Detta arbete består av en undersökning om några professionella musikers (violinister) syn på förberedelser inför en provspelning. Detta inkluderar tankar och strategier de använt för att förbereda sig på bästa sätt för att möta de utmaningar musiker ställs inför vid en provspelning, samt vilka råd de anser viktiga att förmedla till andra om innehållet i dessa förberedelser. Undersökningen gjordes genom kvalitativa intervjuer med fyra musiker ur Göteborgs Symfoniker.Följande viktiga resultat framkom i undersökningen. Ingen av informanterna hade fått någon utbildning i hur de kunde förbereda sig för en provspelning men samtliga hade värdefulla erfarenheter och råd om hur goda förberedelser bör göras. Musikernas råd och strategier kan hänföras till en eller flera av följande fyra kategorier; färdigheten på instrumentet, färdigheten att framträda, träning inför den specifika situationen samt mental inställning.

AbstractJan Johansson: Georg Stubendorff, organist i S:t Jakob ? En musiker i stormaktstidens Stockholm och hans concerto "O Jesu dulcissime", [Georg Stubendorff, Organ Player in S:t Jacob's Church ? A Musician in Seventeenth Century Stockholm and his Concerto O Jesu dulcissime], Uppsala universitet, Institutionen för musikvetenskap, uppsats för 60 p, 2006.Georg Stubendorff, organ player in S:t Jakob's church in Stockholm 1663-1672, was one of the very competent foreign musicians that came to work in Sweden in the 17th century. The purpose of this essay is to contribute to the knowledge about him and about the conditions in general for church musicians in Stockholm during that era, and to present an edition of his Concerto a 3. It is shown that Stubendorff may have come to Stockholm from Livland, rather than Germany as earlier accepted. The Concerto a 3 is the only composition by Stubendorff that has survived (now in the Düben collection at Uppsala university library).

This thesis explores the opinion of different participants in the music business regarding music being made available at the public libraries. The aim of the thesis is to answer the following questions; which are the most important issues concerning the distribution of music? How do the informants perceive the public libraries mission and activity in regard to make recorded music available? Which are the benefits/disadvantages with music being made available at public libraries? Seven qualitative, semi-structured interviews were conducted with representatives from the following organisations; SKAP (The Swedish Society of Popular Music Composers), FST (Society of Swedish Composers), SAMI (Swedish Artists and Musicians Interest Organisation) SMF (The Swedish Society of Musicians), SOM (Swedish Independent Musicproducers), IFPI (International Federation of the Phonographic Industry) and EMI Music Sweden. A study of literature and articles generated nine themes, which constitutes the frame of reference for the thesis. The result shows that several of the informants have not reflected upon the public library as an important actor when it comes to the distribution of music.

The purpose of this study is to give an insight in how music press is presented gender wise. The focus area lies in rock music and the study is made on British music magazine MOJO in the year of 2010. The study contains quantitative analyses showing how much room men are given compared to women. The study is also supplemented with image analyses of four covers spread out over the year. The main question is formulated as in, how much room do women get in music magazine MOJO 2010 and what output does this have on rock music?s gender characteristics? The main results show, amongst other things that 79% of all the articles are written with focus on one or more male musicians.

The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through..

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..

Studiens syfte är att utforska en musikers kroppsspråk vid instuderingen av en orkesterstämma. Detta har observerats under instuderingen av förstaflöjtstämman i fjärde satsen av Brahms andra symfoni. Studien har sin utgångspunkt i det designteoretiska perspektivet och har genomförts med hjälp av videoobservationer under repetitionsperioden av verket. Jag har även fört loggbok under processen av självobservationen. Resultatet av studien visar att de kroppsliga resurserna kan hjälpa, men också stjälpa, den musikaliska processen och dess uttryck.

In this essay, I want to achieve an accessible and applicable entrance to Alexander Technique as a method for learning to use the body in such a way as to allow emotional expression in music. It is necessary to see the real need of Alexander Technique for the active musician, and therefore important components of music-making will be presented. These components are presented from an Alexander-perspective in order to produce a clear picture of the method of application.The prerequisite for emotional expression in music is musicians and music listeners with the ability to generate, and respond after emotional impressions. Alexander Technique provides an approach to make it easier for musicians, especially guitarists, to express emotions in a performance situation.After years of practice and obtaining musical knowledge and practical skills at the instrument, it is common that muscle tension and ingrained patterns contribute to limited expression. Muscle tensions arising from pressured situations such as auditions, competitions and concerts.

Introduction: The number of hearing impairments in Sweden is increasing. The largest increase is seen in ages 25-44. There are reasons to believe that these impairments are noise induced. Leisure time noise is not controlled in the same manner that industrial noise is. An ongoing conflict between city council officials and rock club owners, musicians and music event organizers about sound levels at smaller live music clubs exceeding the national sound level restrictions created the need for an acoustic intervention project.

This project concentrates on musicians who work in a professional music studio.The task of this project was to design a new headphone system called Foldback system.The advantage of this system is that all involved in a music project could influence their ownlistening during the project. With a couple of adjustments should each and everyone get theirown individual listening from their headphone station.This report shows different methods, theories and results that came along in development ofFoldback system. The project has resulted in a finished product that will be in use atStudiomega..

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.

Does playing have to hurt? - A quantitative study of ergonomics and double bass playing. This is a paper about ergonomics and double bass playing. I have studied the prevalence of playing-related pain in professional double bass players, teachers and students. This study is based on a questionnaire with 11 questions about double bass playing and pain.

This thesis is about the interaction between composition, notation and interpretation and what occurs between the fields with an extended notation.The purpose of my thesis is to examine the possibilities tothoroughly describe and map the sounding samples through composition prototypes.The thesis has a qualitative approach, and the empirical material consists of different documents about notation and from interviews with musicians and students about the instruments used in the thesis.It also consists of 17 compositions recorded at Örebro University School of Music as an appendix.The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing..

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.

This thesis is about the interaction between composition, notation and interpretation and what occurs between the fields with an extended notation.The purpose of my thesis is to examine the possibilities tothoroughly describe and map the sounding samples through composition prototypes.The thesis has a qualitative approach, and the empirical material consists of different documents about notation and from interviews with musicians and students about the instruments used in the thesis.It also consists of 17 compositions recorded at Örebro University School of Music as an appendix.The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing..