The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved.

This paper examines the impact of the congruence between the background music and the brand image on the customer behaviour in retail store. The essay's hypotheses are built after the famous S-O-R-model that unveils if congruence background music affects the customers' emotions, brand image and response. The aim of the study is mainly to answer if the congruent background music stimuli in the retail store environment will affect the customer's emotions and if it will increase spent time and money. The congruent background music has been selected through two pre-studies based on consumers' brand image. A quantitative study has been conducted where triangulation was applied in a real store environment, where in total 201 surveys was collected for the main study.

Major changes have occurred in the music industry the last twenty years which can betraced to various reasons like technological and economical problems. Meanwhile, theSwedish songwriters have had incredible success on the international music scene when itcome sto songs with commercial impact. Their success has been very present in the lastfew years and during the writing of this essay, we see no evidence that they shoulddecrease.The purpose of this paper is to analyze and clarify the factors behind the internationalsuccess of Swedish-produced music has had in recent years. We will also show theimportance of the success that characterized the 90?s and how it affects Swedishsongwriters success today. .

An industry in distress was the breeding ground for a noted pricing strategy, labeled name-your-price. The industry was the music industry and the pricing strategy bears reminiscence of how medieval buskers earned their living during the dark ages; by letting the customers decide how much the good was worth, embodied by a thrown coin into a hat or similar collector. Translated into the contemporary corporate environment of today, where technical innovations provides access to the intellectual property for free, a few mighty economic actors have once again turned to the strategy were it all started; letting the customer set the price. The hat has been replaced by a box for your credit card number and the Live music by a MP3 file, but the similarity is striking. The business model have been applied in other industries as well with various levels of success, thus the purpose of this thesis is to set up a framework for where the name-your-price strategy is applicable.

The aim of this study is to examine the significance of having a music department at the public library in Enköping, and how the organization of the phonograms is handled. The different areas examined are the reason of the reintroduction of a music department, its budget, its users, the work with selection, the marketing, statistical data concerning loans, the work with classification, indexing, and organization of the phonograms and the future of the music department. The empirical material consists of qualitative interviews with staff connected to the music department at the public library in Enköping. For the theoretical frame, Sanna Taljas discourse analysis of music libraries in Finland is used. Talja presents three discourses which all show different views on what kind of material a music library should contain.

This study has the purpose of looking at the current and future position of record labels from a context involving the technological developments, while the opportunities for the artists are changing. As the actors inside them music industry find themselves in an ever changing climate where traditional supply chains are threatened by new technology, the record labels need to change the way they work in order to maintain their existence in the music industry. The study has been conducted by interviewing a number of people involved in the music industry, by using a qualitative method approach. The conclusion of the study shows that the traditional way of doing business by treating music as a product that makes revenue is gone. Instead the labels have to take on new roles formerly run by third parties in order to survive and be profitable, especially since artists can now in control of activities that used to be controlled by the record label..

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.

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.

Playing chamber music is not only about music - there are social and practical things to deal with too. For example things like how to decide practising times and how to share the responsibility of the practical things like finding score for the music and booking rooms for the rehearsals. And also how to choose a way to interpret a piece when members of the ensemble are having several different opinions about it, what kind of roles people in the ensemble take and how these roles work with each other. This is an essay about what I have learned about these things on the different lessons and lectures, from all conversations with my fellow students and teachers and from my own experience as a member of different ensembles during my studies in the University of Gothenburg..

ABSTRACT Bjelkenbrant, Pernilla, 2007: Musik och kommunikation ? en kursutvärdering (Music and communication ? a course evaluation) The purpose of this study is to do a quality assurance of the course ?Music and communication? (MUPR1205) as it was implemented in a class of music students at the program of Arts and Culture at Törnströmska upper secondary school in Karlskrona during 2006/2007. The overall question is to what extent the shaping of the course involves the attainment of the values and goals formulated in the national school documents. The study includes an interpretation of course goals related to overall goals, and a suggestion of how theories of the relationship music ? society can be applied to those goals to make a successful course structure.

The objective of this graduate work is to gain a better understanding in how pre-school educators are able to work with music in their pre-school activity to promote child development. We also want to enlighten possible factors for the development of children based on music and to form our own ideas of whether teachers choose to apply music in their didactic practice or not.The point of this essay has been to attempt answering on what importance music makes for children's development and learning in pre-school, and how teachers could work with music in pre-school in order to promote children?s development. Our data consists of six interviews and two observations realized at a pre-school in Södertälje.We took heed from the theories laid out by Lev Vygotsky's which describe four different levels of development that includes educational development in social interaction between teacher and child. Our choice of this theory is inspired by our seeking deeper understanding of Vygotsky's theory´s application to the aesthetic approach in the interaction in meaning making and learning.The result of our study confirms previous theory and research in that music as a form of expression has a major impact on children's development.

The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues:1. What significance does movement have for teachers on the Arts with Music programme?2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music?3.

This study has the purpose of looking at the current and future position of record labels from a context involving the technological developments, while the opportunities for the artists are changing. As the actors inside them music industry find themselves in an ever changing climate where traditional supply chains are threatened by new technology, the record labels need to change the way they work in order to maintain their existence in the music industry. The study has been conducted by interviewing a number of people involved in the music industry, by using a qualitative method approach. The conclusion of the study shows that the traditional way of doing business by treating music as a product that makes revenue is gone. Instead the labels have to take on new roles formerly run by third parties in order to survive and be profitable, especially since artists can now in control of activities that used to be controlled by the record label..

I denna uppsats undersöker jag hur musikproducenter ser på sitt samarbete med musiker/artister under en musikproduktion. Metoden för undersökningen är en kvalitativ intervjustudie där tre etablerade svenska musikproducenter intervjuas. Resultaten visar att musikproducenterna lägger stor vikt vid sitt samarbete med artister. Några utav slutsatserna är att musikproducentyrket idag i Sverige handlar mycket om att kunna fatta beslut och agera som en musikalisk vägledare.A recording session - A study about music producers' way to look at their cooperation with artists during recording sessions. In this paper I will investigate how music producers look at their work with musicians/artists during a recording session.

e-lärande handlar om hur man ska ha tillgång till lärandeinformation vart man än är, oberoende enhet så länge internetuppkoppling finns. Adaptivt test är ett test som kontrollerar användarens kunskaper för att kunna anpassa t.ex. läroinnehållet efter användarens kunskaper. Live-programmering är då användaren kodar i ett program som ger direkt feedback på vad koden gör.Problemet består utav att utforma en algoritm och en datastruktur som kan utnyttja den data som erhålls från en live-programmerings-miljö för att kunna genomföra ett adaptivt test. Undersökningen kommer att ske i en webbläsare med hjälp av live-programmering.Implementationen av arbetet sköts smidigt genom att programmera en hemsida där användaren får testa de olika algoritmerna.