Som ferdigutdannede frilansere har profesjonelle musikkutøvere hverken fast ansettelse eller forutsigbare arbeidstider, så hverdagen for mange vil aldri bli helt forutsigbar uavhengig av hvor mange spillejobber man får eller hvor mye man underviser. Musikere er også en yrkesgruppe som kontinuerlig ser seg nødt til å kjempe for sin egen status i samfunnet, og i så måte «rettferdiggjøre» sin egen eksistens som profesjonell utøver. Dette kan gjelde ovenfor både «outsidere», som nedvurderer verdien av deres håndverk og kunnskap – i et tilfelle fikk en informant en kommentar fra egen svigermor om «å finne seg en ordentlig jobb» i tillegg til musikken – og andre «insidere», ved at man hele tiden vurderes på ens evne til å spille bra og prestere i møte med publikum – en informant kommenterte at «man er kun så god som den siste spillejobben man gjorde». Til tross for enkelte goder og oppsider med musikeryrket, er det mange utfordringer for de som dedikerer seg til musikken på fulltid.
Here are some examples of outputs of the Solresol Birsong Translator. This forms part of the work presented for a PhD at Newcastle University.
A device was built that ‘listens’ to birdsong and translates this into human speech utilising the obscure musical language Solresol (François Sudre, 1866). Birdsong is analysed and converted into musical notes (one octave in the scale of C Major: do-re-me-fa-sol-la-ti). These seven notes are grouped to form four-note ‘words’ that are looked-up in the Solresol-English dictionary. Each note also has a rainbow colour assigned to it. In a variety of configurations, the device can output the birdsong, notes, music, translated words, and colours. Text and MIDI (music) files can both be saved for further output or processing. The software can run in a variety of modes and on a variety of hardware, including PC and Raspberry Pi. It can make use of both live and recorded birdsong.
This project identifies a shortcoming in the range and coherence of the language that musicians use, in particular the Norwegian instrumental traditional music (folk music), when they aim to communicate the craft elements of their practice.
The Craftmanship project identifies craft as deep knowledge that is a result of skills based activities that again result in tacit knowledge. This knowledge has traditionally been communicated between practitioners or from master to apprentice through a series of subtle cues, ideas or metaphors, which resist language – it is learned through experience and a form attunement between the participants.
The project therefore, proposes to develop a vocabulary, based on and drawn from a practitioner’s perspective, through the “languaging” of keywords, and a critique of scores in order to revitalise the transmission of this knowledge for a new generation of musicians. Furthermore, it proposes that when attunement happens, it facilitates profound moments in performances, where the musician and audience reach a tacit recognition. The project proposes that these moments, colloquially described as ‘Magic Moments’ are the aim of most musicians in performance situations. These moments are often dependent on social situations. The project aims to construct a framework for further investigation of the contexts within which these moments manifest themselves.
The paper talks about Jazz drummers who were featured on albums and tracks that are far from what may be considered ‘Jazz’. It also talks about drummers who worked in the visual media industry by working on soundtracks and sometimes appearing on movies / TV themselves
This thesis explores how late-diagnosed autistic individuals and their close circle can redesign their relationship after their diagnosis through communication that aligns with autistic ways of being. Grounded in the neurodiversity paradigm, the social model of disability, and the double empathy problem, the research combines interviews, co-creation sessions, and visual storytelling to uncover emotional and relational dynamics during post-diagnosis identity shifts. Through a neurodivergent lens—rooted in sensory awareness, pattern recognition, and visual thinking—this work challenges deficit-based narratives and proposes a compassionate, co-created communication framework. The goal is not assimilation but mutual understanding: enabling autistic individuals to embrace their authentic selves while guiding loved ones to meet them with compassion and openness. Ultimately, the project reimagines design as a tool for creating connection, not correction—honouring difference, restoring balance, and building inclusive systems where all ways of being are valid, visible, and valued.
„Í okkar Eden er lykt af píku og nýslegnu grasi, og hrúga af hálfétnum eplum í horninu. Það er eitthvað skrítið við okkar Eden, eitthvað á ská, eitthvað óþægilegt. Adam & Eva eru ekki að leika hlutverkin sín eins og þau hafa alltaf gert.“
Embla Guðrúnar Ágústsdóttir og Nína Hjálmarsdóttir kafa ofan í sköpunarsöguna og taka sér pláss í sjálfum aldingarðinum upprunalega. Eden er hinsegin fötlunarparadís sem afmiðjar norm samfélagsins og leyfir áhorfendum að finna fyrir hinu erótíska innra með sér.
