”Jag har också rätt att ljudsätta världen” : Om tjejers och transpersoners tillblivelser som musikskapare i musikteknologiska lärmiljöer

Abstract in English

The purpose of this dissertation is to contribute to a better understanding of the relations between music technology and girls and transgender persons (aged 13–21) in music making. The research subject is leisure time music making in music technology learning environments, where issues of gender equality are emphasized. A further aim is to discuss the music technology learning environment from the perspectives of music education and gender equality.
The dissertation draws from sociomateriality, a post-humanistic theory chosen as it lends itself to the study of the “entanglement” of the social, the cultural, and the material. The choice of sociomateriality is rooted in the desire to contribute to a better understanding of the relations between humans and non-humans. In particular, Actor–Network Theory (ANT), as developed by Latour (2015), is utilized as a theoretical and methodological approach. The study also refers to more critical approaches, for example, feminist materialism, thus inviting the concept of the “cyborg”, which questions not only the male/female and nature/culture dichotomies but also the human/machine dichotomy.
The design of the study is inspired by ANT and Latour’s (1999) ideas of science as a collective experiment for humans and materiality which allows for the creation of a network of knowledge. The chosen methods include participant observations and focus group conversations based on visual and auditive communication methodology (photo, audio and film). The empirical data was generated in three music-learning environments: two music camps and one music hackathon. All three cases had a clear mission to improve equity in music education and in the music industry.
The results show how ”becoming”, in Latour’s sense, is made possible in the meeting between humans and non- humans. Based on the analysis, this “becoming” should be understood as a cyborg or a music-making hybrid (a temporary relation), which is thus, a contribution of the dissertation to the understanding of the relations between humans, technology and music making. The study found that individual knowledge of technology enabled the participating persons to, in cooperation with tutors and non-human materiality, take control over their learning and music making. Thus, the dichotomy of male/female technology in music technology learning environments is suspended. The majority of the girls and transgender persons in this study were, in relation to technology, given the power to become music-making hybrids. The study’s result also shows the significance of lyrics in music making. In other words, the studied projects gave the participants a chance to take power over learning. They were also given the opportunity to express themselves and soundscape the world. Finally, the study shows the potential of music technology projects designed for girls and transgender persons to promote gender equality in music education.