Skådespelaryrket kräver mycket av en människa både intellektuellt, färdighetsmässigt och fysiskt. Det förväntas också ofta av en skådespelare att vara musikalisk. Musikalitet kan yttra sig på olika sätt. I skådespelarsammanhang vill jag påstå att musikalitet kan finnas i allt från texthantering till hur man rör sin kropp. Jag är rytmikpedagog, men har också arbetat som skådespelare.

The aim with this master's thesis is to describe the work process with the graduation film Player, by a composers perspective and given conditions. It provides a detailed insight into how the work was done from the script stage to the end result, scene by scene reflecting about both the musical performance and the collaboration between the director and me as a composer. The work was done during the spring term of 2012 at the Royal College of Music in Stockholm and Stockholm Academy of Dramatic Arts..

Can you force a child to sucess, and when do the supportiv corset become a straitjacket?In this essay you can read about several ways to get a child to feel worthy as a person and use its own will in several ways. It's viewed from several different aspects but most of all it's about children who play musical instruments and parents who wants there kids to get sucessful. I have interviewed four musicians and musicteatchers to see how they were raised and how it has affected the way they are teatching there own students today. My little inquiry shows that people have a stong will and that you can come far if you hade supportive people around you..

As a vocalist, Casey Moir wants more than to just express what is written on the page or that which the harmony allows. She wants to discover every aspect of her voice to see how she can express her musicality on a deeper, more personal level. Some of the questions that helped Casey start her journey are: Why is musical expression so important to her? Why improvise freely? What sounds can her voice make? Can she utilise these sounds in her music and how?.

In this paper, we examine the attitudes of 16- to 19-year olds towards stealth viral marketing in the form of videos posted on websites such as Youtube. Apart from their general attitudes towards the phenomenon, we were also concerned with their views on the ethics involved in this marketing method and how this affects their view on the companies behind the advertising. To accomplish this, we administered a survey to a sample chosen by convenience. Using the Persuasion Knowledge Model and prior research on the subject, we then analyzed the gathered data and reached the conclusion that the respondents in our sample were mainly positive towards stealth viral marketing in this particular form, that they generally did not consider it unethical and that even though most considered the companies to be responsible for such videos, teenagers were not likely to take negative actions against them if they found out that a video that they had seen was in fact a stealth viral video..

Tidigare forskning har visat att individer tenderar se sig själva mindre sårbara än genomsnittet, vilket gör att man utsätter sig själv för ett stort risktagande. Syftet med studien var att undersöka om de individer som ser sig mindre sårbara än andra är de som påverkas av reklam och manipulation. I undersökningen deltog 183 studenter, 122 kvinnor och 61 män. Tre olika mätinstrument kombinerades i en enkät. En reklamannons med tillhörande frågor, utarbetad i samarbete med en reklambyrå, ett instrument som mätte en individs Need for Cognition samt ett tredje för att mäta hur sårbar personen såg sig i jämförelse med genomsnittet.

The author is active as a musician in the field of historically informed performance practice (HIP) which emanated from the 20th century early music movement. Studying of historical sources has a central role, but the problem of how interpretation and selection of source material is affected by art and music ideals of our time, is commonly acknowledged. Georg Joseph Vogler shows in a series of articles in "Betrachtungen der Mannheimer Tonschule" (1778-1781) how Stabat Mater by Pergolesi could, and in his opininon, should be improved. The purpose of this thesis is to investigate how this source can be used from the standpoint of a performing musician: How can I use Vogler?s methods in my playing?The introduction problematizes Vogler?s action in relation to his time, and to ours.

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.

Title: An encounter with an unknown piece of music. This essay describes the mechanisms involved in musical interpretation, by studying a score and listening to a recording. I have tried to map processes dealing with listening and score reading through an experiment, in which students from the Malmö Academy of Music were presented with a novel piece of music. I have made some conclusions, for instance it seems as though there is a connection in the interpretation between musical complexity and tempo, and a connection between dynamics and pitch, moreover that the participants in this study seem to be affected by the interpretational practice at the Malmö Academy of Music. The study is qualitative in its design both regarding data collection and interpretation of data.

The aim of this project was for me to write two complete songs and to get to know my creative process better. I wrote two songs, made musical arrangements for them, transcribed the music in Sibelius, rehearsed the material with two musicians and at last recorded it in a studio. Throughout this I kept track of my own creative process. The project resulted in two complete songs with arrangement. I learned that I have some difficulty handling adversities in my songwriting, and that it was not so easy to get to know my own creative process as I thought.

Title: Creating meetings - a study in interactionism and creating music. In this study I had my focus on teenagers in a school class. My aim was to explore how pupils experience the processes of creating music together and how they choose to organize their interactions during these creative processes. As analytical tools I used sociological and sociopedagogical concepts and theories. Interactionism provided models toward individualization as well as socialization, related to learning, knowledge and creativity.

The aim with this master's thesis is to describe the work process with the graduation film Player, by a composers perspective and given conditions. It provides a detailed insight into how the work was done from the script stage to the end result, scene by scene reflecting about both the musical performance and the collaboration between the director and me as a composer. The work was done during the spring term of 2012 at the Royal College of Music in Stockholm and Stockholm Academy of Dramatic Arts..

In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject..

The aim with this master's thesis is to describe the work process with the graduation film Player, by a composers perspective and given conditions. It provides a detailed insight into how the work was done from the script stage to the end result, scene by scene reflecting about both the musical performance and the collaboration between the director and me as a composer. The work was done during the spring term of 2012 at the Royal College of Music in Stockholm and Stockholm Academy of Dramatic Arts..

I den här uppsatsen undersöker jag musikelever på gymnasiets estetiska program i Västerås, och vilken effekt undervisningen har på deras musikpreferenser. Resultaten baseras på två enkäter, en till elever och en till lärare. Undersökningen visar att eleverna till största delen är positiva till den musik de möter i skolan, men bara en mindre del av dem lyssnar på den musiken privat..