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Dybo, Tor
(2022).
Introductiion to keynote lecture by Dr Ruth Dockwray, University of Chester, UK.
Vis sammendrag
Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes.
Thus, a two-day conference on new perspectives in popular music research will be held by the Department of Popular Music, Faculty of Fine Arts, University of Agder (UiA) in cooperation with the Popular Music Research Unit at UiA.
The overarching goal of this conference is to address new perspectives on popular music through the lens of these recent changes and the perceived turmoil (and benefits) that has resulted from them. This marks the fourteenth anniversary of our PhD programme in popular music performance, and provides an opportunity to showcase work by former graduates, current PhD candidates and scholars associated with music research within the broad field of popular music studies. One international keynote speaker will frame and contextualize the event. It is also envisaged that contributors will have the opportunity to have their papers published through an international peer review channel.
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Dybo, Tor
(2022).
The Study of Authenticity in Popular Music.
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Dybo, Tor
(2022).
Ethnography in Popular Music Studies.
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Dybo, Tor
(2022).
Introduction to Popular Music Research.
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Dybo, Tor
(2022).
New Perspectives in Popular Music Research: Changes and Turmoil.
Vis sammendrag
Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes.
Thus, a two-day conference on new perspectives in popular music research will be held by the Department of Popular Music, Faculty of Fine Arts, University of Agder (UiA) in cooperation with the Popular Music Research Unit at UiA.
The overarching goal of this conference is to address new perspectives on popular music through the lens of these recent changes and the perceived turmoil (and benefits) that has resulted from them. This marks the fourteenth anniversary of our PhD programme in popular music performance, and provides an opportunity to showcase work by former graduates, current PhD candidates and scholars associated with music research within the broad field of popular music studies. One international keynote speaker will frame and contextualize the event. It is also envisaged that contributors will have the opportunity to have their papers published through an international peer review channel.
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Dybo, Tor
(2022).
Jan Garbarek: The Aesthetics of Open Space.
Vis sammendrag
This paper provides a presentation of a planned book release of the music of the Norwegian saxophone player Jan Garbarek (b. 1947). The content of the book provides insight into Garbarek’s music philosophy and musical processes based on interviews and analyzes of a comprehensive source material.
Garbarek’s saxophone sound and improvisational practice is well known through numerous recordings and concerts since the late 1960s. A significant and significant musician who has participated in recordings and concerts with internationally renowned American musicians from jazz history, such as orchestra leader and composer George Russell, free jazz trumpeter Don Cherry, pianist Keith Jarrett, and others. In addition to his jazz background, Garbarek is known for cross-cultural musical collaborative projects with improvisational musicians such as the Brazilian guitarist Egberto Gismonti, the Indian violinist Lakshimananda Shankar, the Brazilian percussionist Nana Vasconcelos, the Indian percussionists Uilakatu Hilakan Hurtan, Trilokh Gurt. to highlight some examples.
This book project constitutes an updated critical rewriting into English of my previous book publication Jan Garbarek: Det åpne roms estetikk [Jan Garbarek: The Aesthetics of Open Space] which was published in Norwegian in 1996 on Pax publishing house. In comparison, the new planned book includes a critical rewriting and new analyses of both the original source materials, and new empirical materials for the period after 1996. More specifically, Garbarek’s music and musical personae will be discussed in relation to ongoing international discourses and research within jazz and popular music studies on sound, improvisation, and innovations in music technology for stage and studio.
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Dybo, Tor
(2021).
Kritisk musikkvitenskap og etnomusikologi: Essays til ære for Kjell Overland.
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Dybo, Tor
(2021).
Ethnographic approaches to the analysis of live sound at big outdoor music festivals versus small club venues.
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Dybo, Tor
(2021).
Introduction to research on music technology and production.
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Dybo, Tor
(2019).
Fieldwork as Method in Popular Music Studies.
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Dybo, Tor
(2019).
Populærmusikkstudier. Gjesteforelesning på Master i musikk, Nord universitet. .
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Dybo, Tor
(2019).
Presentation of PhD Specialization in Popular Music Performance at the University of Agder.
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Dybo, Tor
(2017).
