These American Superstars Work with Scandinavian Songwriters and Producers on Their Chart-Topping Hits. Here's How the Scandi

Total Page:16

File Type:pdf, Size:1020Kb

These American Superstars Work with Scandinavian Songwriters and Producers on Their Chart-Topping Hits. Here's How the Scandi These American superstars work with Scandinavian songwriters and producers on their chart-topping hits. Here’s how the Scandipop genre came to be and how it’s making its mark on the music industry. BY TAYLOR HUGO 22 VIKING MARCH 2020 sonsofnorway.com sonsofnorway.com VIKING MARCH 2020 23 ou no doubt recognize ON THE POP MUSIC MAP their music lives on thanks to tribute the names Taylor Swift, Originally made up of two couples— bands like A*Teens and movies like Britney Spears and Katy Agnetha Fältskog and Björn Ulvaeus, “Mama Mia!” In 2010, the group was Perry, but what about and Benny Andersson and Anni-Frid even inducted into the Rock & Roll Max Martin, Andre Lyngstad—ABBA drew its name from Hall of Fame—but perhaps their most Lindal or Mikkel Eriksen? the members’ first initials. The group significant achievement was putting YThough their names don’t carry the began performing together in 1970 Scandinavians on the global pop music same star power as America’s biggest as a cabaret act called Festfolket. map. Many of your favorite pop artists can trace their chart-topping songs pop musicians, their work speaks for Although that initial collaboration was “ABBA, of course, ticked off the big back to Scandinavian songwriters and producers. Here’s a look at some of those connections. itself: They are the people responsible unsuccessful, their 1972 song “People boost for Scandinavia when it comes for a large portion of those catchy Top Need Love” garnered some positive to pop music,” says Siw K Sommer 40 tunes—think: “Blank Space,” “Baby attention in Sweden, their home Winther, a cultural historian, composer, One More Time,” “Irreplaceable” country. That prompted them to enter artist and CEO of Sound of You, a and “Unfaithful,” to name a few. But the 1973 Melodifestivalen, an annual Norwegian audio-branding agency that competition that determines has worked with artists like Sting, Boy ONE the country’s representative in George and Miley Cyrus. “ABBA had a SHAKIRA DIRECTION the international Eurovision very distinct sound, and it kind of lifted RIHANNA Song Contest. Though ABBA the roof for Scandinavia. They paved REDONE JESSICA SIMPSON didn’t win Melodifestivalen the way.” BEYONCÉ with their song “Ring Ring,” LADY GAGA it became the biggest hit in SCANDIPOP REVOLUTION STARGATE JUSTIN BIEBER Sweden that year, spreading Since ABBA signed off and told their MARIAH CAREY their name and sound to other fans “Thank You for the Music,” European countries. Scandinavian artists have continued Within a year, everything to succeed with pop in their home had changed. In 1974, ABBA countries and abroad. A-ha, the band entered Melodifestivalen again from Oslo, was the first Norwegian JENNIFER LOPEZ KATY PERRY P!NK and won, going on to take part group to have a number-one hit in the in the Eurovision finals hosted U.S. with their iconic song “Take On GWEN besides getting a credit on the albums of in Brighton, England. There they took Me,” while Swedish pop group Ace of STEFANI BACKSTREET BOYS the music industry’s A-listers, they have top honors with their song “Waterloo,” Base sold more than 9 million copies of NICK JONAS *NSYNC another trait in common: They are all which soon reached number one on their 1993 album “The Sign.” Swedish ED SHEERAN MATTMAN Scandinavian. the charts in Europe and the top 10 singer Robyn also had two Billboard & MAX KELLY CLARKSON in the U.S., spawning a series of hits It’s openly acknowledged in the music Hot 100 singles after dropping her ROBIN MARTIN industry that Scandinavians are the over the next decade including “SOS,” debut album “Robyn Is Here” in 1995. not-so-secret weapon when it comes to “Mamma Mia,” “Dancing Queen” and “I really wish that [modern] TAYLOR producing many of today’s irresistible “Fernando.” Scandinavian pop music would be more SWIFT earworms, so this may come as no The group disbanded in 1982, but influenced by ABBA because their sound surprise. Scandinavians have been pop they left an undeniable legacy. To this is so spectacular,” Winther says. “There SELENA GOMEZ powerhouses for decades—just look day, ABBA remains the most successful are very few artists around the world in back to the 1970s, when a group called Eurovision winner in the contest’s 64- any genre that really can master making MAROON 5 ABBA burst their way onto the music year history (the 2020 event takes place good, happy music, so I would love to scene and changed it forever. May 12–16 in the Netherlands), and hear more of that.” One contemporary artist she KYGO ELLIE GOULDING NELLY FURTADO PREVIOUS PAGE, CLOCKWISE FROM TOP LEFT: MATT WINKELMEYER/TAS18, LARRY BUSACCA/PW, KHALED DESOUKI KHALED BUSACCA/PW, LARRY WINKELMEYER/TAS18, LEFT: MATT TOP CLOCKWISEFROM PAGE, PREVIOUS thinks has come close is Kygo. Born SPEARS BRITNEY Kyrre Gørvell-Dahll, the 28-year-old ANDRE Norwegian DJ exploded in popularity BLOODSHY & LINDAL when he released his first original song AVANT “Firestone” in 2014, and has since MADONNA gone on to collaborate with American megastars like Selena Gomez and John Legend. Though Kygo’s focus TOP LEFT: CHRIS WALTER / GETTY/ IMAGES LEFT:WALTER CHRIS TOP SHUTTERSTOCK PHOTOS ALL 24 VIKING MARCH 2020 sonsofnorway.com sonsofnorway.com VIKING MARCH 2020 25 is electronic dance music, he has been Not all Scandinavian pop musicians leader for Noroff School of Technology most simply: “Pop is in the water and credited with inventing the “tropical enjoy the spotlight, however, and some and Digital Media, explaining comes out in great songs.” house” genre, an EDM-pop hybrid that of the region’s biggest hits come from what makes Scandipop stand out. The internet has also played a sounds exactly like its moniker: laid back people who—unlike the megastars “Many producers comment on this role in the more recent explosion of and beachy. Ellie Goulding’s “First Time” who sing their songs—are basically focus on melody as a Norwegian or Scandipop. “Norway, and the Nordics, is a good example of this, as is Selena anonymous outside of the music Scandinavian ‘trait’ or ‘sound.’ Perhaps were early adopters of Spotify [a Gomez’s “It Ain’t Me,” both of which industry. Max Martin and Stargate, the it's because we grow up liking songs Swedish company], and when the feature Kygo as a co-producer. duo made up of Tor Erik Hermansen based on melody and not lyrics, because rest of the world started streaming “Kygo is kind of the only one who has and Mikkel Eriksen, are perhaps the best we don't understand English as a child. music, our songs were already really developed a very distinct sound examples of this. Although relatively I’ve noticed that although my students there. This created an international after ABBA, in my opinion,” Winther unknown as individuals, they’ve are good at writing and speaking attention we have not had before,” says. “He’s been a game-changer.” collectively produced songs for a Who’s English, the melody is often a higher says Kathrine Synnes Finnskog, the Other Scandipop artists currently riding Who of American pop music, including priority than the lyrics.” managing director of Music Norway, a wave of mainstream success on stage Beyoncé, Kelly Clarkson, Rihanna, In The Atlantic article titled “Why an organization whose mission include Ålesund, Norway–born Sigrid, the Jennifer Hudson and Backstreet Boys, to Is Sweden So Good at Pop Music?,” is to “facilitate growth in interest songstress behind “Don’t Kill My Vibe,” name a few (see the infographic on page Swedish academic Ola Johansson and use of Norwegian music of all and Stockholm’s Icona Pop, whose “I 25 for more). argues that Scandinavians’ penchant genres” through grants, networking Love It” collaboration with Charli XCX for pop comes from factors like their opportunities and counseling. peaked at number seven on the Billboard THE “X” FACTOR ability to speak English well and keep But according to Winther, who Hot 100. Taking a page from the boy This Nordic tune takeover has up with the latest trends, as well as the is releasing a double album titled bands