ABSTRACTThere is a limited possibility for many of the Concert-goers to go behind the stage and follow the work process with putting together a program for the Concert season in a Concert institution. The purpose of this study is to describe a Concert institution's work with developing a Concert program for each season. This is done through a presentation of the factors affecting the work. This is a descriptive essay and a case study of the Malmö Symphony Orchestra. Interviews have been made with people directly involved in the work or affected by the outcome of the work process.

I have researched different methods for practicing with the purpose of learning some useful ways to handle my performance anxiety issues, to better understand the phenomenon, and to be able to perform better under pressure. I chose or created nine methods and used each during a decided period of time, each period ending with a performance. Afterwards I analyzed the methods with the help of audio recordings and written Concert evaluations to see if it was possible to alter my practicing techniques to be more directly focused on preparing for the Concert situation..

This is a study in my preparations for my final Concert at the Academy of Music and Drama- ?????????? University. My aim is to create a plan and a schedule for my practising methods and other preparations so I will be able to perform at the top of my ability.I have studied and chosen a collection of methods that will help me prepare for my Concert and at the same time develop my oboe playing. As a result, I have found an effective way for me to prepare technically on my instrument. I have also learnt and developed methods in how to focus and mentally prepare for a performance..

Our purpose with this research is to highlight that there is a scope for increased value creation in the experience room during Concerts, and how value-enhancing strategies can be a competitive advantage for different venues. In our investigation of this we have worded the following research question: How is the perceived customer value affected during a Concert in the experience room and its physical environment? With the background in this question we have identified three key concepts that we believe are the influence of the total Concert experience which are; sensory experiences, interaction and identity. From these concepts we have drafted a number of propositions to test the reality by our empirical data collection. .

Our purpose with this research is to highlight that there is a scope for increased value creation in the experience room during Concerts, and how value-enhancing strategies can be a competitive advantage for different venues. In our investigation of this we have worded the following research question: How is the perceived customer value affected during a Concert in the experience room and its physical environment? With the background in this question we have identified three key concepts that we believe are the influence of the total Concert experience which are; sensory experiences, interaction and identity. From these concepts we have drafted a number of propositions to test the reality by our empirical data collection. .

The aim of this work is to give an example of how archaeoacoustics can broaden our understanding of archaeological remains and to further contribute to the almost non-existing research of ringing stones. With a theoretical discussion about sound from three different perspectives and by means of using different kinds of analysis, this essay will show that there are unknown relations between the three known ölandic ringing stones and the cultural landscape of Öland. Possible patterns in the placement of the stones and the possibility of the sound in this soundscape will be investigated. The essay will also suggest a resonant stone typology and discuss the necessity of one. Finally, the intention is also to shed new light upon the discussion on what the uses of the ringing stones might have been..

Our purpose with this research is to highlight that there is a scope for increased value creation in the experience room during Concerts, and how value-enhancing strategies can be a competitive advantage for different venues. In our investigation of this we have worded the following research question: How is the perceived customer value affected during a Concert in the experience room and its physical environment? With the background in this question we have identified three key concepts that we believe are the influence of the total Concert experience which are; sensory experiences, interaction and identity. From these concepts we have drafted a number of propositions to test the reality by our empirical data collection. .

My intention with this study is to evaluate, as a singer and a voice teacher, a number of routines for daily vocal practice through practical application. Seven different routines are presented, five of them originating from interviews with Swedish vocal teachers and singers and two chosen from literature. These routines are then tried out and evaluated. Using the results of these evaluations as a basis, I make an attempt at formulating my own personal practice routine, optimal for my own needs. I will also try to address motivational issues related to practice with hints acquired through the interviews.

Den 31 mars 2006 genomförde jag min examenskonsert ackompanjerad av Spårvägen Malmö. Efteråt började jag fundera på om orkestern fick ut lika mycket av själva konserten och förarbetet som jag. För att ta reda på detta genomförde jag en enkätundersökning med orkestern samt intervjuer med utvalda musikanter. Arbetet tar upp relationen mellan amatörer och professionella och hur man väljer repertoar i en amatörorkester. I resultatkapitlet redovisar jag enkäten och intervjuerna.

The purpose of our study is to provide a deeper understanding of the organization at alive Concert. We want to identify and bring together different agents implicit knowledge and make it explicit. We contribute to the theoretical discussion by examining how liveConcerts are organized and why, what goals there are to participate in the organizationof the Concerts as well as how the organization manage and control towards these goals.Our study is based on 15 interviews with different agents involved in the creation of liveConcerts. The study has shown that the organization of live Concerts is similar to atemporary, imaginary organization because there is a temporary and implicit structure.Relationships are created by the agents? cooperation and customer relations with thesubcontractors.

  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.

The aim of this master?s thesis is to explore Concert institutions? informative texts prior to upcoming Concerts ? texts in promotional materials and descriptive texts in programme papers. The thesis is carried out from a critical discourse analytical perspective. The discourse analysis is focusing on finding the texts? messages and it asks the question: To whom are these texts addressed? Theoretical support is mainly taken from Foucault?s theory about the relation between power and knowledge.

Being an immigrant in a Swedish school today might not be easy. It´s quite difficult to be accepted and becoming a part of an already functioning group. Difficulties with the Swedish language doesn´t make it easier. Besides that the requisites of the school curriculum program are very demanding and Swedish students are often in advantage already being a part of the system for many years.By following five immigrant boys in grade 6 during ten ensemble lessons, one Concert and individual interviews with the boys as well as with their teacher, this study aims to investigate how ensemble playing can function as a social tool and promote interaction as well as integration.The results in this study show that ensemble playing in fact can function as a social tool. The boys developed abilities in playing an instrument as well as cooperating and analyzing by using the social tool of ensemble playing.The results even show that ensemble playing can promote interaction as well as integration.Above everything was the Concert where the boys acted in front of their classmates and were treated with great respect and acceptance..

Koloni is a Concert promoter that put up shows in lots of different locationswith a wide variety of music styles and artistic expressions. In this work I havecollected material from Koloni?s nine years of existence to form a volume. Thevolume tells the story of Koloni?s work, but also shed some light and understandingon the alternative cultural scene of today.

In May 2010 the plans for Malmö?s new Concert Hall, Conference Centre and Hotel were announced publically. The purpose of this thesis was to present strategy for communication in order to gain approval for the new Concert and conference center from the inhabitants inMalmö and to incorporate the use of it in their everyday life.Material from the receiver?s as well as the sender?s perspective has been collected from qualitative interviews. Through group interviews we have investigated the general consensus of the inhabitants of Malmö regarding the investment, placing, offered events, expectations as well as how they collected information.