I denna studie undersöker vi tre musiklärares syn på Interpretation i en pop/rock-orienterad ensemblemiljö. Studien genomfördes med hjälp av tre kvalitativa forskningsintervjuer där informanterna bestod av verksamma ensemblelärare i gymnasieskola samt högskola.Resultatet av studien visar att de intervjuade lärarna är eniga om att Interpretation är viktigt, oavsett vilket instrument lärarna spelar eller vilken genrepraxis de följer. Däremot skiljer sig metoderna åt när lärarna interpreterar beroende på instrument och sammanhang. I resultatet reflekterar de intervjuade lärarna över vad Interpretation innebär och beskriver olika tillvägagångssätt för att implementera detta i undervisningen..

By describing and analyzing a self made composition for the Swedish folk music instrument ?nyckelharpa? with emphasis on playing techique, dissonance treatment and Interpretation questions are reflected upon regarding how dissonances and andvanced harmonical progressions are treated on a limited instrument such as ?nyckelharpa?. By emphasizing the traditional norm connected to the Interpretation and instrumentation of traditional Swedish folk music (a traditon in which the nyckelharpa is included) and comparing the te- chniques connected to it with the recent composed material in a western classical context the possibilities and limitations in composition and Interpretation are further investigated. Thus the musical experience and the documentation of the process of composing a concert for nyckelharpa provides a knowledge base for reflective analysis upon questions regarding Interpretation, composition and dissonance treatment. This thesis also provides a brief summary of traditional playing and bowing technique as well as a short historical description of the Swedish traditional instrument ?nyckelharpa?..

The purpose of this essay is to discuss what a sensual Interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual Interpretation of the Greek-British artist Helen Chadwick?s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An Interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually.

Syftet med denna undersökning var att medelst egen inspelning och analys av tempoaspekter i inspelningar av första satsen ur Beethovens pianosonat nr 31 i Ass-dur, op. 110 bidra till ökad förståelse för agogik i musikalisk Interpretation. För att besvara syftet formulerade jag forskningsfrågorna:1. Hur kan jag som interpret använda mig av andras inspelningar vid utformandet av min Interpretation?2.

This research explains and describes the role music notations may play in an unconventional way. The aim of this research is to show that by balancing composition, Interpretation and improvisation, the performer(s) could produce or open the door to a reservoir of new sounds, which could emerge through a composer?s awareness of the need to balance these elements. That act of balancing depends on the musician?s Interpretation through their interaction with the music notation, with their action process on the instrument and each other.

In this thesis I try to find ways to be more independent and conscious in my Interpretation of the music which I am playing. To be able to be more sure of myself and my own decisions I try to find methods on how to achieve this. The methods includes reading articles about Interpretation, interviewing musicians and interpret and perform music. The pieces I have chosen are a solosuite by Max Reger, a concerto by Georg Philipp Telemann and a clarinet sonata by Johannes Brahms. I made some concerts where I try to achieve my goals.

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.

In this essay I analyse three of my own texts included in an unpublished collection entitled till Narcissus' minne. Genres are discussed and a detailed study of how the writing process has progressed is done. The essay does not follow any specific literary or scholarly method of analysis, but to some extent the sphere of Interpretation is explored. By associative Interpretation the special logic of dreaming, the activity of the unconsciousness and the expansive accessibility of the memories, which characterize the texts, is traced. These structural features open a link to the way of psychoanalytical Interpretation, but the essay does not strive for a complete account.

Vocal technique and Interpretation are the key elements of voice training. Thepurpose of this article is to investigate what vocal technique and Interpretation meanto teachers and students and how they would describe the relationship between thetwo. The questions at issue, intended to be answered in this article, are the following:What is the relationship between vocal technique and Interpretation? How should theteaching be structured for the students to experience progress on the musical plane?What role does the teacher have in the musical development of the student?This is a qualitative survey and the methods of investigation are semi-structuredinterviews and classroom observations. Presented in the article are a number ofresearchers and writers whose thoughts on the subjects have gained great importanceto vocal teachers and students, as well as leading the research on the voice and itsfunctions forward to higher grounds.

Libraries exist around us and for most of us they are a part of our every day life. But how often do we stop and think about their meaning?Libraries in fiction are usually not the center of the narrative, they play a role quietly in the background and offer a backcloth to the story. Yet they are a vital part of the story. Without them a big part of the magic in the stories would be lost.And what is their role in our lives? What do the libraries mean to the books they harbor, the readers who seek them out and society in which they have their axiomatic role?This essay?s focus is my story ?Between the shelves?, which is about the young girl Julia and the mysterious passageway she discovers in her local library.

This essay examines how the meaning of an absurd play may be affected by how the reader understands the text. To address this problem I have turned to Wolfgang Isers theory of reception. Primarily I have taken on that the creation of meaning comes about when the reader fills in blanks in the text. I have also used Martin Esslins work on the theater of the absurd. I have mainly studied his research on Harold Pinter.

This paper examines Hannah Ho?chs photomontage Schnitt mit dem Ku?chenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical Interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated Interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated Interpretation should be understood as a potential Interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface.

Title: Improvisation ? a pedagogical perspective. This investigation studies how church musicians and pianists describe the use of improvisation in their teaching. The research questions focus on the relationship between improvisation and Interpretation, the aim how to use improvisation and how this could be realized. To get the answer of these questions, I have interviewed two organists and two pianists, all excellent in their profession.

Syfte: Syftet med detta arbete har varit att utveckla mig som interpret genom att skaffa mig en bredare kunskap om hur dubbelgrepp och ackord nyttjas inom olika epoker av klassisk konstmusik skriven för viola.Frågeställning: Kan kännedom om dubbelgreppens (inklusive ackordspelets)musikaliska funktion, kompositörernas syfte med dem och de olika epokernas ideal för dubbelgreppsspel, hjälpa mig i mitt eget utförande och Interpretation av dubbelgrepp?Metod: Min metod har varit att först välja ut ett antal dubbelgreppspassager ifrån olika epoker inom klassisk konstmusik och sedan intervjua ett antal olika teoriprofessorer och musiker om hur dessa bör interpreteras. Slutligen har jag övat på passagerna och gjort inspelningar av mina egna Interpretationer av dessa..

Tyngdpunkten ligger på att klargöra Henzes syn på musikalisk Interpretation ur sitt perspektiv som tonsättare och hans syn på konstnärlig frihet för de musiker som framför hans verk. Relationen mellan tonsättare och interpret i processen av tillblivelsen av ett verk studeras också i anknytning till Henzes egna resonemang kring Interpretation och kompositionsprocessen. Uppsatsens huvudfrågor och delmoment kommer fortlöpande att belysas och ställas i relation till konkreta exempel i diskuterade form. Undersökningen är främst baserad på litteraturstudier. Litteraturen behandlar i huvudsak ämnena musikestetik och musikalisk Interpretation, samt gitarren som instrument och dess repertoar från senare hälften av 1900-talet och framåt.