Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk music Festival.This thesis describes how Folk music festivals have been escalating during the past few and how they have influenced Swedish Folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play Folk music.

This essay is about two Swedish Folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish Folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish Folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as Folk musicians.

This essay is about two Swedish Folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish Folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish Folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as Folk musicians.

Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk music Festival.This thesis describes how Folk music festivals have been escalating during the past few and how they have influenced Swedish Folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play Folk music.

Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk music Festival.This thesis describes how Folk music festivals have been escalating during the past few and how they have influenced Swedish Folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play Folk music.

This essay is about two Swedish Folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish Folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish Folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as Folk musicians.

In this work I have examined how two violin students, who are used to the classical music tradition, think when they learn to play Swedish Folk music, with focus on rhythm and beating the time with their feet. One of the students is studying on her first year to be a classical violin teacher and the other student is studying on her third year to be a classical musician, both are studying at Malmö Academy of Music. I had three lessons, one hour each, with these two students where I taught them some basics in how to play Swedish Folk music. After the last lesson I interviewed the two students. I have done interviews with two teachers at Malmö Academy of Music; Wieslawa Szymczynska and Mats Edén.

This study examines the cultural factors which necessitated the establishment of The Music Archives of Småland in 1991 in the city of Växjö. I wanted to know the importance of the local music tradition and the role of those people who worked to create an institution such as this. In order to do this I interviewed the chief collector of early Folk music, Magnus Gustafsson, and made use of literary sources to devise questions and evaluate the results of the exercise. In this study I have made use of a model of a musical culture in a society, created by Lundberg and Ternhag, based on the theory of cultural fields by Pierre Bourdieu. According to this model, the stature of a musical culture gives different forms of musical expression certain roles, but these roles can be remodelled, reflecting perhaps political or ideological influence.

The aim of this paper is to illuminate and discuss the political and ideological aspects of Early Medieval Nordic music. Due to shortage of sources, this issue has been overlooked until now. Did Early Medieval Nordic music meet the requirements for political and ideological use? In what ways could music potentially be used politically and ideologically? Was music used as a political and ideological tool? This is examined by a contextual analysis combining music history and historical archaeology. The survey consists of a background account, focusing on the potential of music and some requests for political use, and three case studies, where musical reflections of societal tensions is investigated in Folk music lyrics, Icelandic sagas and church art.

This paper aims to examine how, and if, music is being used integrated in other subjects thanmusic in school. The study is based on qualitative interviews and I haveinterviewed fourteachers, regardless of whether they use music a lot or not.The questions the study is basedon are if there might be a connection between theteachers' own feelings for music andwhether they use music inschool or not, how music is being used and does the use of musicgive any effects?The result of this study shows that there can be a connection between the teachers ownsfeelings for music and the fact if they use music when they teach or not. One of the teachersI?ve interviewed had bad music experiences and didnot use music in her teaching.

This paper aims to examine how, and if, music is being used integrated in other subjects thanmusic in school. The study is based on qualitative interviews and I haveinterviewed fourteachers, regardless of whether they use music a lot or not.The questions the study is basedon are if there might be a connection between theteachers' own feelings for music andwhether they use music inschool or not, how music is being used and does the use of musicgive any effects?The result of this study shows that there can be a connection between the teachers ownsfeelings for music and the fact if they use music when they teach or not. One of the teachersI?ve interviewed had bad music experiences and didnot use music in her teaching.

Title: Violin technique in Folk music education. The purpose of this research has been to examine how violin teachers who are Folk musicians teach violin playing techniques. Through litterature studies and qualitative interviews I have studied the relationship between teaching methods regarding violin playing techniques of the two genres Folk music and classical music and how the teachers in the study relate to this. Mywork shows that the teachers use a variety of methods and material from both genres which they have come in contact with through different parts of their education.Jag har undersökt hur fyra fiollärare inom genren folkmusik arbetar med fiolteknik med sina elever. Genom litteraturstudier och kvalitativa intervjuer har jag undersökt relationen mellan undervisningstraditioner för teknikövning inom genrerna folkmusik och klassisk musik och hur lärarna förhåller sig till detta.

This paper aims to examine how, and if, music is being used integrated in other subjects thanmusic in school. The study is based on qualitative interviews and I haveinterviewed fourteachers, regardless of whether they use music a lot or not.The questions the study is basedon are if there might be a connection between theteachers' own feelings for music andwhether they use music inschool or not, how music is being used and does the use of musicgive any effects?The result of this study shows that there can be a connection between the teachers ownsfeelings for music and the fact if they use music when they teach or not. One of the teachersI?ve interviewed had bad music experiences and didnot use music in her teaching.

This paper aims to examine how, and if, music is being used integrated in other subjects thanmusic in school. The study is based on qualitative interviews and I haveinterviewed fourteachers, regardless of whether they use music a lot or not.The questions the study is basedon are if there might be a connection between theteachers' own feelings for music andwhether they use music inschool or not, how music is being used and does the use of musicgive any effects?The result of this study shows that there can be a connection between the teachers ownsfeelings for music and the fact if they use music when they teach or not. One of the teachersI?ve interviewed had bad music experiences and didnot use music in her teaching.

Since my experience is that teachers in singing hardly ever talk about when to sing a tone, I have chosen to examine this fact through interviews and earlier research in this matter. The interviewed singing teachers belong to different genres (classical music, pop/rock, jazz and Folk music). I asked them to share their thoughts about the word timing, when it comes to music. I also wanted to know if they have any methods when it comes to teaching students to improve their timing. Further on, I have been discussing the results and the literature in order to make clear in what way singing teachers give priority to when a tone is being sung.