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..

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.

The purpose with this degree thesis was to investigate the preschool teacher´s view onchildrens´s influence in preschool routine situations. The target group for this study ispreschool teacher´s that currently are working with children that are 1 ? 5 years of age. To manage to answer the aim of this study semi-structured interviews were conducted. I have performed interviews with five preschool teacher´s that currently work in a preschool that is situated in a medium sized city, in the county Värmland, Sweden.

The aim of this study is to examine how work at music departments in public libraries has changed with time. To analyze this, the role of music libraries as well as music library users, selection, holdings, acquisition and technological development have been examined. The examined data consists of qualitative interviews with music librarians and library assistants at public libraries in Sweden. To get a time perspective, handbooks and articles about music departments in libraries have also been analyzed.This study emanates from Sanna Talja?s discourse analysis of music libraries in Finland.

Detta arbete besta?r av en underso?kning om hur en musikla?rare och en idrottstra?nare jobbar med deras elever respektive spelare info?r en prestation. Underso?kningen inkluderar ocksa? hur musikla?raren och idrottstra?naren jobbar med efterarbetet av en prestation. Genom kvalitativa intervjuer och observationer har jag underso?kt deras olika metoder.

The purpose of this work is to map what inspiration means to people who work with music, how it feels when you are inspirated compared to how it feels when you`re not. How does inspiration affect us? Are we depending on it? What do you do when you lack inspiration? Is it possible to ?inspire? one self? My method has been to interview eight persons, selected by me, who all work with music. I have used literature, for instance about our intelligence, and also different theories on the subject of inspiration. The results of the interviews show that our experiences of inspiration are individual.

The aim of this thesis was to evaluate the music downloading service Musikwebb regarding its indexing and retrieval effectiveness. This was done by performing various kinds of search in the system. The outcome of these searches were then analysed according to the criteria specificity, precision, recall, exclusivity and authority control. The study showed that Musikwebb had several flaws regarding its retrieval effectiveness. The most prominent cases were the criteria exclusivity and specificity.

Literature and music as an expression of art have some parts in common, others can quite differ. Both are using a language, and both can exist in written representations. You can find such written or printed items in library catalogues. The aim of this two years master's thesis is to examine how cataloguing of printed fiction-literature and printed music looks like, what differences you can find in cataloguing of printed literature and printed music.This study is based on a comparative methodology and two different theories are used. The first describes the common tasks for library catalogues as they are known traditionally and recently (as FRBR-conceptual model), the other is a comparison of the two art-species literature (fiction) and music.This paper's first part is a comparison of how printed literature and printed music are catalogued in the Swedish national catalogue LIBRIS.

The purpose of this Master?s thesis is to study how well the online catalogue of The Music Library of Sweden works when ordinary users are searching for sheet music. The issues studied are: Why do the users fail to find the sheet music they are looking for? Do the users take advantage of the possibilities that the classification codes of the SAB system offer? If not, why?The source material of the study is 144 comments from a user questionnaire about the online catalogue and, in addition, the search log for one day (513 queries). The comments were sorted into seven groups depending on the type of information need, for example searches for certain instrumentation or genres and problems with spelling.

Songs from the Crypt: Mapping the Forces that Hinder the Digital Revolution of Music Distribution This paper seeks an explanation to the low market share growth of the commercial digital music distribution in Sweden. The analysis identifies a spectrum of obstacles that hinder the digital distribution technology from becoming the main form of music distribution in Sweden. These obstacles make the digital music distribution less favourable in comparison with physical distribution from the consumer?s point of view. The authors suggest that in order for the digital distribution of music to become competitive the digital product would either have to be developed further to offer more customer value or the so called a là carte retail model would have to be replaced by a subscription-based distribution model.

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.