Stefan Östersjö

Audio Paper offers a conceptual and practice-based approach for researchers across a wide range of disciplines to integrate auditory culture into their published work in the form of the audio paper. The audio paper is an academic text presented as an audio production. Introducing this new format, the book invites scholars to work in a publication format that integrates aesthetic perspectives and technological components in an academic work. This text builds on the authors' experience developing the audio paper and newly collected insights from researchers who have been involved in the production of audio papers over the past five years.By providing you with historical perspectives, ranging from early radio production to present day podcasts, the audio paper is contextualized as a technologically driven publication format, with a grounding in auditory culture and a theoretical framework. Through a structural analysis of published audio papers, the authors seek a more robust understanding of the methods for analysis as well as the dramaturgical means employed. For the future development of the audio paper, the book proposes a series of directions, underlining how the audio paper holds a potential to become a transgressive intervention in academic publishing and a vehicle for new formats for thinking and doing research.

Audio Paper offers a conceptual and practice-based approach for researchers across a wide range of disciplines to integrate auditory culture into their published work in the form of the audio paper. The audio paper is an academic text presented as an audio production. Introducing this new format, the book invites scholars to work in a publication format that integrates aesthetic perspectives and technological components in an academic work. This text builds on the authors' experience developing the audio paper and newly collected insights from researchers who have been involved in the production of audio papers over the past five years.By providing you with historical perspectives, ranging from early radio production to present day podcasts, the audio paper is contextualized as a technologically driven publication format, with a grounding in auditory culture and a theoretical framework. Through a structural analysis of published audio papers, the authors seek a more robust understanding of the methods for analysis as well as the dramaturgical means employed. For the future development of the audio paper, the book proposes a series of directions, underlining how the audio paper holds a potential to become a transgressive intervention in academic publishing and a vehicle for new formats for thinking and doing research.

This Element demonstrates how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led-research. The authors relate recently collected material from fieldwork in Vietnam to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which three authors are the founding members. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. The aim of this Element is to create a decolonized methodology—for both music performance and research—and it provides a detailed account of this method development starting in 2006. Furthermore, the authors discuss how this practice was successfully shared with three master performers in the south of Vietnam as part of a collaborative project in 2018–2019.

This Element demonstrates how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led-research. The authors relate recently collected material from fieldwork in Vietnam to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which three authors are the founding members. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. The aim of this Element is to create a decolonized methodology—for both music performance and research—and it provides a detailed account of this method development starting in 2006. Furthermore, the authors discuss how this practice was successfully shared with three master performers in the south of Vietnam as part of a collaborative project in 2018–2019.

Identity and subjectivity in musical performancesWho is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).