Presentation of Chapter 8 Folk and Popular Music in the Nordic Countries. In T. Howell (ed.), The Nature of Nordic Music (forthcoming book publication). Abingdon: Routledge.
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Dybo, Tor; Bang, Jan & Erik, Honoré
(2017).
Project Meeting in International Research Network in Global Jazz Studies.
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Dybo, Tor
(2015).
Folkrock og globalisering.
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Dybo, Tor
(2015).
Opponent under David Myhr Midpoint Seminar.
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Dybo, Tor
(2014).
Final Discussion - Panel Participant.
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Dybo, Tor
(2014).
Doctoral Scholarship in Popular Music Performance.
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Dybo, Tor
(2013).
British Folk Rock and Censorship within the Recording Industry.
Vis sammendrag
The purpose for this paper is to examine how the British folk rock-movement has gone through extensive changes from the end of the 70s up to now caused censorship within international recording industry. This is limited to a case study on how changes in the recording industry results that the British folk rock band Fairport Convention split up as a full time band in 1979 and restarted as a full time band again in 1985, but now as an independent band of the mainstream popular music industry. And Fairport has since then appeared as an independent band that run their own festival, record company, management, etc.
In this paper I will present results from my long-standing research project on folk rock. The main methodological tools I have used in this project includes many years of field work at the festival entitled Fairport’s Cropredy Convention as well as at numerous concerts with Fairport Convention in the UK, Norway and Denmark, where interviews with the band members of FC and its crew comprise a certain number of the methodological elements.
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Dybo, Tor
(2013).
Gender and Voicing Strategies in a Folk Rock Band’s Sound Signature.
Vis sammendrag
The purpose for this paper is to examine voicing strategies and gender in a bands sound signature and role in the popular music marked, in this case the English folk-rock band Fairport Convention.
This band has mainly consists of male members. But already from their start up in 1967 the female voice was an important part of their sound signature and strategy to get a distinctive voice among the many London-based bands in that period. Fairport Convention’s first female singer was Judy Dyble (b. 1949) who was a member of the band until 1968. Sandy Denny (1947–1978) replaced Judy Dyble in 1968, and Denny was signified by a unique and powerful delicacy voice. Not at least, she was an active songwriter who also was dedicated to traditional songs from England and Scotland.
When Denny left the band in the 70s she was replaced by the other band members male voices. Later, the founding member and guitarist Simon Nicol took over the singer role in the band characterized by a deep powerful baritone voice. Such voicing strategies in the band sound will be discussed in this presentation.
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Dybo, Tor
(2013).
Folkrock fra Bretagne, Karelen og Storbritannia: Presentasjon av de tre artiklene “Britisk etnitisitet og Fairport Convention”, “Bretonsk glokalisering” og “Karelsk glokalisering: Värttinä og verdensmusikken” i bokutgivelsen Musikk, politikk og globalisering (Akademika forlag 2012).
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Oversand, Kjell & Dybo, Tor
(2012).
Innledning,
Musikk, politikk og globalisering.
Akademika forlag.
ISSN 978-82-321-0146-7.
s. 7–14.
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Dybo, Tor
(2012).
Presentasjon av bokprosjektet “Folk Rock and Globalization: An Ethnographic Study of Fairport Convention”.
Vis sammendrag
This book deals with several aspects of Fairport Convention and the folk-rock movement, a global cultural phenomenon that, in a European context, has steadily gained popularity since the 1960s. The phenomenon of folk-rock will be addressed in terms of whether it can be understood as either a revival or representation of a form of popular music. The arguments presented in this work tend towards the establishment of a polarisation between the two above-mentioned positions, and are inextricably connected to the larger debates of globalisation. The main question posed is to what degree the musical projects of a folk-rock group such as Fairport Convention suggest a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. This study therefore involves a discourse that seeks to unveil numerous perspectives that are relevant to issues of folk revival, and the revitalization of folk music in a globalised popular music setting. In this context the results of my ethnographic work at the annual festival entitled Fairport’s Cropredy Convention will be presented and discussed.
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Dybo, Tor
(2011).
"The Ballad of Matty Groves”: Fairport Convention and the British Folk Tradition.
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Dybo, Tor
(2011).
“The Ballad of Matty Groves”: Mediating Perspectives on Fairport Convention and British Folk Tradition.
