Collaborative music making on the Internet is not a new phenomenon, but no applications have yet caught on with the vast number of laptop and bedroom studio musicians active today. This is strange considering the inherent social and interactive nature of music, especially amongst trends like Web 2.0 where collaboration and user-generated data is key. In this paper I study the problems these applications face, and why they do not have a greater appeal to musicians. With the results I develop and evaluate my own framework, known as Crescendo Online: a multi-user sequencing and modular synthesis environment, intended to pave the way for a new type of online music creation platform..

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.

The purpose of this thesis was to study the functions that music have in relation to the formation of identity, and research how this fits into the music subject in the school environment in Sweden. My questions were; (1) what role does music has in the formation of identity? (2) how does gender stereotyped musical identities take form? (3) what is the problems or risks with music education in relation to formation of identity? (4) how does the curriculum for the Swedish school relate to the functions that music have in relation to the formation of identity? I have done an analysis on three writers who focuses on theories about music in relation to the development of identity, to give perspective to the individual?s music reality. The first one is the Swedish musicology professor Börje Stålhammar, the second one is the Norwegian music therapist and professor Even Ruud, and the third one is the Brittish music senior master Nicola Dibben. I have compare their thoughts and found a great unanimity in many aspects.

Female musicians and actors are being disadvanteged in the music industry, because of standards that prevents women from participating on equal terms. Unequal distribution of resources and status depends on power structures which creates an hierarchy. This study is about how an organization, Femtastic, works for equality and diversity in the field of music, how they experience their positions and their possibilities. Also how they relate to the cultural policy objectives. Femtastic is trying to create a structural change in the male-dominated music industry.

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.

Internet and the digital channels for distribution have meant big changes for the musicindustry. The physical record that has been symbolising this market for a long time is slowlybeing replaced by digital based music. The technical progress during the last ten years has ledto a democratization of music production. The amateur musicians of today can produce highquality music on their laptops and later distribute it via free music sites. MySpace andYouTube are two of the biggest sites for this free distribution and is therefore my main choiseof study.The purpose of this essay was to find out how and if these changes have made a difference formusicians without a record deal to reach an audience by themselves.

During the last decade the conditions for the music industry have been changed significantly. With the dropping sales of physical phonograms and the increasing illegal file sharing, the record labels have been forced to adapt and thus seek alternative sources of income next to the traditional sales of phonograms. Our purpose was to investigate how smaller Swedish record labels adapt themselves to the changing environment within the music industry and which new alternative sources of income they can use to finance their music production. To do this we used a deductive approach where we started by researching theories we thought were relevant to the subject, which we then used to get valuable information out of our informants.From our empirical investigations it appears that the independent record labels are rather positive about the future and that they will be able to survive, even though they will have to change their ways of working to a large extent. Our results show that the record labels as we know then will disappear.

Purpose and aimThe purpose of this thesis has been to create a deeper understanding about the impact that the digitalization of the music business in the early 2000s and also the latter change, that in this paper is referred to as the sociodigital change, has had on artist brands. We will also analyze the positive and negative effects that this development may have had on the already existing brand environment and lastly also review the true importance of the professional industry?s competence. We have chosen the following research question in relation to the purpose; In what way has the basic conditions for artist brands within the music industry changed since the digitalization of the music industry in the early 2000s? MethodFor this study we initially took an inductive approach as we formed hypotheses based on experiences and previous knowledge which we then corroborated with theories.

In 1998 years' curriculum for the preschool stands it those children under school age will get possibility that? communicate with the aid of differently expression shapes? and an example that is mentioned in the governing document is song and musical.  The purpose with this study is to examine how the song and the music are used from a language development perspective in three different preschools' activities. In the essay, I review to earlier research around the music?s' and the song's possibilities for the child's linguistic development. In the essay, it is discussed about some important factors that obstruct music situations in the preschool that the curriculum for the preschool (Lpfö98) not specific describes what expression shapes as song and music will contain and that deficiency on musical education at pedagogues.  The method for the study was to collect empirical materials through observations on three different preschools.

Subject of this study is the evolvement of the radical art music scene in Sweden. In this development took the labour movement an active part during the 1960s. The purpose of this study is to examine how the relationship between the radical art music scene and the labour movement was constituted and what this relationship implied for the Swedish radical art music scene during the 1960s.During the 1960s radical music became an influencial part in the Swedish music scene of modern art music. In this development the artists? society Fylkingen had a central position.

 The aim of this essay is to examine if the Swedish Major labels are moving towards making their catalogue available on different platforms rather than their traditional distribution of music. The new technology has really stirred things up for the major labels and file-sharing has been a problem for a long time. The labels have a history of fighting new formats instead of embracing them and listen to what their consumers actually want. We have found that the majors now are in the leading edge of music distribution due to technology and that is a first. We have focused this essay on if the consumption of music has changed the distribution of it or the other way around and found that people have changed their ways of consuming music over the years and the labels have always been forced to adapt.

Title: What shall we play? -A study of the importance of genre spread in music education. The aim of this study is to examine music teachers' and music students' reflections on the importance of genre spread in music education. The study covers music education in municipal primary schools and municipal music schools/schools of arts and music. I have used both quantitative and qualitative methods in my study.

The music distribution in Sweden and the world is rapidly changing. The music industry, however, has been reluctant to change the way they distribute music. The consequence has been that illegal music files have been available for downloading to anyone with an Internet connection. Because of the illegal downloading a new law have been implemented in an attempt to stop this behaviour. Our theory is that in implementing the IPRED-law, the sites that were hosting most of the illegal material will experience a severe decrease in traffic.

The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle.

The purpose of this paper has been to examine the heavy metal band Sabatons use of history and to relate it to societal trends in today?s Sweden. I have examined Sabatons music, album covers and music videos in order to define a certain use of history. To do this I have used a use of history theory and a heavy metal theory. My results showed that some of Sabatons use of history could be defined as commercial and that the societal trends in today`s Sweden have in some cases affected the selection and presentation of events and characters that`s been portrayed by Sabaton.