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In this thesis, the use of the fusion genre in contemporary music is examined through the lens of Kurbeats' album Folktronica. The study aims to expand the understanding of what could characterize a fusion genre, and how folktronica could is an example of that. To achieve this, a theoretical hermeneutic spiral was employed, wherein three chosen songs from the album Folktronica were analyzed in three rounds. The analysis revealed that Kurbeats has successfully blended traditional Swedish folk music with electronic music to create a distinct hybrid genre, which the band has dubbed folktronica. This folktronica can be characterized by the combined elements of both traditional Swedish folk music and modern electronic music. Folktronica as a genre also works as a way to describe why bands and musicians chose to combine folk music with new modern music. It is a way of helping the music traditions live on and survive. The study concludes that the album serves as a noteworthy example of the fusion genre in contemporary music and contributes to the ongoing discourse on the subject.

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Målet för denna uppsats har varit att undersöka rembetiko-musiken i Sverige. Sju personer har intervjuats om sin musik, sin verksamhet, sitt förhållande till Grekland, om sina tankar kring musiken och texterna. Intervjuerna rörde också till viss del djupare sidor av rembetiko, såsom katharsis och spiritualitet. Resultatet är indelat i åtta teman: Mötet med rembetiko-musiken, användandet av rembetiko i sitt spelande, rembetiko som verksamhet i Sverige, relation till Grekland, texternas innehåll och hur de använts, tankar kring rembetiko-musikens ursprung, livssyn, rembetiko som katharsis och spirituell näring. Materialet är tolkat utifrån Bourdieus teorier om kapital, habitus och fält, utifrån icke-deterministiska premisser. Begreppet diaspora undersöks och sätts i relation till resultatet. Katharsis undersöks som inneboende potential hos musiken. Rembetiko sätts också i samband med andra musikgenrer med likartad historik. Bourdieus teorier används för att omdefiniera begreppet diaspora, eftersom det här inte längre handlar om etnicitet. Omvänt används materialet för att bekräfta Bourdieus teorier som icke-deterministiska. Rembetiko ses föra vidare en livssyn som innebär ett antikommersiellt, jämställt samhälle, tolerant inför människors olikheter, och med ett syfte att enas människor emellan. Rembetiko ses också ha en själslig eller spirituell dimension, där katharsis kan äga rum. Det föreslås att definitionen för vad rembetiko är hålls flytande och utan dömande, eftersom den ses pendla mellan två poler; dels är rembetiko ett arv, ett ”sound”, ett sinnestillstånd; dels är rembetiko ett möte mellan många olika kulturer i konstnärlig frihet. Tron på livet syns löpa som en röd tråd genom rembetikons historia och fram till de intervjuade. / The goal of this thesis has been to investigate rembetiko music in Sweden. Seven people have been interviewed about their music, their business, their relationship with Greece, their thoughts on the music and the lyrics. The interviews also touched to some extent deeper aspects of rembetiko, such as catharsis and spirituality. The result is divided into eight themes: The encounter with rembetiko music, the use of rembetiko in one's playing, rembetiko as an activity in Sweden, relation to Greece, the content of the lyrics and how they were used, thoughts about the origin of rembetiko music, outlook on life, rembetiko as catharsis and spiritual nourishment. The material is interpreted based on Bourdieu's theories on capital, habitus and field, based on non-deterministic premises. The concept of diaspora is examined and put in relation to the result. Catharsis is explored as an inherent potential of music. Rembetiko is also associated with other music genres with similar history. Bourdieu's theories are used to redefine the concept of diaspora, as this is no longer about ethnicity. Conversely, the material is used to confirm Bourdieu's theories as non-deterministic. Rembetiko is seen to carry forward a view of life that entails an anti-commercial, egalitarian society, tolerant of people's differences, and with the aim of uniting people. Rembetiko is also seen to have a soulful or spiritual dimension, where catharsis can take place. It is suggested that the definition of what rembetiko is be kept fluid and non-judgmental, as it is seen to oscillate between two poles; partly, rembetiko is a legacy, a sound, a state of mind; partly, rembetiko is a meeting between many different cultures in artistic freedom. Belief in life seems to run like a common thread through the history of rembetiko and up to the interviewees.