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Dybo, Tor
(2010).
Jazz in Norway, vols. 1-5.
Jazz Perspectives.
ISSN 1749-4060.
4(2),
s. 239–246.
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Dybo, Tor
(2010).
Rockhistorisk begivenhet i Ravnedalen.
?.
Vis sammendrag
Kronikken setter Jethro Tulls musikk og karriere inn i en musikkfaglig sammenheng. Herunder gås det inn på de musikalske, historiske og kulturelle forutsetningene for hvordan elementer fra britisk folkemusikktradisjon, keltiske musikktradisjoner, klassisk musikk, visetradisjoner m.m. blandet med rockens klangverdener smelter sammen til en ny opplevelse.
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Dybo, Tor
(2010).
Folk-Rock: A Folk Music Revival or a Popular Music Phenomenon?
Vis sammendrag
This paper deals with several aspects of Fairport Convention and the folk-rock-movement, the latter a global cultural phenomenon that, in a European context, has gained importance since the 1960s. The phenomenon of folk-rock will be discussed in terms of whether it can be understood as a revival or a representation of a form of popular music. The arguments presented in this paper tend towards a polarization between the two mentioned positions, and are inextricably connected to the larger debates of globalization. The main question posed is to what degree the musical projects of a folk rock group such as Fairport Convention represent a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. My discussion is positioned in a discourse that seeks to unveil numerous perspectives relevant to issues of folk revival, and revitalization of folk music in a globalized popular music setting. In this context results from my ethnomusicological-based fieldworks at the annual festival Fairport Cropredy Convention will be presented and discussed, and as a part of these fieldworks I will present excerpts from an analysis of the current line-up performance of the ballad "Matty Groves" at the festival.
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Dybo, Tor
(2009).
Globalizing Perspectives on Norwegian Jazz History,
Conference Report, 8th Nordic Jazz Conference.
ISSN 9788799353101.
s. 150–160.
Vis sammendrag
In this paper I discuss globalizing perspectives on Norwegian jazz history from the beginning of the 70s. A special emphasis will be on cross-cultural forms of improvisation in Norwegian jazz life from an ethnomusicological point of view with an emphasis on the questions of musical borrowing from other cultures ? where improvisation is an important musical character ? and how such borrowing could create other sort of musical characteristics, e.g. in creating ?time? and ?groove? during performance practices. This theme has its reference to the question of creating a kind of ?otherness? with the basis in jazz improvisations, but where it is influenced of cultural impressions from outside the mainstream American jazz traditions. In other words the purpose for this article is to discuss some aspects on how Norwegian jazz musicians and ensembles 1) either use material from other oral musical cultures than the jazz tradition in their improvisations or 2) collaborate with improvising musicians from other oral cultures outside the jazz tradition. My discussion is limited to different Norwegian based groups, artist, and musical projects such as Østerdalsmusikk, Jan Garbarek, Frode Fjellheim Jazz Joik Ensemble, and Utla.
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Dybo, Tor
(2009).
Folkrock i globaliseringsperspektiv.
Vis sammendrag
I denne gjesteforelesningen drøftes aspekter ved fenomenet folkrock, et globalt kulturelt fenomen som innenfor en europeisk sammenheng fikk sin aktualitet fra slutten av 1960-tallet. Som tittelen tilsier antydes en polariserende problemstilling med en drøfting av hvorvidt folkrock kan forstås som folkemusikalsk revival eller populærmusikalsk fenomen i lys av en globaliseringsdiskusjon. Med dette signaliseres et problemfelt om hvorvidt musikalske prosjekter til enkelte folkrockgrupper og artister representerer en videreføring av folkemusikk i betydningen folkelig tradisjonsmusikk, eller om dette representerer en variant av rock som populærmusikalsk fenomen. Gjesteforelesningene er avgrenset til et sammenlignende studium av den fransk-bretonske artisten Alan Stivell og den britiske folkrockgruppen Fairport Convention.
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Dybo, Tor
(2009).
Globalizing Perspectives on Norwegian Jazz History.
