Scatsång och röstimprovisation är speciella kännetecken som skiljer jazzsång från andra sångstilar. Men det betyder inte att alla jazzsångare gillar att sjunga scatsång eller göra ordlösa improvisationer med sin röst. Vilka tankar finns hos jazzsångare om scatsång och röstimprovisation? Det är en fråga som har inspirerat mig till att göra denna studie. Syftet med denna studie är alltså att undersöka hur scatsången och röstimprovisation uppfattas av erfarna jazzsångare idag.

The study deals with three questions concerning attitudes to singing: When does the joy of singing with girls and boys change to a feeling of ?I can not sing?? What is it that affects them? Are there any differences between girls and boys attitudes to singing?A questionnaire with 12 questions about singing was distributed to 5 girls and 5 boys in (Swedish) grade 1, 4 and 8. It turned out that the girls in the study ?play with singing? together or by themselves, while the boys are satisfied singing in school on music lessons. Because of this, the singing interest for boys gets lower and lower between 10 and 14 years.

Since my experience is that teachers in singing hardly ever talk about when to sing a tone, I have chosen to examine this fact through interviews and earlier research in this matter. The interviewed singing teachers belong to different genres (classical music, pop/rock, jazz and folk music). I asked them to share their thoughts about the word timing, when it comes to music. I also wanted to know if they have any methods when it comes to teaching students to improve their timing. Further on, I have been discussing the results and the literature in order to make clear in what way singing teachers give priority to when a tone is being sung.

People have different hobbies. The people we are going to meet here share the same interest - choir singing. Singing together in different choirs is their hobby (leisure time interest).What brings them together is the singing, getting an opportunity to sing together with people they otherwise would not meet. In this essay you will learn some of the reasons behind the fact that choir singing is a big movement in Sweden (reasons behind choir singing having a great number of practitioners). You will get a direct link to the informants, without having to read answers that have been tampered with.

I wrote this thesis for myself and someone who would like to learn improvised music not from Jazz but Bach. I analyzed one composition by Bach, then I showed one example of using his idea to a Jazz standard tune. It was challenging for me to understand and analyze his composition as a Jazz improviser. To be honest I don't like to learn the music language from Bebop music but I like to play Jazz standard music. If someone would like to be good at playing jazz music, I think that it is important to know the music language in jazz.

Title: How can everybody learn to sing? A study about methods for meeting students with poor singing abilityI have based my work upon the question if everyone can learn how to sing. This study investigates the physical and psychological impacts that singing may have upon us and examines methods that can be used intuition. Concepts such as tone-deaf, amusia, poor pitch singing and monotones are discussed, and the expression ?sångsvag? ?singing weakness?) is put forward.

Title: Sing in Swedish! The purpose of this study is to find out how songs and singing could complement Swedish second language education. The method I have used to collect information is qualitative interviews with four persons with different professions: a teacher, a choirleader, a singing teacher and a medical doctor and a laryngologist. The study begins with a few thoughts about my interest in the subject, followed by a short overview of other studies and literature that has been published on the subject. The persons I have interviewed has experiences of either singing, use of voice or teaching of the Swedish language. The results of the interviews have been analysed and compared with the literature.

Rock singing - five vocal teachers´ experience of the female voice.The purpose of this study is to find out what different vocal teachers have to say about rock singing and the female singing voice. The method I have used to gather information is a phenomenographically inspired qualitative interview. The study begins with a few thoughts about my interest in rock singing, followed by a short overview about other research and literature that has been published on the subject. I have interviewed five vocal teachers in this study. All of them with many years experience of singing, both singing themselves and teaching professionally.

In this thesis you will meet people that are members of a ?health-choir?. This people are singing together once a week and the purpose is to get a better health. You will also see if choir-singing can be seen as A rites of Passage. You will get a direct link to the informants.

I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist..

There are different ways of developing a second language. The purpose of this qualitative study is to investigate whether and possibly how music, focused on singing, can improve the development of Swedish as a second language. Through interviews with three vocal teachers, from three different schools in Sweden, and observations of one of the vocal teachers, information about how they work and think about the subject has been collected. The vocal teachers teach groups of second language learners by singing songs made especially for second language learning. The vocal teachers consider singing beneficial in the development of the pronunciation and improvement of the prosody, which affects the students? capacity to sound like a native Swedish speaker.

Title: Alexander Technique - Different thoughts on the Alexander Technique and its effect on the singing voice. Does singing lessons cause tension in the student? What should you as a teacher consider to avoid situations that cause tension? This examination is based on interviews. The persons who have been interviewed are singing students, singing teachers and teachers in the Alexander Technique. The literature and the interviews describe the Alexander Technique as a method that, with support of a teacher of the Alexander Technique, helps you to recreate the balance between the cranium, neck and spine.

There are different ways of developing a second language. The purpose of this qualitative study is to investigate whether and possibly how music, focused on singing, can improve the development of Swedish as a second language. Through interviews with three vocal teachers, from three different schools in Sweden, and observations of one of the vocal teachers, information about how they work and think about the subject has been collected. The vocal teachers teach groups of second language learners by singing songs made especially for second language learning. The vocal teachers consider singing beneficial in the development of the pronunciation and improvement of the prosody, which affects the students? capacity to sound like a native Swedish speaker.

Individual lessons in singing and different instruments are a big part of music education. The teacher and the pupil are meeting each other face-to-face in this kind of lessons. The interaction between these two individuals, in singing lessons, is the main subject of this thesis. The identity and acting of the singing teacher has a central part and advises are given for successful teaching.The study is based on literature on the subject and interviews with teachers and pupils..

Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus..