Vol. 100, Svensk tidskrift för musikforskning / Swedish Journal of Music Research (2018)

Welcome to the 2018 issue of STM–SJM!

The thematically open 2018 issue starts by presenting two articles on music in Nordic film of the mid-twentieth century. In one of the articles, Tobias Pontara (University of Gothenburg) investigates how the listening to technologically mediated music was represented in Swedish cinema in the years 1930–70, and further discusses what these representations may tell us about the transformation of listening practices in twentieth-century Sweden. In the other article, Kaarina Kilpiö (Sibelius Academy), Terhi Skaniakos (University of Tampere) and Ari Poutiainen (University of Helsinki) add to the knowledge of the rise of the Finnish jazziskelmä, an extremely successful mixture of modern jazz, popular music and dance music, by studying how the genre was launched in cinema and on television in the late 1950s and early 1960s.

Ola Graff (The Arctic University Museum of Norway) is an outstanding expert on the yoik, and we are proud to present his third article in our journal on this Sami genre of song. (His earlier articles are found here and here.) In his new article, Graff makes a thorough investigation of one of the most common present-day claims about yoik: that it is like a circle with neither beginning nor end. Graff analyses a large number of recordings of traditional yoik, arriving at a nuanced assessment of the metaphor as a description of different aspects of yoik and yoiking. He also argues that the metaphor arose fairly recently, in the context of the negotiation of Sami identity in a globalised world.

The concert hall Studio Acusticum in Piteå, with its mechanically adjustable acoustics, is used as a tool for empirical investigation in the artistic research project presented in Sverker Jullander’s, Petter Sundkvist’s, Jan Berg’s, Helge Kjekshus’s (all of Luleå University of Technology) and Karin Nelson’s (Norwegian Academy of Music and University of Gothenburg) article. What does ‘good’ and ‘bad’ acoustics signify for a musician? Do musicians adjust to acoustics in a reflexive way or subconsciously, and what artistic possibilities can be created by different acoustics? These are some of the questions posed by the authors, who, in this article, enter deeply into a discussion on the design and methodology of the project.

In the near future, two more articles will be published as part of the 2018 issue.

As usual, we also present a substantial section of reviews of books from various fields of music research. 

7 March 2019

Tobias Lund (chief editor)




Tobias Lund (chief editor, publisher) tobias.lund@odeum.lu.se

Karin Johansson karin.johansson@mhm.lu.se


Editorial board

Karin Hallgren (Linnéuniversitetet)

Åsa Bergman (Göteborgs universitet)

Sverker Hyltén Cavallius (Musikverket)

Henrik Frisk (Kungl. Musikhögskolan)

Monica Lindgren (Högskolan för scen och musik, Göteborgs universitet)


Advisory board

Lars Berglund (Uppsala universitet)

Liora Bresler (University of Illinois)

Darla Crispin (Norges musikkhøgskole)

Petter Dyndahl (Høgskolen i Innlandet)

Sanne Groth Krogh (Lunds universitet)

Jens Hesselager (Københavns universitet)

Bruce Johnson (University of New South Wales)

Martin Loeser (Universität Greifswald)

Susan McClary (Case Western Reserve University)

Gary McPherson (University of Melbourne)

Susanne Rosenberg (Kungl. Musikhögskolan)

Erik Wallrup (Stockholms universitet)

Ann Werner (Södertörns högskola)

Stefan Östersjö (Luleå tekniska universitet)

100, Svensk tidskrift för musikforskning / Swedish Journal of Music Research