Born in 1956.
University degrees, studies and positions
Music teacher degree, Malmö Academy of Music, 1982
Speech therapist degree, Lund University, authorized speech therapist, 1993
Bachelor’s degree in Music Methodology, Malmö Academy of Music, 1998
Master’s degree in Music Methodology, Malmö Academy of Music, 2003
Master’s degree in cognition research, Lund University, 2004
Studies beyond these degrees
Vocal studies, 1982-84, in Copenhagen and Salzburg, International Summer Academy, 1983, Framnäs.
International Vadstena Academy, 1983. Additional training at University College of Music Education in Stockholm, 1990 and 1991. Additional training in jazz improvisation at Visingsö Folkhögskola in 1991.
Studies in baroque interpretation for conductor William Christie, Les Arts Florissants, Paris, 1994.
Additional and further training at Lund University:
Practical pedagogy (40 credits), 1985. General phonetics (40 credits), 1987. Music therapy (20 credits), 1989.
Studies and research education at the Institute for Bio Music Science, Mid Sweden University in Östersund, and in Florens för phil. Doctor Nils Wallin, 1997.
Additional and further training at the Malmö Academy of Music:
Conducting, further training, 1995-96, for Gunnar Staern. Music ergonomy, 2000.
Further training in vocals technique: Folk music: Private lessons for Maria Röjås, 2002.
Folk music: Course in folk song and falsetto song, Saltaluokta, 2003. Basic course and follow up courses in Estille Voice Training, 2004, 2005 and 2008.
University pedagogy course, 2008.
Positions– previous positions
Music teacher, vocals, guitar, piano and choire. During the years of 1975-82, teacher at such schools as Söderport School, Kristianstad Communal Music School, Vä School, Göinge School, Österäng School, Hjärups School, Kulladal school district, Dammfri School and Östra Grevie folkhögskola.
Music teacher and choral leader during the years 1982-84, permanent position at Klippan High School.
Tutor during the years 1980-82 at the Music section, the Course work at Lund University.
Music teacher at the Communal Music School in Helsingborg, 1984-1997. The position included clarinet, saxophone, copartner, ensemble, orchestra and voice care.
Conductor, administrator and leader during the years 1987-1997 for the Music School’s Boys’ Choires in Helsinborg.
Voice pedagogue and vocal carer during the years 1986-1991 with the International Heinrich Schütz-society. Working with vocal care, relaxation- and singing rehearsal training and participation as a soloist.
Congregational musician in Lund Cathedral, 1987.
Voice pedagogue and voice carer at summer courses during 1990-1991 at Fridhem folkhögskola, Svalöv. Subjects: Singing rehearsal, breathing technique, vocals, improvisation and microphone technique.
Employee in the public sector, speech therapist at the Central Hospital in Växjö, summer of 1993, rehabilitation- and speech therapist.
Lecturer, instructor and voice carer with congregations in Scania, Blekinge and Hallad and at chuch vocalist’s boarding schools.
Conductor, administrator and leader, 1996-1999 for Malmö Academy of Music Boy’s Choire
Conductor, administrator and leader, 1999-2001 for Malmö Boy’s Choire, based in Matteus Church
Instructor at Malmö Academy of Music
Position as an hourly paid instructor, 1987 to June 1996, in vocals, voice care and music methodology.
Lecturer in vocals, Music Teacher Programme, July 1st 1996 - November 30th 2001.
Position – present position and assignment
University lecturer in vocals at Malmö Academy of Music, Lund Univesrity, from december 2001 to present day.
Choral pedagogy course at the Southern Choral Centre, autum term of 2008 to present day.
Lectures and workshops under ”Rösträtt” at Malmö University, autumn term of 2008 to present day.
Commissioner in the Educational Counsil at Malmö Academy of Music for three terms.
On going assignments:
2005 to present day
Commissioner on the board of the Faculty of Arts
2007- to present day
Commissioner (alternate member) on the Educational Board
Assisted the phil. Doctor Nils Wallin in the lead of projects concerning Bio Music Science, in means of teaching and seminars in Östersund and Florens.
2006 to present day
Developed and administer free standing university courses in presentation technique.
Supervising student’s master’s dissertations
1994 to present day
Supervising around 40 master’s dissertations
Participating in conferences, symposiums.
As an invited expert, she’s taken part in seminars, symposiums, conferences, educations in county councils, communes, businesses, churches and schools.
A selection of scientific production
1) "Fruits like bananas, apricot puree and plum trees – A comparison between a girl with semantic-pragmatic disorder and a girl with a normal language development”. Master’s dissertation at the Institution for speech therapy and phoniatrics, 1993. Supervisor, Professor Ulrika Nettelblad and assistant professor Birgitta Sahlén.
"A neurolinguistic analysis and interaction analysis (Sahlén & Nettelbladt, 1993) was made of a girl with suspected semantic-pragmatic disorder, in the purpose of thoroughly mapping out the girls language behavouir. The analysis were made at two occasions, more exactly at the ages of 7;0 and 8;3. At 7;0 the girl was also compared with a girl of the same age with a normal language. The girls language difficulties at the age of 7;0 is well matched with the language problems described in earlier case studies of children with semantic-pragmatic disorder (Sahlén & Nettelbladt, 1993; Conti-Ramsden, 1987) and with the diagnosis criteria mentioned by Bishop & Rosenbloom (1987) and Rapin & Allen (1987).
