The catchphrase this project has been; the boundaries between ornamentation and improvisation are fluid.My aim was to focus on my work process, giving me the space and time so develop my design further regarding shape, color and combination of different styles in patterns.This is an explorative project where patterns were created without a predetermined product of which the patterns would be applied. In a later stage the character of the pattern determined which product that would be most suitable for application.It resulted in a collection of patterns for wallpaper and clothing. The motives are foxes, geometrical shapes and squares from a notebook. These motives form an ornamental expression in the patterns with the purpose of embellishment and therefore increase the emotional value of the product..

Studien belyser vilka motivationsfaktorer som finns till sångutveckling och förhållande till improvisation, som begrepp och verktyg. Jag har genomfört kvalitativa intervjuer och prak- tiskt undersökande med elever och lärare. Jag själv har genomfört två improvisationsövningar under fyra tillfällen med tillhörande reflektion med eleven. Intervjustudien kopplas till styr- dokument och lärarens uppdrag i skolan.Resultatet av min studie med eleverna visar att det finns en problematik i elevers osäkerhet och rädsla över att göra fel. Begreppen som låta fult och fel blir ett retoriskt problem då det ofta inte är klart för eleven vad begreppet innebär och då ett hinder i utvecklingen.

The purpose of this study was to investigate whether students? previous musical knowledge affected the rating achieved in the subject of music. My empirical material consists of interviews with three professional music teachers in local secondary schools. Two of the three teachers felt that they were not able to devote time for the students who had previous musical knowledge. Students from all schools said that teachers addressed more to help those students who found it more difficult to learn.

Min musikaliska bana har sin utgångspunkt i kyrkan. Det var här jag fick min första scenerfarenhet och musikaliska influenser. I och med min utbildning i jazz och improvisation har jag saknat att inte kunna spela min nyupptäckta musik i det sammanhang som jag kommer ifrån. Arbetet mynnade ut i en gudstjänst baserad på improvisationsmusik som hölls i Equmeniakyrkan Lerkil. Istället för att använda musiken till gemensam sång fick den rollen av att vara lots genom en nattvardsgudstjänst, i form av en ovanlig duo bestående av kontrabas och trummor.

This essay examines the persuasive side of music and its affect on consumer behavior when utilized in television commercials. It includes an interpretation of twelve study cases, in which three groups of four people is presented the same commercial, with different music being the only item dividing the groups. This is followed by a few questions about the product. The aim is then to see how the answers differ from one group to another, and how they match the music?s presupposed connotations suggested in the theory part of the essay, thus, observing the communicative, and eventually persuasive, power of music in television commercials.

  AbstractHåkan Salomonsson: In i nuet via Darmstadt ? Fylkingen, Stockhausen och 50-talet. Uppsala Universitet: Institutionen för musikvetenskap, C-uppsats 2006.During the 1950s, Swedens musical avantgarde was mainly lead by the concert organisation Fylkingen. Some of the leading members used to belong to the Mondaygroup in the 1940s and brought a will to update and modernise Swedish music with them into Fylkingen. This resulted in a radical change in the concert programs of Fylkingen and a development that lead to the introduction of the music of Karlheinz Stockhausen in Sweden.

This is the project of making a stage design for Batboy ? the musical, a cooporation with a network of musical artists. The aim of the project was to create a space on stage that strengthens and expands the experience of the story told, and find design solutions that give an extra dimension to the story. The prerequisites for my work were partly defined from the produc¬tion, as were my limitations. In the cast of ten artists some were to play more than one role, often one of the opposite sex.

Mitt syfte med arbetet var att undersöka vad som påverkar hur barn väljer böcker för fri läsning i skolan. Dessutom ville jag undersöka om det är skillnad i barnens val när böckerna väljs ur en boklåda som är komponerad av en bibliotekarie jämfört med när de väljer direkt ur hyllan på skolbiblioteket. Jag intervjuade 21 barn i årskurs 1 och 22 elever i årskurs 2. Intervjun var kort och innehöll en öppen fråga. Mitt resultat visade att eleverna i stor utsträckning valde samma böcker som sina kamrater, men ändå upplevde att de gjorde det av eget intresse.