that came before them, 15-year- prompted countless writers and popularity of MTV when the channel “Birds of Paradise” under her artist old twins Marcus & Martinus play up educators to ponder the question: debuted in Sweden in 1987. The Globe name Shekinah this year, there is the heartthrob vibe with teenage love Why are Scandinavians so good at and Mail calls Sweden the “Nashville another “X” factor that helps make songs in both English and Norwegian, pop music? of the Nordics” for being one of the Scandinavians so successful—and it and Aurora, the singer-songwriter from “I think that Scandinavians are world’s biggest exporters of music has nothing to do with the music. Stavanger, Norway, most recently hit the perhaps more focused on melodies than relative to the size of its economy, “Scandinavians are so down-to- big screen with her “Into the Unknown” lyrics,” says Nils-Egil Langeland, the while an Independent article quoting earth,” says Winther, pointing to a duet with Idina Menzel in “Frozen 2.” Sound and Music Production program Norwegian singer Dagny explained it way of living ruled by what’s known as janteloven, or The Law of Jante. Put simply, it’s a Nordic code of conduct A-ha Kygo that encourages people to live free from boastfulness and jealousy. “The few who manage to ignore this are strong personalities, but also very Stargate grounded, hardworking and focused.” While humility is an admirable trait, Winther argues that this can also be a downfall, and she would like to see less emphasis placed on janteloven.
Recommended publications
  • Sociala Medier Maktfaktor I Melodifestivalen – Kommentarer Och Likes Styr Vår Bedömning Av Tävlingsbidragen
    Pressmeddelande Stockholm, den 2 februari 2015 Sociala medier maktfaktor i Melodifestivalen – kommentarer och likes styr vår bedömning av tävlingsbidragen Sociala medier är en viktig maktfaktor när svenska folket ska välja sina favoriter i Melodifestivalen. Mer än var fjärde svensk – och mer än var tredje person mellan 15 och 34 år – kommer att vara aktiv i sociala kanaler i samband med programmet. Bland de aktiva säger en stor andel (44,2%) att inlägg på exempelvis Facebook och Instagram påverkar deras åsikter om bidragen. Det visar en undersökning som utförts på uppdrag av Telenor. Samma studie visar att många tycker att snacket runt Melodifestivalen i sociala medier har minst lika stort underhållningsvärde som det faktiska tv-programmet. – Det råder ingen tvekan om att stora delar av svenska folket, i synnerhet de yngre, numera ser det som en självklarhet att följa Melodifestivalen via flera skärmar samtidigt. De sociala kanalerna betyder enormt mycket och gör det möjligt för vem som helst att komma nära evenemanget, oavsett om man befinner sig i arenan eller hemma i tv-soffan, säger Patrik Söder, varumärkeschef på Telenor. Drygt 2000 personer mellan 15 och 70 år har medverkat i studien från Telenor som undersöker användningen av digitala/sociala kanaler i samband med Melodifestivalen. Resultatet visar att stora delar av svenska folket inte längre nöjer sig med att följa tävlingen via tv-skärmen. De sociala plattformarna har stor, och ibland större, betydelse, såväl som informationskanal som en plats för underhållning. Många vill följa festivalsnacket Totalt sett svarar var fjärde person (26,4%) att de kommer att vara aktiva i sociala medier genom att exempelvis gilla, läsa eller göra inlägg med koppling till Melodifestivalen.
    [Show full text]
  • Quick Guide to the Eurovision Song Contest 2018
    The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV.
    [Show full text]
  • L'italia E L'eurovision Song Contest Un Rinnovato
    La musica unisce l'Europa… e non solo C'è chi la definisce "La Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai una rassegna globale, che vede protagonisti nel 2016 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area (l’anno scorso fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che quest’anno è stata nuovamente invitata dall’organizzazione). L'ideatore della rassegna fu un italiano: Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più Paesi e promuovere il mezzo televisivo nel vecchio continente.
