ABSTRACTMusic and differences in knowledge ? a study of music teachers experiences with differences in musical knowledge. The purpose of this paper is to, out of a music teacher?s perspective, see if the differences in music abilities between 7th grade students are at all, or in some ways connected to the previous schools they?ve attended. I will also research in what areas, in the subject of music, students are differing more, as well as less, in their knowledge. The analysis is based on interviews with six 7th grade music teachers working in the Swedish nine-year compulsory school system.

The aim of this research is to develop a better understanding of how preschool-teachers respond to children in preschool, when they show that they want to have some influence. I have concentrated this study on how the preschool-teachers respond to the children in the gatherings and when the children are playing freely indoors, where the questions at issue are:How do the preschool-teachers respond to the children?s initiative for participation in the gathering and while playing freely?There have been four preschool-teachers and 14 children who have taken part in this study. The children who took part are in the ages of three to five. The study was done at a section in a preschool in middle Sweden.The method used in this study is unstructured observations.

Does playing have to hurt? - A quantitative study of ergonomics and double bass playing. This is a paper about ergonomics and double bass playing. I have studied the prevalence of playing-related pain in professional double bass players, teachers and students. This study is based on a questionnaire with 11 questions about double bass playing and pain.

The aim of this research is to develop a better understanding of how preschool-teachers respond to children in preschool, when they show that they want to have some influence. I have concentrated this study on how the preschool-teachers respond to the children in the gatherings and when the children are playing freely indoors, where the questions at issue are:How do the preschool-teachers respond to the children?s initiative for participation in the gathering and while playing freely?There have been four preschool-teachers and 14 children who have taken part in this study. The children who took part are in the ages of three to five. The study was done at a section in a preschool in middle Sweden.The method used in this study is unstructured observations.

Varfo?r fungerar det ba?ttre att spela med vissa personer a?n andra? Vad a?r det som go?r samklang? Vad a?r samklang? Hur musicerar olika personer tillsammans?Jag och tva? sopraner har bildat en ensemble fo?r att sjunga luciasa?nger och fo?r att sjunga pa? a?ldreboenden. Luciata?get har gjorts vid flera tillfa?llen varav ett tillfa?lle har dokumenterats.Huvudfokus fo?r detta arbete har varit samklang och interpretation. Det inneba?r att vi i samband med repetitioner har fokuserat pa? interpretation genom att analysera sa?ngsa?tt, frasering, nyanser, artikulation, intonation, uttal, balans och tolkning.

The purpose of the study is to observe how the participants of the study interacted musically through verbal, non-verbal and musically resonant expressions. Verbal communication was expressed in discussion of the music's tempo and to clarify for ensemble participants from where they we?re going to play and sing. Non-verbal communication could be used to gesticulate an instrument or a melody. For example, the movement of a hand could symbolize notes on a musical stave to indicate the notes placements.

The goal with this project was to achieve real-time synchronized video playback over the Internet, or in other words, that multiple clients play the same part of a video at the same time.The result shows how it is possible to build such a protocol, that gives a user experience that the video is synchronized between computers when playing a locally stored file, stream or video delivered using progressive download. This was achieved by designing, then role playing to find weaknesses, and at last implementing the protocols to see how they work in practice. By using such a protocol, it is possible to navigate and discuss around a video in for example a telephone conference, and be sure that everybody is looking on the same picture..

Arbetet handlar om hur upphovsmannen komponerade och arrangerade musik till en gradvisväxande ensemble till sin popmusikal. Kompositören har reflekterat över vilka uppgifter varjemusiker tilldelades i olika sångnummer inom den instrumentala ensemblen. Precis somskådespelare har olika roller inom en pjäs har musiker olika roller inom en låt.Ett mål med musikalen var ett skapa en udda och unik ensemble då musikerna även medverkade ihandlingen. Upphovsmannen valde tio olika instrument samt bestämde turordning för dem. I detförsta sångnumret medverkar endast piano, i det tionde och sista består ensemblen av piano, elbas,trummor, trumpet, cello, elgitarr, cembalo, trombon, klarinett och flöjt.

