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            "abstractNote": "Musik och spatialitet i 2000-talets amatör- och semiprofessionella musikproduktion Toivo Burlin Musik som ett uttryck för människans relation till rummet – rummet i flera bemärkelser (akustisk, musikalisk, som en livsvärld) – är ett forskningsfält som i det moderna informations- och nätverkssamhället på flera sätt har aktualiserats: i vår tids musikskapande är kategorierna musik och rum nära relaterade, men tämligen outforskade. En utmärkande omständighet i det nutida musiksamhället är att tidigare vattentäta skott mellan professionalism och icke-professionalism i produktionen av musik suddas ut – men samtidigt dras nya gränser upp mellan professionell musikproduktion och amatörmusikproduktion. Studion som princip har genomgått en omlokalisering från att vara knuten till en specifik”plats” till att idag ofta ha en mer mobil och digital existensform – och utan en tydlig lokalisering (Théberge 2004).En gång centrala bastioner för musik- och ljudteknologiskt kunnande i Sverige, som Sveriges Radio och SVT, anses av kännare numera har gjort sig av med mycket av sin specialiserade kompetens och istället utvecklat en ny typ av medieproducenter på journalistisk grund, som ”kan lite av varje”, inklusive inspelning, redigering och mixning av ljud och musik (men enligt många bedömare sällan tillräckligt bra). Specialisterna – musikteknikerna och musikkännarna – har alltså fasats ut till förmån för mediegeneralister. Detta är dock en genomgripande förändring som inte enbart sker inom en separat sektor av medieindustrin, utan är snarare ett symtom på eller en del i stora, fundamentala och genomgripande förändringsprocesser i såväl den globala musikindustrin och i musiksamhället – som det existerar i nätverkssamhället (Castells 2000).En gång viktiga ljud- och musiktekniska kunskapscentra som de stora studiorna har inte bara fått en annan och mindre ledande roll: samtidigt har8. Musik och spatialitet i 2000-talets amatör- och semiprofessionella musikproduktion Toivo Burlin8musikproduktionsteknologin på många och genomgripande sätt blivit brett tillgänglig för amatörer, semiprofessionella och professionella musiker och musikskapare. Den högt specialiserade teknologi som nu är tillgänglig för i princip alla med ett intresse för musikproduktion – persondatorn som kärnan i en så kallad DAW (Digital Audio Workstation) – är nu något som åtminstone teoretiskt sett kan finnas hos varje musik- och produktionsintresserad. Som jämförelse kan det sägas att på 1970-talet var det endast de allra rikaste och mest berömda rockmusikerna som hade råd att ha egna studior hemma. På 1980-talet påbörjades en demokratisering av teknologin för musik, i och med attportastudion blev ett överkomligt alternativ för musikproduktion hemma – men steget var ändå betydande till den professionella studions resurser. Men 2000-talets musikteknologi- och mediekonsumenter som samtidigt är producenter, gör inte bara (teoretiskt sett åtminstone) musikinspelningar av i princip professionell kvalitet i sitt sovrum, utan de sprider och delar sin musik i sociala nätverk som MySpace och SoundCloud – med möjlig omedelbar distribution.I detta paper skisseras en undersökning om hur amatörer och semiprofessionella producenter som använder sig av DAW:s tillsammans med dessa slags sociala medietjänster skapar och producerar men också kommunicerar med sin musik; i de digitala tjänsterna och med tonvikt vid skapandet av musikalisk-auditiva och kulturella ”rum” – såväl vad gäller de tekniska och musikaliska aspekterna av musikproduktionen, liksom den kulturella och sociala kontext som dessa ”rum” skapas inom. Som analytiska verktyg prövas och används bland annat ”produktionsperspektivet” (Burlin 2015) och Rumsmodellen (Burlin 2012).",
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