    [Show full text]
  • WE CREATE CONDITIONS for SUCCESS ANNUAL REPORT 2015 This Document Is a Translation of the Original, Published in Swedish
    WE CREATE CONDITIONS FOR SUCCESS ANNUAL REPORT 2015 This document is a translation of the original, published in Swedish. In cases of any discrepancies between the Swedish and English version, or in any other context, the Swedish original shall have precedence. FABEGE CREATES CONDITIONS FOR SUCCESS INTRODUCTION This is Fabege 1 Highlights of the year 2 Message from the CEO 4 Business concept, strategy and value chain 6 Business model 8 Targets 10 OPERATIONS Overview of operations 12 Property Management 14 Property Development 18 ATTRACTIVE Transactions 22 Valuation 24 LOCATIONS Market overview 26 Fabege’s properties are located in a Stockholm inner city 28 number of the fastest growing areas in Hammarby Sjöstad 30 Stockholm all of which offer excellent Solna 32 Arenastaden 34 transport facilities. Sustainability work 36 Stakeholder dialogue 38 Material issues 39 Employees 40 Business ethics 44 Social involvement 46 CONCENTRATED MODERN Awards and nominations 47 PORTFOLIO PROPERTIES FINANCIAL Directors’ Report 49 Concentrated portfolios facilitate market Modern, sustainable offi ces REPORTING Risks and opportunities 56 awareness and provide opportunities to in attractive locations in terms of Group meet customer requirements. This means the transport links and good surrounding Statement of comprehensive income 63 Statement of fi nancial position 64 company is well placed to infl uence the services are increasingly in demand. Statement of changes in equity 65 development of entire city districts and Fabege offers modern, fl exible and Statement
    [Show full text]
  • Melody and Accompaniment Articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg
    P Tagg: 1 Melody and Accompaniment articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg Contents melody 2 Defining parameters 2 General characteristics of popular melody 2 Metaphorical nomenclature 3 Typologies of melody 4 Structural typologies 4 Pitch contour 4 Tonal vocabulary 7 Dynamics and mode of articulation 8 Rhythmic profile 8 Body and melodic rhythm 9 Language and melodic rhythm 9 Culturally specific melodic formulae 10 Patterns of recurrence 12 Connotative typologies 15 accompaniment 17 Bibliography 20 Musical references 22 P Tagg: melody Defining parameters 2 melody From the two Ancient Greek words mélos (m°low = a song, or the music to which a song is set) and ode (”dÆ = ode, song, poem), the English word melody seems to have three main meanings: [1] a monodic tonal sequence, accompanied or unaccom- panied, perceived as a musical statement with distinct rhythmic profile and pitch contour; [2] the monodic musical foreground to which ACCOMPANIMENT (see p.17 ff.) and HARMONY (see Tagg’s Harmony Handout) are, at least within most popular music traditions of Europe and the Americas, understood as providing the back- ground; [3] all such monodic tonal sequences and/or aspects of musical foreground within one complete song (e.g. ‘Auld Lang Syne is a popular Scottish melody’). It should be noted in the latter case that mélodie, Melodie, melodia, melodi (French, German, Latin and Scandinavian languages respectively) can in popular parlance sometimes denote the entirety of any TUNE or SONG (including lyrics and accompa- niment) in which melody, defined according to [1] and [2] above, is a prominent fea- ture.
