Åsa Helena Stjerna

Peer-reviewed books and book chapters
• Stjerna, Å. & Engström, A. Eds. (2019). Ljudkonst. OEI Editör, Kungl. Musikaliska akademiens skriftserie #140, Stockholm.

• Stjerna, Å. (2018). Before Sound–Transversal Processes in Site-Specific Sonic Practice. PhD Thesis: Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts, University of Gothenburg: Univ.

Peer-reviewed edited volumes
• Eppley, C. & Stjerna, Å. Eds. (2019). Sound Sites. Special issue of Public Art Dialogue Journal, March 2019.

Peer- reviewed original articles
• Stjerna, Å. (2019). “Att skapa ett sammanhang – “Ett platsspecifikt perspektiv på konstnärlig praktik kopplat till hälsa”. Socialmedicinsk Tidskrift (smt) – Journal of Social Medicine, May 2019.

• Stjerna, Å. (2013). ”Aspects on Duration: The Vulnerability of Permanence in Site-Specific Sound Art in Public Space” – Leonardo Music Journal. LMJ 23: 2013. Theme issue on Sound Art.

• Engström, A. & Stjerna Å. (2009). “Sound Art or Klangkunst? A reading of the German and English literature on sound art ”, Organised Sound – An international Journal of Music and Technology, vol. 14, issue 01. Theme issue on Sound Art.

Other publications
• Skog. S. and Stjerna. Å. (2022) “Ljud som ambivalent vittnesmål och det etiska ansvaret att förvalta andras vittnesmål  Susanne Skog och Åsa Stjerna om Lawrence Abu Hamdans utställning Dirty Evidens vid Bonniers Konsthall hösten 2021″ (Sound as Ambivalent Testimony and the Ethical Responsibility to Manage the Testimony of Others:  Susanne Skog and Åsa Stjerna on Lawrence Abu Hamdan’s exhibition Dirty Evidence at Bonniers Konsthall in autumn 2021) Journal of Contemporary Music, Nutida Musik, Spring issue.

•Krogh-Groth, S. and Stjerna, Å. (2021)“Multiröster och ljudet under vatten” [Multi-voices and sound in water]. ETN: H2O. Lund university.  Ed:Lundin. S., Rivano Eckerdal. J., and Åkesson. L. 
Link to journal

• Stjerna, Å. (2019). “Järn – ljud – bakterier, Cecilia Jonssons Transformationer”. [– Iron – Sound – Bacterias Cecilia Jonsson’s Transformations]. In Nutida Musik. Nr 276, 2019.

• Stjerna, Å. (2017). “Rumslighet – Interaktion. Compoz i en ljudkonstkontext.”(“Spatiality – Interaction. Compoz in a soundart context”, in Compoz by Audiorama Publication, 2017.

• Stjerna, Å. (2016). Pendula Bergiorum (Parken som Tid). In OEI Editör. 2016. Cox, C. & Stjerna Å. (2015). Sound, Affect and Public Space – A conversation between Åsa Stjerna and Christoph Cox in Dirty Ear Report #1, Errant Bodies Press, Fall 2016.

•Engström, A. & Stjerna, Å. Eds. Nutida Musik, no. 4, 2011 Theme issue on the human voice. Including:

• Stjerna, Å. (2011). “Josef Protschka – Pojken bakom rösten” (“Josef Protschka – The Boy Behind the Voice”), Nutida Musik, no. 4, 2011, p. 5-9.
A portrait and interview with Josef Prouschka, the twelve year old boy who lent his voice for Stockhausen’s Gesang der Jünglinge.

• Stjerna, Å. (2011).”Att identifiera en röst – intervju med Jonas Lind, specialist i rättsfonetik”, (“The Art of Identifying a Voice – Interview with Jonas Lind, specialist in forensic phonetics”), Nutida Musik, no. 4, 2011, p.26-31.

• Stjerna, Å. (2011). “Rösten som abstrakt verklighet – ett samtal med Peter Ablinger” (“The Voice as Abstract Reality – A Conversation with Peter Ablinger)”, Nutida Musik, no. 4, 2011, p.5-9, p.32-37.

• Stjerna, Å. (2008). “Att inta position – Intervju med Gisela Nauck, chefsredaktör för den tyska musiktidskriften Positionen” (“Taking a Position – Interview With Gisela Nauck, Chief Editor for Positionen, A German Journal of Contemporary Music”), Nutida Musik, no. 2, 2008, p. 22-27.

• Stjerna, Å. (2007). “Att läsa mellan raderna” (“Reading Between
the Lines”), Nutida Musik, no. 4, 2007, p. 6-11.
On interpretation of contemporary music. A portrait of the flutist Sara Hammarström.

• Engström, A. & Stjerna, Å. Eds. Nutida Musik, no. 4, 2006 – no. 1, 2007 Including:

• Engström, A. & Stjerna, Å. Eds. (2007).”Ljudkonst – Den svenska modellen” (“Sound Art The Swedish Model”), Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 5-12.

• Engström, A. & Stjerna, Å. (2007). “Varför har den svenska konsten varit så tyst? Och varför låter den så mycket idag?” (“Why the Swedish Art Used to be Silent – And Why it Sounds so Much Today”), Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 13-20. A conversation with philosopher and art critic Sven-Olov Wallenstein.

• Stjerna, Å. (2007). “Att färga rummet med ljud” – Ett porträtt av ljudkonstnären Robin Minard” Coloring Space with Sound – A portrait of Sound Artist Robin Minard”), Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 21 26.

• Stjerna, Å. (2007). “Tre x Ljudinstallationer” (“Three x Sound Installations”), Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 21-26. On Christina Kubisch’s Licht Himmel, Bernhard Leitner’s Cylindre Sonore and Max Neuhaus’ Time Square.

• Stjerna, Å. (2007). “Hur låter ett rum? – Om Kirsten Reeses ljud och videoinstallation Hallenfelder” (“How Does A Space Sound? – On Kirsten Reese’s Sound and Video Installation Hallendfelder”),
Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 35-38.

• Stjerna, Å. (2007). “Den klingande konsten byter boning – Om Singuhr Hörgaleri, Berlin” (“Changed Location for Sound Art – On Singuhr Hörgalerie, Berlin”), Nutida Musik, no. 4, 2006 – no. 1, 2007, p. 61-64.

• Stjerna, Å. (2006). “Hanna Hartman – Mellan det konkreta och det abstrakta” (Hanna Hartman – Between the concrete and the abstract”), Nutida Musik, no. 2, 2006, p. 5-9.
On the composer Hanna Hartman’s composition The felling of tall trees entails danger.

• Stjerna, Å. (2005). “Elektromagnetiska stadsvandringar – Åsa Stjerna om att arbeta med tyska ljudkonstnären Christina Kubisch” (“Electromagnetic City Walks – On Working With Sound Artist Christina Kubisch”), Nutida Musik, no. 4, 2005, p. 15- 19.