.
    Burlin, Toivo
    Dalarna University, School of Languages and Media Studies, Sound and Music Production.
    Tukkipoika: Some comments on recordings of North Swedish Folk Music2013In: The 17th Finnish Music Researchers’ Symposium, Turku March 13–15, 2013The Cultural Memory of Sound and Space : Abstracts / [ed] Maija Leino, Turku/Åbo: Åbo Akademi , 2013, 24- p.Conference paper (Refereed)
    Abstract [en]

    Sweden has a long and rich tradition of folk music recorded. During the 1970s, the genre flourished and got a new boost in the 1990s.

    In the regions Norrbotten and Västerbotten a number of artists as Norrlåtar (”North Songs”), JP Nyströms and Burträskara (among others) on numerous recordings produced a well-crafted folk music. The music material was taken from the Swedish, Finnish and Sami music cultures in the region, for example, the yoik.

    The recordings were often musically and technically well-crafted and designed an "authentic" sound, recorded in the studio or in a real environment outside the recording studio, for example a dance barn or in a kitchen.

    The recorded music was part of a cultural project, that was both to make visible a peripheral region in Sweden and one in the folk world unknown music culture, and simultaneously problematize the concept of folk music. In the recorded music, it’s cultural and geographical ”space”, was expressed in the roominess of the recording.

    In this lecture the recordings with Northern Swedish folk music is discussed as studio productions and cultural artifacts. A few analytical models and concept pairs, that describe music recordings as both representations and spatial and temporal design, is presented and applied to the material: the Representation model and the Room Model.

1 - 15 of 15
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