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).

Since none of W.A Mozart's own cadenzas for his Violin Concerto no. 4 in D major have been preserved, and there is only one existing standard cadenza by Joseph Joachim, I have chosen to write my own cadenza, but in the end I decided to write three cadenzas. As a background to my thesis I analyzed and studied the different motives in the first movement, as well as four cadenzas from different eras. I made a comparison of these four cadenzas, looking at how the composers have used the different themes and motives from the concerto. I have also explained the meaning and purpose of the term cadenza.

I have analysed the use of portamenti by violinists Janine Jansen, Itzhak Perlman, Jascha Heifetz and Nathan Milstein in the first 8 bars and the two parallel phrases of the Max Bruch Violin Concerto No. 1 in G minor. I have copied their portamenti and recorded myself performing theese phrases in style of each violinist. By doing this I have learnt new ways to use shifting on the violin for expressive purposes and realized how much there is to learn by imitating your predecessor..

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.

Syftet med studien är att utforska hur några utvalda tillvägagångssätt för lärande, förmedlade av ledande slagverkare och slagverkslärare, används av och fungerar för en lärarstudents instudering av ett musikverk. Dessa tre tillvägagångssätt användes för att studera in Concerto for marimba and strings av Emanuel Sejourné.  Ljudinspelningar och loggbok låg till grund för analysen om vad som fungerade bra för mig i min egen övning och hur jag upplevde de olika metoderna under pågående övning. I resultatet framkommer att framförallt trivselfaktorn är en bidragande orsak till ett lyckat övande. Andra viktiga faktorer som redovisas är vikten av att ha kontroll på musiken innan jag som musikutövare börjar öva samt vikten av att öva som en konsert i förebyggande syfte. Avslutningsvis diskuteras arbetets resultat i relation till den presenterade litteraturen och tidigare forskningen inom området..