Vis sammendrag
In this paper I discuss globalizing perspectives on Norwegian jazz history from the beginning of the 70s. A special emphasis will be on cross-cultural forms of improvisation in Norwegian jazz life from an ethnomusicological point of view with an emphasis on the questions of musical borrowing from other cultures ? where improvisation is an important musical character ? and how such borrowing could create other sort of musical characteristics, e.g. in creating ?time? and ?groove? during performance practices. This theme has its reference to the question of creating a kind of ?otherness? with the basis in jazz improvisations, but where it is influenced of cultural impressions from outside the mainstream American jazz traditions. In other words the purpose for this article is to discuss some aspects on how Norwegian jazz musicians and ensembles 1) either use material from other oral musical cultures than the jazz tradition in their improvisations or 2) collaborate with improvising musicians from other oral cultures outside the jazz tradition. My discussion is limited to different Norwegian based groups, artist, and musical projects such as Østerdalsmusikk, Jan Garbarek, Frode Fjellheim Jazz Joik Ensemble, and Utla.
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Dybo, Tor
(2009).
Jazz Research in Scandinavia.
Vis sammendrag
This lecture gives an overview, and discusses some challenges in Scandinavian jazz research. In the first part definitions of Scandinavia and the cultural complex within this region is discussed. This is followed by a discussion on tendencies in Scandinavian jazz research both within and outside the musicological milieus. In the last part some challenges in Scandinavian jazz research is presented and discussed.
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Dybo, Tor
(2009).
Folk rock: a folk music revival or a popular music phenomenon?
Vis sammendrag
This presentation deals with several aspects of folk rock, a global cultural phenomenon that, in a European context, has gained importance since the 1960s. As indicated in the title, the phenomenon of folk rock will be discussed in terms of whether it can be understood as a revival or a representation of a form of popular music. The arguments presented in this presentation tend towards a polarization between the two mentioned positions, and are inextricably connected to the larger debates of globalization. The main question posed is to what degree the musical projects of folk rock groups and artists represent a continuation of folk music, especially in the sense that traditional folk music represents a variant of rock as a popular music phenomenon. To this end, my discussion focuses primarily on the British folk rock group, Fairport Convention, which are positioned in a discourse that seeks to unveil numerous perspectives relevant to issues of revival.
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Dybo, Tor & Bråthen, Elin Synnøve
(2008).
Tar doktorgrad på seg selv og bandet.
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Dybo, Tor
(2008).
Tor Dybo: Hva er en ideel helg?
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Dybo, Tor & Hawkins, Edgar Stanley
(2007).
Møte i stipendiatnettverk innen populærmusikkforskning.
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Dybo, Tor
(2007).
Møte i Norsk Jazzarkivs faglige utvalg.
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Dybo, Tor
(2007).
Møte i Norsk Jazzarkivs faglige utvalg.
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Dybo, Tor
(2007).
Etablering av regionalt rocksenter i Kristiansand.
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Dybo, Tor
(2006).
Forsknings- og pedagogiske nettverk innen utøvende rytmisk musikk.
Vis sammendrag
Møte mellom professor Tor Dybo (HiA), professor Bjørn Ole Rasch (HiA), professor Anders Jormin (Högskolan för scen och musik, Göteborgs Universitet) og professor KG Johansson (Musikhögskolan i Piteå, Luleå Tekniske Universitet) om nordisk utdannings- og forskningssamarbeid innen rytmiske musikkutdannelser.
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Dybo, Tor
(2006).
Forskningsnettverk innen jazz- og populærmusikkforskning.
Vis sammendrag
Møte mellom professor Tor Dybo (HiA) og professor Peter Wicke (Humboldt Universität, Berlin) om forskningsnettverk innen populærmusikkforskning og Dybos forskningsprosjekt om folkrock. På dette møtet ble det i tillegg drøftet samarbeid mellom Humboldt-universitetets- og HiAs utdanninger innen rytmisk musikk/populærmusikk. Med bakgrunn i at HiA på institusjonsplan allerede har inngått et samarbeid med Humboldt diskuterte vi hvordan dette gir store muligheter for studentutveksling, forskerutveksling, samarbeid om større forskningsprosjekter innen populærmusikkforskning osv. Dette arbeidet vil bli fulgt opp våren 2007.
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Dybo, Tor
(2006).