    [Show full text]
  • Nr 3 Intervju Med Mars Music, Melodifestivalen Och EMI Music Pub Startar Ny Sajt
    Ser nyhetsbrevet konstigt ut i din e-postklient, klicka här. Till hemsidan | Skicka vidare | Prenumerera | Avprenumerera Välkommen till SMFFs Nyhetsbrev nr 3, 2010 2010-03-19 I detta nummer hamnar fokus på SMFFs nyaste medlemsförlag Mars Music som i dagarna knutit till sig tidigare oförlagda Jenny Wilson. Bakom det nya bolaget finns flera ansikten vi känner igen. Anders Lundquist har träffat Lars Wiggman som berättar om den nya verksamheten. En rad organisationer som företräder upphovsmännen och de konstnärliga utövarna har lanserat Kulturskaparna som är ett nätverk för opinionsbildning och samarbete på upphovsrättsområdet. Musikområdets talespersoner är Skaps ordförande Alfons Karabuda och Jan Gradvik, ordförande i Svenska Musikerförbundet och SAMI. Besök Kulturskaparna på nätet. Missa inte att rösta fram den bästa av vårens Almost Famous-artister som får möjligheten att spela på Peace & Love i sommar! Mars Music expanderar Efter 32 år på Air Chrysalis Scandinavia (tidigare Air Music) och sex år som vd för Bonnier Music Publishing startade förlagsveteranen Lars Wiggman i juni 2009 Mars Music. Som ett joint venture med NotPoolen (inklusive Notfabriken) ägs förlaget till 50 procent av dem, medan Wiggman själv äger den andra halvan. – NotPoolen/Notfabriken hjälper mig med licensiering, bokföring, fakturering och allmän infrastruktur, i och med att vi delar kontor. Sedan sköter de tryckrättigheter åt oss och många andra musikförlag. Jag är även med i deras styrelse och på sikt blir det sannolikt ett utvecklat samarbete. Sedan starten har det gått undan för Mars Music. – Steg ett var att flytta från hemmet till NotPoolens lokaler. Vid årsskiftet anställdes Fredrik Zmuda som Head of Creative och Mia Hedlund på Copyright & Royalties.
    [Show full text]
  • REFLECTIONS 148X210 UNTOPABLE.Indd 1 20.03.15 10:21 54 Refl Ections 54 Refl Ections 55 Refl Ections 55 Refl Ections
    3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS MERCI CHÉRIE – MERCI, JURY! AUSGABE 2015 | ➝ Es war der 5. März 1966 beim Grand und belgischen Hitparade und Platz 14 in Prix d’Eurovision in Luxemburg als schier den Niederlanden. Im Juni 1966 erreichte Unglaubliches geschah: Die vielbeachte- das Lied – diesmal in Englisch von Vince te dritte Teilnahme von Udo Jürgens – Hill interpretiert – Platz 36 der britischen nachdem er 1964 mit „Warum nur war- Single-Charts. um?“ den sechsten Platz und 1965 mit Im Laufe der Jahre folgten unzähli- SONG CONTEST CLUBS SONG CONTEST 2015 „Sag‘ ihr, ich lass sie grüßen“ den vierten ge Coverversionen in verschiedensten Platz belegte – bescherte Österreich end- Sprachen und als Instrumentalfassungen. Wien gibt sich die Ehre lich den langersehnten Sieg. In einem Hier bestechen – allen voran die aktuelle Teilnehmerfeld von 18 Ländern startete Interpretation der grandiosen Helene Fi- der Kärntner mit Nummer 9 und konnte scher – die Versionen von Adoro, Gunnar ÖSTERREICHISCHEN schließlich 31 Jurypunkte auf sich verei- Wiklund, Ricky King und vom Orchester AUSSERDEM nen. Ein klarer Sieg vor Schweden und Paul Mauriat. Teilnehmer des Song Contest 2015 – Rückblick Grand Prix 1967 in Wien Norwegen, die sich am Podest wiederfan- Hier sieht man das aus Brasilien stam- – Vorentscheidung in Österreich – Das Jahr der Wurst – Österreich und den. mende Plattencover von „Merci Cherie“, DAS MAGAZIN DES der ESC – u.v.m. Die Single erreichte Platz 2 der heimi- das zu den absoluten Raritäten jeder Plat- schen Single-Charts, Platz 2 der deutschen tensammlung zählt. DIE LETZTE SEITE ections | Refl AUSGABE 2015 2 Refl ections 2 Refl ections 3 Refl ections 3 Refl ections INHALT VORWORT PRÄSIDENT 4 DAS JAHR DER WURST 18 GRAND PRIX D'EUROVISION 60 HERZLICH WILLKOMMEN 80 „Building bridges“ – Ein Lied Pop, Politik, Paris.
