Vårt mål med detta kandidatarbete var att tillsammans med en rhizomatisk och med en ljudteoretisk synvinkel utforska och förverkliga alternativa sätt att gestalta ljud. Vi ville både ifrågasätta våra egna förutfattade meningar och den generella uppfattningen om audiell interaktion. Vi har tagit inspiration från Michel Chions analysprocess lyssnar modus och teorin synchresis för att realisera en utgångspunkt och en grundpelare vilket löper genom hela arbetet. Våra teorier och tester har skett på både ett reaktionärt och proaktivt sätt då vi både har producerat prototyper utifrån förstudier och genomfört tester med prototyperna i sökande efter externa åsikter. Testerna genomfördes genom att vi bjöd in utomstående att delta i undersökningen och på ett så naturligt sätt som möjligt utfört kvalitativa studier i form av intervjuer och observation för att tillsammans utforskat de semantiska beskaffenheter ljud besitter. Resultatet av vår undersökning brottas med människans biologiska förutsättningar. Att avkontextualisera ljud helt är ett åliggande som anses vara en utopi som vi i undersökningen har behandlat. Hur våra situeringar och våra källor har påverkat vår granskning, vårt skrivande och vårt prövande är en interpretation som vi diskuterar i slutet av undersökningen. / Our goal with this Bachelor Thesis was to explore and realize alternative ways of synthesizing sound, together with a rhizomatic and an audio-theoretical point of view. We both question our preconceived assumptions and the general perception of audio interaction. We have been inspired by Michel Chion's analysis process, modes of listening and the theory of synchresis to realize a starting point and a mainstay that runs throughout the thesis. Our theories and tests have taken place in both a reactionary and proactive manner as we have both produced prototypes based on preliminary studies and conducted tests with prototypes in search of external opinions. The tests were conducted by inviting third parties to participate in the survey and, in as natural a way as possible, conducted qualitative studies in the form of interviews and observation to jointly explore the semantic characteristics sound possesses. The result of our study is in conflict with the human biological conditions. To decontextualise audio completely is an issue that is considered an utopia and something that we have taken in consideration in the survey. At the end of the survey we will discuss if our situated mind and our references have influenced our scrutiny, our writing and our testing.

Since its debut 1956 Eurovision Song Contest has been a live televised music competition. Over several decades the contest has evolved and with modern technology the contest is about more than just the musical aspects. There are now many more factors to consider while watching and judging the competing acts. Various modes of communications, such as audio, visual, and performance elements, collectively create meaning and contributes to the overall viewing experience. To understand which elements are more profound in creating meaning, a study of seven Eurovision fans was undertaken in a focus group. The fans got to watch seven handpicked Eurovision performances from within the past decade (2014-2023). The result is a discussion about how this audience perceive and value modes and to which degree these aspects generated meaning for each of them individually. Through a comprehensive analysis of the discussion, the study aims to uncover patterns, preferences, and the evolving role of multimodality in shaping the audience's perception of Eurovision as a multimedia spectacle. The participants were able to speak freely about the subject due to their shared interest of the topic, yet the conversation did not particularly hold any evidence of multimodal patterns nor multimodal grammar.

The mediatization of society has gradually led to an increasingly prominent presence of music in our daily lives, a process which Tobias Pontara and Ulrik Volgsten refer to as musicalization. One media platform that has experienced rapid growth in recent years is TikTok, which, with its one billion users, has become a hub for music discovery and distribution. TikTok's interface fosters a participatory culture, where users actively engage in musical challenges and memes. In this paper, I examine musical memes as a phenomenon and explore their influence on society's musicalization process. By examining TikTok's user interface and its self-promotion strategies, it becomes apparent that the platform aims to establish itself as a contemporary music medium. The app's features actively encourage users to utilize music and dances as a tool for storytelling and community-building. TikTok's rise in the media landscape has led to a mediatization process where other media adapt to TikTok's logic, and due to music being such a central part of the platform, it contributes to an increased presence of music in our day-to-day lives.

Denna uppsats analyserar tal- och ljudboksadaption av en tryckt källtext som en form av intersemiotisk, intralingval översättning och jämför dess likheter med och skillnader från interlingval översättning, med ett särskilt fokus på grafisk och prosodisk rytm. Denna rytm – avgörande för den fysiska audiella uppfattningen av litteratur i skrift och tal – spelar en viktig roll i Virginia Woolfs fiktiva biografi Orlando, som med oortodox syntax och interpunktion gång på gång adderar friktion till berättelsens annars så blanka yta. Genom jämförelse mellan romanen i text och ljud, i originalets engelska och i översättning till svenska, analyseras en kort excerpt i detalj. Från en litteraturvetenskaplig, översättningsvetenskaplig och lingvistisk utgångspunkt visar uppsatsen på hur denna översättning mellan medier – liksom översättning i allmänhet –förändrar, lägger till och skapar nya lager av mening. Ur ett bredare perspektiv kan denna studie tjäna till att introducera ett nytt analysverktyg för det ständigt växande ljudboksmediet. / This essay analyzes talking book and audiobook adaptions of a printed source text as a type of intersemiotic, intralingual translation, examining its similarities with and differences to interlingual translation, with a particular focus on graphic and prosodic rhythm. This rhythm — integral to the physical, auditory perception of literature in text and audio — plays an important role in Virginia Woolf’s faux-biography Orlando, where unorthodox syntax and punctuation time and again add friction to the smooth surface of narration. Through comparison of text and audio of Orlando, in English as well as in translation into Swedish, a short excerpt is analyzed in detail. Building on a foundation of literary theory, translation theory and linguistics this essay indicates how audiobook adaption — much like translation in general — changes, adds to and creates new layers of meaning. At a broader level the study may serve to introduce a new tool for analysis of the ever-growing audiobook landscape.