Forskningsnettverk innen jazz- og populærmusikkforskning.
Vis sammendrag
Møte mellom professor Tor Dybo (Institutt for rytmisk musikk, HiA) og musikkforsker Dr. Michael Rauhut, Humboldt Universität, om forskningsnettverk innen populærmusikkforskning og Dybos forskningsprosjekt om folkrock.
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Dybo, Tor
(2006).
Jazz som etnomusikologisk forskningsfelt.
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Dybo, Tor
(2005).
Värttinä og verdensmusikken.
Vis sammendrag
Det finske verdensmusikkensemblet Värttinä utgjør en gruppe som har sitt opphav i finske Karelen, men som har høstet stor internasjonal suksess og anerkjennelse en gjennomårrekke. Värttinä-ensemblet bruker sin finsk-karelske musikktradisjon som utgangspunkt når de nærmer seg andre musikktradisjoner. Det mest iørefallende er blandingsformene som det musikalske møtet mellom folkemusikk fra Karelen og jazz- og rockgenrene resulterer i. Møteresultatet gjør at vi kan snakke om globalisering og verdensmusikk, nettopp ut fra de nye blandingsformene som oppstår. I dette framlegget setter Tor Dybo Värttina-musikken inn i en musikkfaglig sammenheng hvor han tar for seg de musikalske forutsetningene for hvordan elementer fra særlig finsk-karelsk folkemusikk, jazz og rock smelter sammen til en ny opplevelse. Värttinä frontes i dag av de tre sangerne Susan Aho, Mari Kaasinen og Johanna Virtanen. Ensemblet består ellers av gitaristen Antto Varilo, Markku Lepistö på accordeon, Hannu Rantanen (kontrabass), Lassi Logren (fiolin), Jaska Lukkarinen (trommer) og Janne Lappalainen (bouzouki, saxofon og diverse blåseinstrumenter).
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Dybo, Tor
(2005).
Kristiansand, Stavanger and Southern Norway,
Continuum encyclopedia of popular music of the world / edited by John Shepherd ... [et al.
s. 277–279.
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Dybo, Tor
(2003).
“Southern Norway”,
Encyclopedia of Popular Music of the World, “Vol. 2: Locations".
Continuum.
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Dybo, Tor
(2003).
Garbarek, Jan,
Die Musik in Geschichte und Gegenwart.
Bärenreiter.
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Dybo, Tor
(2002).
Representasjonsformer i jazz- og populærmusikkanalyse: en drøfting av enkelte problemområder, retninger og arbeider innen feltet.
Vis sammendrag
“Musikkvitenskapelig metode” utgjør et mellomfagskurs i musikkvitenskap ved HiNe hvor bokmanuskriptet “Representasjonsformer i jazz- og populærmusikkanalyse: En drøfting av enkelte problemområder, retninger og arbeider innen feltet har vært prøvd ut i undervisningen.Bokmanuskriptet har også vært prøvd ut i grunnfagskurset “Innføring i musikkvitenskap og analyse”.
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Dybo, Tor
(2002).
Komparative aspekter ved norsk jazzliv på 70-tallet: sammenligning mellom amerikanske, europeiske og norske utøvere.
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Dybo, Tor
(2002).
Jazzhistorie.
Vis sammendrag
“Jazzhistorie” utgjør et grunnfagskurs i musikkvitenskap ved HiNe hvor bokmanuskriptet “Jazzhistorie – Komparative perspektiver på jazzens framvekst og utvikling i USA, Europa og Norge” har vært prøvd ut i undervisningen.
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Larsen, Ove & Dybo, Tor
(2002).
Gehørtradert musikk som forskningsfelt.
Vis sammendrag
I dette foredraget ble det gått inn på hva forskning på gehørtradert musikk kan innebære. Begrepet ‘gehørtradert musikk’ utgjør en fellesbetegnelse for musikalske genrer som folkemusikk, viser, rock og jazz. I denne forbindelse kan det nevnes at temaet også planlegges som et større forskningsprosjekt ved HiNe i regi av Nordnorsk senter for folkemusikkforskning, hvor en rekke andre musikkforskningsmiljøer i Norge, Sverige og Irland søkes som samarbeidspartnere. Under foredraget ble det bl.a. gått inn på en rekke eksempler på hvordan innøving av nytt materiale for musikere innenfor disse genrene kan skje. Foredraget ble illustrert med en rekke musikkeksempler.