This survey tries to find out if and how we can be influenced of extreme low and strong frequencies in the area 0-40 Hz. A group of 52 teachers/musicstudents and non musicstudents was trying to assess what they thought, experiences and tried to describe why they thought as they did, when they listen on three different versions of same musical piece. Without low frequent bass, original and strengthened bass, randomly mixed. Several different musical pieces was used in same survey. The work also makes a commitment to theories about the people's hearing and the will of ?selfmotion?.

C3LOOPS is an application for DJs and VJs based on surface interaction. A system is said to be based on surface interaction if it presents content on a two dimensional, endless surface that a user navigates through zoom, pan and incremental text filtering where processing is tightly coupled with the content without breaking the workflow. C3LOOPS is designed to encourage improvisation and collaboration. During improvisation changes occur rapidly. Allowing navigation through time as well as the two spatial dimensions of an interaction surface the possibility of unlimited undo operations opens up.

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 intention of my studies is to explore the field of musical learning from the pupil's point of view. This master thesis is the second of two Grounded Theory studies based on interviews.In study no1 Learning of music from the pupils' point of view (Pemsel, 2009) I asked ten pupils, soon to be graduates, to express their own experience of musical learning. The selection of informants was made after reading a questionnaire an- swered by a group of 60 pupils attending different programs at a typical Swedish upper secondary school. The ten selected informants had all chosen several music courses their latest years in school. The questionnaire had two purposes; one was to construct musical profiles of the pupils, the other was to select informants for the interviews.

This is a study of how young flutists experience playing their instrument and having music lessons, especially what they think is most enjoyable. 27 flutists between the ages of 8 and 19 years old, from three different municipal schools of music in central Sweden, were interviewed during spring 2000.Some of the conclusions are that enjoyment coincides with meaningful when you are in a musical context, and when your progress is confirmed by the teacher.The study is to be seen as some examples of different things that young flutists find enjoyable. It is not an enumeration of recommended items in teaching, rather some thoughts about the positive experiences of playing the flute, and how teachers may relate to that..

This Master's thesis concerns the classification of compact discs according to the Swedish classification system, SAB. The purpose of this thesis is to critically study and discuss category Y of the SAB-system and its application in Swedish public libraries. The classification system has undergone great changes from the first edition in 1921 until today. In 1921 there were no musical recordings in Swedish libraries, today they are responsible for a large part of the loans. We discuss how the system's category Y has corresponded with the musical development.

A film can attract all kinds of emotions and moods of the audience through its audiovisual communications and cinematic expression, in which music plays a significant role in both understanding and interpretation of film content.It is interesting to explore the musical significance and the emotional aspect of the film out of a media and communications perspective and visual communications perspective because it?s a subject that belongs to the communications of scientific discipline as film is a media text which is working both as communicative and as audio-visual medium with its expressive aspects.The purpose of this bachelor?s paper is to increase and deepen the understanding of music's function and significant role in context with its reinforcing sense of visual expression in film. More specifically, it aims to explore the musical value of the expressive aspect of the media text in form of film musical Les Misérables (2012), which has been transmedialised from the novel of the same name, referring to the sound, music and song in relation to the film's visual expression.The research questions are at the core of the essay study: "how is music used to reinforce the cinematic visual expression?" and "how can music signify the narrative and highlight the emotional aspect of the film?" The theoretical framework is based on some of the key scholars assumptions such as Michel Chion (1994) and Claudia Gorbman (1987), who share the same theoretical views that the soundtrack seems powerful when it expresses its participation in a scene?s emotional moods as the music follows the scene?s rhythm, the image?s flow and contributes emotional and musical codes of emotions and expressions. According to Chion sound and image interact together to tell a story where sound enrich the image with expressive and informative values.