However, the girls language production, i.e. phonology and grammar, does not develop as is expected. According to Bishop & Rosenbloom (1987) children with a semantic-pragmatic disorder are initially difficult to separate from other groups of children with language disorders, because they have very similar problems at first. The phonological and grammatical problems disappear in time, according to the authors, and the semantic and pragmatic difficulties then stand out all the more clearer (Bishop, 1989). The phonological and grammatical problems with the girl in this study remained unchanged at the age of 8;3”.
2) "A boys musical development during the first year of life”. Master’s dissertation at Malmö Academy of Music in 1998. Supervisor, Professor Bertil Sundin – Abstract:
"A boys musical development during the first year of life”. A 60-credit thesis, Malmö Academy of Music, Lund University, spring term of 1996. A case study of journal method. The aim of this study has been to, from a developmental psychological perspective, observe and describe the musical development with a boy during his first 12 months of life. Further more, after accounting for the observations, to discuss how the results match or contradict what’s been noted in the scientific literature concering childrens’ musical development. The aim has also been to illuminate certain initially made assumptions, for instance that musical experiences during the foetal stage can be transferred to after the birth. In the study observations of what’s occurred during the pregnancy is presented, as is, in a systematised form, the occurances during the boys first year of life. On the background of accounts of what’s been taken in from the scientific literature concerning physiology, music pedagogy. Developmental psychology and psycho dynamics, the boys general and musical development is discussed. In connection with this, some general music pedagogical questions which have been brought up to date during the implementation of the study, are also discussed”.
3) "Do you hear how you sing? Training the vocal student's awareness by use of self-assessment." Magisteruppsats vid Musikhögskolan år 2003. Handledare fil. doktorn Gunnar Heiling. - Abstract:
"As senior lecturer at the Malmö Academy of Music it is my task to give lectures and lessons on singing, methodology and voice care. I believe that the most important content of the instruction in these three cases is the ear training. If I can heighten the singer's awareness of the sounds he/she is making, alert the singer to the variety of sounds a voice is capable to produce and point out why some of those sounds are more efficient than others, I have reasons to assume that my instruction has had good effects.
The purpose of this study was to collect information on the effectiveness of my instructions on ear training applied to singing given during one term. Did the students show a better knowledge, could they give a better description of their own voices and did they have a more sharp awareness by the end of term than at the beginning?
24 vocal students were video-recorded at the beginning of their studies with me when they performed songs. The results of the study are based on data gathered from written reports given from these students at the beginning and at the end of the autumn term 2001. The results show that the students during the term had achieved substantial knowledge, that they had obtained organised information and that they in the end of the term were systematic in their approaches to analyse voice qualities.
The results also show that self-assessment, performed by the students, proved to be a useful tool for the students' evaluation of achievement, for the teacher's knowledge about the effectiveness of her teaching and for conclusions concerning the compositions of study groups.
The study raises several questions concerning perception, cognition, awareness and consciousness."
Anm. Artikel om denna uppsats publicerad i februarinumret år 2004 av Röstfrämjandets Tidskrift Röstläget.
4) "Absolute pitch and synaesthesia: In search for the welltempered colour scale". Magisteruppsats vid Kognitionsforskningen vid Lunds universitet år 2004. Handledare: professorn Peter Gärdenfors och universitetslektorn Christian Balkenius. - Abstract:
"Humans by way of electromagnetic waves perceive sounds and colours. Somewhere in the human brain these perceptions are treated so that they are identified by use of comparisons with earlier perceptions. No one knows how this cognitive treatment works.
Absolute pitch can be defined as the ability to name tones without a referent. Few persons have this ability. Synaesthesia is the simultaneous response to one stimulus in more than one sensory mode. Few persons have this ability. - Very few persons have both abilities.
Earlier studies give the information that synaesthetic experiences are individual. It is difficult to find report on conformities regarding synaesthetic experiences. The purpose of this study was to gather information whether persons possessing not only synaesthesia but also absolute pitch have something in common in their experiences of tones and of colours.
I studied seven synaesthetic subjects possessing absolute pitch. They experienced colours when listening to music and to different tones. Their accounts for experiences when listening to tones during interviews performed are summoned in this study. I also showed the subjects simple geometric forms in different colours trying to find out if their experiences of those coloured forms had something in common.
The results from the study support the view that the synaesthetic experiences are different from subject to subject. I found no evidence that those subjects, possessing two exceptional abilities, experienced the same colours when listening to all of the tones in the chromatic c-scale. - Remarkable, however, was the result that four of the seven subjects experienced red colour when listening to the tone a.
All seven subjects experienced tones when regarding coloured geometric forms. This result is not consistent with previous reported observations concerning "bi-directional" synaesthesia. - Comes to this the result that four of the seven subjects experienced the tone a when regarding a red rectangle and four subjects (not the same) experienced d when regarding a yellow rectangle.
The results are discussed against a summary of research on absolute pitch and on synaesthesia. In the discussion I concentrate on Saffran's theory of absolute pitch and on Maurer's developmental theory of synaesthesia."
Anna-Lena works as a choral pedagogue, as an authorized speech therapist and as a lecturer in presentation technique.
Since 1996 she works privately at Kungsgården near Smygehamn, in the sole proprietorship “Röstinstitutet Vov Candida”. The work consists of three parts: 1) working as a pedagogue with choirs from Scania, Blekinge and Halland, 2) private practising authorized speech therapist with a special focus on the voice care and voice problems of vocalists and teachers, and 3) courses in presentation technique for businesses, communes and congregations, among others. – Phone number: 0046 410 – 234 81.
Teachers (Malmö Academy of Music)