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Dybo, Tor & Larsen, Ove
(2001).
Tradisjon og fornying i folkemusikalske uttrykksformer.
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Dybo, Tor
(2000).
Ethnomusicological Reflections on Challenges in Norwegian Jazz Research.
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Dybo, Tor & Dreyer, Bjørn Charles
(2020).
Doing It to Death: An Investigation into a Session Musician’s Migration.
07 Media.
ISSN 978-82-7117-964-9.
2020(263).
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Alterhaug, Bjørn; Dybo, Tor & Oversand, Kjell
(2002).
Challenges in Norwegian Jazz Research : a report from the conference.
Institutt for musikk, NTNU.
ISSN 8292267077.
Vis sammendrag
Institutt for musikk, NTNU arrangerte konferansen Utfordringer i norsk jazzforskning ("Challenges in Norwegian Jazz Research") på Radisson SAS Royal Garden Hotel i Trondheim 15.–17. september 2000. Konferansen ble arrangert i samarbeid med Norsk Jazzarkiv, Oslo og Nordnorsk senter for folkemusikkforskning ved Høgskolen i Nesna. Konferansen søkte å nå ut til både 1) norske forskere og studenter innen musikkvitenskap og andre relevante vitenskapelige disipliner og 2) øvrige (regionale) jazzhistorieforskere og andre som er engasjert i arbeid med lokal jazzhistorie, hvor formålet var: 1) Styrking av samarbeidet innen jazzforskningen mellom universitets- og høgskolemiljøene, Norsk jazzarkiv og den øvrige aktiviteten på området; 2) Metodeproblematikk i forbindelse med dokumentasjon av norsk jazzhistorie; 3) Rekrutteringsspørsmål i norsk jazzforskning; 4) Internasjonale standarder i jazzforskningen. Rapporten “Challenges in Norwegian Jazz Research” inneholder artikler fra flesteparten av de foredrag som ble gitt – og papers som ble presentert – under konferansen
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Davidsen, Hanne; Dybo, Tor & Klepaker, Tom
(2000).
FoU-virksomheten ved Høgskolen i Nesna : årsmelding 1998.
Høgskolen i Nesna.
ISSN 8275690803.
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Dybo, Tor
(1995).
Jan Garbareks musikk i en kulturell endringsprosess.
Universitetet i Trondheim, det historisk-filosofiske fakultet,.
ISSN 8290896689.
Vis sammendrag
Avhandlingens overordnede mål er gjennom beskrivelser og analyser å gi en framstilling av kontinuitet og endring i Jan Garbareks musikk for perioden 1961- 1994. Her vil jeg gå inn på hva som er med på å særprege Jan Garbarek og hans musikk sett i forhold til endringsprosesser i 1) nyere norsk kulturhistorie generelt og 2) nyere jazzhistorie både nasjonalt internasjonalt. Hovedvekten legges naturlig nok på det andre momentet. Det første momentet er tatt med for å gi en skisse over den kulturelle konteksten musikken til Jan Garbarek har virket innenfor i løpet av et 30-årig tidsforløp. Under dette momentet diskuteres de kulturelle, sosiale og økonomiske forutsetningene for Norge i perioden 1960-1994 mer generelt for å danne grunnlag for diskusjoner om bl.a de kulturoverføringer og kulturbrytninger som kommer til uttrykk gjennom Jan Garbareks musikk. Spørsmålene som blir stilt i avhandlingen kan relateres til følgende tre emneområder: a)kultur, b)teknologi og c) musikkstruktur og sound. Hovedspørsmålene innefor de tre emneområdene er: I den første gruppen trekkes inn spørsmål som tar for seg den generelle kulturelle konteksten som Jan Garbareks musikk virker innenfor. I den andre gruppen reflekteres den stadig raskere teknologiske utviklingen innnenfor musikkindustrien og i den tredje gruppener det fokusert på spørsmål om musikkstruktur og sound, og hvordan disse henger sammen med kultur og teknologi.