    [Show full text]
  • Inte Bara Bögarnas Fest” En Queer Kulturstudie Av Melodifestivalen
    ”Inte bara bögarnas fest” En queer kulturstudie av Melodifestivalen Institutionen för etnologi, religionshistoria och genusvetenskap Examensarbete 30 HP Mastersprogrammet i genusvetenskap 120 HP Vårterminen 2018 Författare: Olle Jilkén Handledare: Kalle Berggren Abstract Uppsatsen undersöker hur TV-programmet Melodifestivalen förhåller sig till sin homokulturella status genom att studera programmets heteronormativa ramar och porträttering av queerhet. Det teoretiska ramverket grundar sig i representationsteori, kulturstudier, gaystudier och queerteori. Analysen resulterar i att de heteronormativa ramarna framställer heterosexualitet som en given norm i programmet. Detta uppvisas bland annat av en implicit heterosexuell manlig blick som sexualiserar kvinnokroppar och ser avklädda män, queerhet och femininitet som något komiskt. Detta komplicerar tidigare studiers bild av melodifestivaler som huvudsakligen investerade och accepterande av queera subjekt. Den queera representationen består främst av homosexuella män. Den homosexuellt manliga identiteten görs inte enhetlig och bryter mot heteronormativa ideal i olika grad. Några sätt som den homosexuellt manliga identiteten porträtteras är artificiell, feminin, icke-monogam, barnslig och investerad i schlager. Analysen påpekar att programmet har queert innehåll trots dess kommersiella framställning och normativa ideal. Nyckelord: Melodifestivalen, schlager, genusvetenskap, homokultur, gaystudier, bögkultur, heteronormativitet. Innehållsförteckning 1. En älskad och hatad ”homofilfestival” 1
    [Show full text]
  • Nea Paralias Ledenblad
    . Nea Paralias . Zevende jaargang - Nummer 28 - Oktober 2012 . Lees in dit nummer : . 3 Voorwoord De voorbeschouwingen van André, onze voorzitter . 4 Agenda Lees de details voor de komende activiteiten: het lessenpakket Grieks, . Brugges Festival, onze jaarlijkse filmavond en de Nieuwjaarsreceptie . 7 Ledennieuws Met onder meer een dankwoord van onze Georgette . 8 Terugblik Een nabeschouwing van onze recente activiteiten: uitstap naar Adegem, . dansavonden, Grieks zomerfeest Bredene, ons ledenfeest en de . wandelings langs Bredense gevels . 11 Nieuw record Onlangs werd een nieuw wereldrecord syrtaki-dansen genoteerd . 12 Actueel Het wel en wee van drie maanden Griekenland . 18+20 Griekse humor Over een taxichauffeur, blondjes onder elkaar en een Griekse atleet . 19 Groeten uit… Chantal en William genieten thans van het beste in Griekenland; ze . vergeten ons niet en bezorgden ons een artikels dat u hier kan lezen . 20+33 Selectie links Kijk na het lezen van deze Nea Paralias ook eens verder op het web: sommige . sites trokken onze aandacht en daarvan geven wij u hier een selectie . 21 Op het strand Net als in Bredene zijn er in Griekenland een aantal naturistenstranden . 22 Muzieknieuws Deze maand brengen we weer vertalingen van 3 Griekse liedjes; hier . lees je ook wie Pantelis Thalassinos is . 27 Recept Uit de keuken van Soula: deze maand leren we een notentaart bereiden . 28 EP-app Het is een onmiskenbare trend: de smartphones en de talrijke ‘apps’ . 29 Tradities De « Rocket-wars » op Chios . 29 Tatoï U heeft waarschijnlijk nog niet van gehoord van Tatoï.Het is het landgoed . van de voormalige Griekse koninklijke familie dat nu te koopstaat .