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Föreliggande arbete har undersökt musik och ljuds roll i skräckspel och dess olika komponenter. De perspektiv som lyfts fram utgår från tre olika yrkesroller inom spelbranschen; kompositörer, ljuddesigners och programmerare. Undersökningen fokuserar på deras syn på vilka komponenter som de anser viktiga i skräckspel, samt deras syn på vilken roll ljud och musik har för den perceptionella upplevelsen av spelet. Genom kvalitativa intervjuer har empiri om hur dessa aktörer går till väga för att skapa musik och ljud samt deras tankarna bakom dessa val. När data samanställdes kunde vissa faktorer urskiljas som mer betydelsefulla än andra. Dessa faktorer var tystnad, frekvenser, atmosfärer, ljudande komponenter och psykologiska aspekter. Studien visar att ljud och musik har en mer central och bärande roll i skräckspel än i andra spelgenre då den klingande världen har en berättande och ledande funktion. Empirin visar på att spelet ofta begränsar spelarens visuella, rörelse- och försvarsförmåga vilket gör ljudbilden till ett avgörande verktyg för att kunna överleva i spelet. Detta används av ljudskaparna för att påverka och frambringa önskad reaktion och känsla hos spelaren. Genom att förvränga ljud och musik och använda vissa frekvenser skapas de känslor som avses av kreatörerna. Det visar sig även att stråkar, mörka slagverk, metalliska ljud och röster är vanligt förekommande element som används i skapandet av ljudbilden

This dissertation explores the current use of YouTube in music studies in higher education while suggesting a reconsideration of the academic as both source and resource in the neo-information age. In it, I summarize interviews with ten current YouTube content creators who run music education channels, focusing on their role as teachers in an invisible classroom. I also share findings from a nationwide survey of instructors who teach music studies in higher education. The results illustrate how music professors use YouTube for teaching and learning in a post-pandemic world. I aim to bridge the divide between the ivory tower and cybersphere by highlighting current collaborations between traditional and YouTube academics and suggesting how the two can cooperate to maximize learning effectiveness for Generation Z. Chapter 1 serves as an introduction and provides a brief history of YouTube. Chapter 2 offers a literature review. In Chapter 3, I review the sociology of knowledge, hyperreality, and the idea of the “unacademic,” all of which are philosophical concepts central to my discussion of YouTube content creators and their role as educators in relation to traditional professors in higher education. Chapter 4 describes the survey results, and Chapter 5 summarizes the content creator interviews. In the conclusion, Chapter 6, I offer my thoughts on the future of music studies in the traditional university and YouTubiversity. / Music History

This essay compares and analyses five different editions of Beethoven’s Piano Sonata no. 29 in Bb-major, op.106, with focus on editorial choices and techniques. The analysis takes as its point of departure James Grier's definitions of different types of editions. In the study the editions are scrutinized in a number of aspects from chosen passages, deemed as problematic in Beethoven scholarship, in order to see how the editions answer to the definitions of Grier. The comparisons show that the editions are shaped, affected and influenced by the aims regarding their use and function, and testify to how different the outcome may be even when editions are based on the same source material.

This thesis analyses Hans Zimmer’s film music in Inception (2010) and Interstellar (2014) that resulted from his collaboration with director Christopher Nolan. The focus lies on the narrative and temporal functions that film music can attain when used in temporal complex narratives. The analysis looks into how time is presented, manipulated, and connected through the music. Three aspects that are examined are: 1) how musical motifs function as a guide for understanding narrative themes, 2) how music gives temporal clarity within a narrative, and 3) how sound design contributes to an understanding of the temporal structure of the narrative. This thesis offers more insight into how music can function temporally, a subject worthy of more academic attention. It concludes that Zimmer’s “minimalistic maximalism” style and his creative process with Nolan are essential to how the music of Inception and Interstellarfunctions.