This is a study of the work of a Danish music teacher at a free school (grade 1 9) in Copenhagen. The teaching is based explicitly on playing in ensemble and the pupils play at a high artistic level compared to a normal school. Data collection was made during three days with the help of observation, video recording and qualitative interviews. The report contains video clips where the pupils and the teacher play together. The great differences between this model of teaching and the normal, lie in the teacher participation in the music making, the central role of the rhythms, the early start (grade two), the form of songs and arrangements and the lack of notation in favor of music making by ear.

Abstract Svanvik, Robin (2013). Läs: spela! En jämförande studie av elevers uppfattningar om datorspel, skönlitteratur och lärande. Svanvik, Robin (2013). It Reads: Play! A comparative study of students' beliefs about computer games, fiction reading and learning. This essay is part of a masters degree of pedagogy and investigates the experiences of 10 high-school students concerning playing computer-games-off-the-shelf (COTS) on the one hand, and reading fictional, printed novels on the other. The aim of this study was to learn more about the students' thoughts about playing COTS and reading novels; also, what differences and similarities there might be between these activities. Furthermore, I wanted to know what they thought they might learn from these activities. The theoretical point of departure for the study is twofold: Firstly, a theory of learning as expressed by Illeris (2007) and, secondly, a sociocultural perspective on learning, represented by Säljö (2000, 2005/2010) which includes the educational benifit of both playing COTS, represented by Gee (2007), and reading fiction, represented by Probst (1990) and Langer (1995). The method used in this study is mainly qualitative by nature.

The purpose of this essay was to do a research about if the language in Swedish role-playing books is used correctly and if the composition along with the possible language errors makes the books hard to understand.This research was also about to find out why these problems occurs and if the authors are aware of them.I choose books from two Swedish role-playing games, Eon and Drakar och Demoner. I read them trough, noted the mistakes made and put them together in a scoring table. I also did a LIX-test on the books and interviewed one of the authors.The results shows that the books to Eon is harder to read than the books to Drakar och Demoner and this agrees with the vision the authors of the books claims to have.The results also shows that it is not only the language mistakes and the composition that makes the books hard to read, but also the choice of difficult words and badly formulated rules..

By transcribing one drum solo recorded and performed by myself and another performed by Philly Jo Jones, a drummer I?ve heard and listened to through out my life, I try to find answers to the question: How much are we influenced by the music and the musicians we listen to?My experiment starts with me recording a improvised drum solo and then transcribing it. Then I found and transcribed a drumsolo by Philly Jo Jones that I had not heard before. The results of these experiments showed some interesting similarities between my own playing style and Philly Jo Jones and I learned a lot about what stuck with me from listening to him playing, and what didn?t..

The aim of this study was to investigate whether teachers are involved in children´s play, what their perspectives are on the importance of play and what conditions teachers have to stimulate children in their playing. In this study, I?ve been able to verify that play has a great value for children?s learning development. My method have been interviewing four teachers at a kindergarten in order to examine educators? perspective on the importance of play.The results of my investigation showed that teachers believe that play and role- play have a major impact on children's learning.

The purpose of this essay is to discuss different memory techniques used by pianists so I can feel secure while performing during concerts. How do pianists learn to memorise music? According to me, are certain memorisation techniques more effective than others? Do pianists use different methods depending on repertoire? To find my answers, I have studied two other pianists? outcomes on the subject as well as applied my chosen memorising techniques on five pieces from different epochs. These techniques include visualising my fingers when they play on the keyboard, listening to the pieces many times, practicing short specific parts one hand at a time, singing the melody while playing the accompaniment, studying the scores without playing, as well as analysing the harmonic sequences..

Det här arbetet handlar om ett samarbete mellan upphovsmannen till detta arbete, i sin roll som kördirigent, och tolv kompositörer. Kompositörerna fick en beställning på körverk, med ett par specifikationer, som uruppfördes av en ensemble med tolv sångare. Syftet med arbetet var undersöka hur dirigenten kan samarbeta med kompositörerna till beställningsverken. Arbetet fokuserar på hur dirigenten går till väga för att lära ut nyskriven körmusik till en ensemble och vad denne lär sig under processen. Upphovsmannen undersöker hur man kan gå till väga för att samarbeta med kompositörerna till verken.