    [Show full text]
  • The Göteborg Connection (1997) 1
    Tagg: The Göteborg Connection (1997) 1 The Göteborg Connection Lessons in the history and politics of popular music education and research by Philip Tagg. Submitted for publication 1997-02-03, published in Popular Music, 17/2: 219-242 (1998). Minor editing 2013-07-19, 2017-04-28. GbgCnnct.fm. 2017-04-28, 12:30 Background Why this article? Both this journal (Popular Music) and the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical po- sition and to work out strategies for the brave new world of mone- tarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have dis- appeared from the academic scene. Of course, such a process of in- tellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that can in no way be covered in a single article. I will therefore restrict the ac- count that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quar- ters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and re- search at the turn of the millennium.
    [Show full text]
  • En Studie För Melodifestivalens Interaktiva Applikation
    DEGREE PROJECT, IN MEDIA TECHNOLOGY , FIRST LEVEL STOCKHOLM, SWEDEN 2015 En studie för Melodifestivalens interaktiva applikation ISABELLA ASLAN KTH ROYAL INSTITUTE OF TECHNOLOGY CSC COMPUTER SCIENCE AND COMMUNICATION En studie för Melodifestivalens interaktiva applikation Sammanfattning Melodifestivalen är en svensk musiktävling där vinnaren av tävlingen representerar Sveriges bidrag på Eurovision Song Contest. Melodifestivalen nådde uppemot 3,770 miljoner tittare år 2015. Många som tittade på Melodifestivalen använde sig av deras applikation till att rösta och följa programmet. Denna studie är skriven i syfte att undersöka samt analysera hur medietekniker upplever kombinationen av att titta på Melodifestivalen, samtidigt som de använder sig av Melodifestivalens applikation. Metoden som använts för att samla data och information har varit kvalitativa och kvantitativa intervjuer. All material har tagits fram i syfte att ge djupare svar/förståelse på̊ de frågor som ställts. En annan viktig aspekt i denna studie är att undersöka hur Melodifestivalens applikation är uppbyggd samt vilka krav som ställts på den. Med hjälp av en internet-intervju med Djeiran Amini, projektledare för Melodifestivalen, har viktig information kunnat tas fram. Resultaten som framkommit har analyserats i förhållande till undersökningar och teorier nära ämnet. Studiens resultat visar tydligt att de flesta deltagare som tillhörde den medel engagerade gruppen upplevde att de fick en förhöjd upplevelse av Melodifestivalen, trots att applikationen inte fungerade korrekt under tiden för programmet. De flesta deltagare som tillhörde den mest engagerade gruppen var mer kritiska över applikationen och upplevde generellt ingen förhöjd upplevelse av programmet. Denna studie är baserad på erfarenheter och upplevelser från 12 medietekniker som studerar på Kungliga Tekniska Högskolan.
    [Show full text]
  • Scandinavian Studies Fall 2009
    Department of Scandinavian Studies The University of Wisconsin-Madison Scandinavian Studies Department Newsletter FALL 2009 VOLUME XII, ISSUE I A Message from the Chair, Kirsten Wolf As this newsletter is being put together, faculty, staff, and students are busy wrapping up the fall semester. Our annual gløgg party on December 17th will mark the end of instruction. With forty undergraduate majors in the Department and no fewer than twenty-two graduate students, it has been a busy year for fac- ulty and staff, and we look forward to toasts and good cheer. The fall semester has been both joyous and sad. We have had the pleasure of including among our faculty Visiting Fulbright Professor Kirsten Thisted from the Department of Minority Studies at the University of Copenhagen, who has taught a highly successful course on Greenland: Past, Present, and Future. We Inside this issue: have thoroughly enjoyed having Kirsten as a colleague. The Department has also been very fortunate to receive not only a generous Department mourns 2 award from the Barbro Osher Foundation to support the Department's interna- Niels Ingwersen tional language floor Norden, but also a grant from the Seattle-based Scan|Design Foundation to support the teaching of Danish-related courses. The Visiting Professor 3 grant from Scan|Design will enable the Department to fund the teaching of a new literature course on Danish and Scandinavian science and crime fiction Kirsten Thisted (Criminal Utopias) during the spring of 2010 and 2011. We are most grateful for the two awards and also for many other gifts and donations, which are vital to Memories of the Depart- 4 helping the Department take advantage of special opportunities.
    [Show full text]