The purpose of this work is to explore the artistic processes of an ensemble where a Musician and one or more dancers play together, either by improvising or by interpreting music that is written for the ensemble. The main themes are about finding ways to work with written material and still keep the communication between the music and the dance alive. The author is also interested in finding ways of identifying himself in the medium of dance although he is a Musician. The result of this work can be seen in this text and in the attached film material..

Anne Reese: Johan Lindegrens vägval : en studie i de faktorer som påverkade enskilda aktörers verksamhet inom Stockholms musiksamhälle 1860-1908, Uppsala universitet: Institutionen för Musikvetenskap, uppsats för 100 poäng, 2007.The aim of this essay is to show some of the factors which affected the production and work of the individual Musician or composer within Stockholm's music society in the late 19th century. By a case study on Johan Lindegren (1842-1908) I demonstrate how a Musician or a composer functioned in the social structures of the music society and how power affected the work of the Musician or composer. This essay also fills another purpose as it gives Lindegren a more detailed biography, which is something that has been missing until now.By applying a concept of power, as discussed by Michel Foucault, to this subject and interacting it with the concepts of musical opportunism, I present a new way of talking about the social, as well as the individual factors that affects the individual Musician within the music society.The conclusion is drawn that there are two different types of factors that affects the work of the individual; 1) the social network and power within society, which presents positions and opportunities for the Musician and 2) the individual character of Musician which determine the way the individual uses the position or opportunity he or she is given..

Anne Reese: Johan Lindegrens vägval : en studie i de faktorer som påverkade enskilda aktörers verksamhet inom Stockholms musiksamhälle 1860-1908, Uppsala universitet: Institutionen för Musikvetenskap, uppsats för 100 poäng, 2007.The aim of this essay is to show some of the factors which affected the production and work of the individual Musician or composer within Stockholm's music society in the late 19th century. By a case study on Johan Lindegren (1842-1908) I demonstrate how a Musician or a composer functioned in the social structures of the music society and how power affected the work of the Musician or composer. This essay also fills another purpose as it gives Lindegren a more detailed biography, which is something that has been missing until now.By applying a concept of power, as discussed by Michel Foucault, to this subject and interacting it with the concepts of musical opportunism, I present a new way of talking about the social, as well as the individual factors that affects the individual Musician within the music society.The conclusion is drawn that there are two different types of factors that affects the work of the individual; 1) the social network and power within society, which presents positions and opportunities for the Musician and 2) the individual character of Musician which determine the way the individual uses the position or opportunity he or she is given..

The purpose of this master thesis is to identify some phenomena that may contribute or work against the individual Musician?s opportunities to contribute with their personal musical intuition in the orchestral work. I want to investigate under which conditions and in what context the orchestra environment gives Musicians opportunities to take musical initiatives. I will also test a method to develop and work with musical intuition in a staged trombone audition called blåst. My wish is to highlight orchestra Musician's perspective and experiences and to discuss where in an orchestral Musician?s everyday work the artistic and authentic musical initiative appears and how we are going about it.

This project consists of an adaptation, trial and evaluation of a model for practicing. Based on prior research I created a model aiming mainly to raise a Musician?s self- awareness around the different parameters a performance consists of. An additional wish was for it to simultaneously assist the Musician in monitoring his or her progress. With video recording and self-evaluation as the two main parts I tried the model by using it over a period of three months.

The author is active as a Musician in the field of historically informed performance practice (HIP) which emanated from the 20th century early music movement. Studying of historical sources has a central role, but the problem of how interpretation and selection of source material is affected by art and music ideals of our time, is commonly acknowledged. Georg Joseph Vogler shows in a series of articles in "Betrachtungen der Mannheimer Tonschule" (1778-1781) how Stabat Mater by Pergolesi could, and in his opininon, should be improved. The purpose of this thesis is to investigate how this source can be used from the standpoint of a performing Musician: How can I use Vogler?s methods in my playing?The introduction problematizes Vogler?s action in relation to his time, and to ours.

This research explains and describes the role music notations may play in an unconventional way. The aim of this research is to show that by balancing composition, interpretation and improvisation, the performer(s) could produce or open the door to a reservoir of new sounds, which could emerge through a composer?s awareness of the need to balance these elements. That act of balancing depends on the Musician?s interpretation through their interaction with the music notation, with their action process on the instrument and each other.

This study examines how to translate digitally composed symphonic music to note script and how it gets readable and playable. With the help of professional Musicians from the Norrköping Symphony Orchestra, teachers from Kulturskolan in Norrköping as well as other Musicians, I have learned how I can improve each individual stem in my composition. I also learned how to write for a real Musician. My score have been analyzed by composers and a conductor which have given me a more in depth insight into composing symphonic music.The theory section describes important MIDI aspects, score preparation and note editing techniques. Thereafter is a section about the symphony orchestra and its instruments? history and how the situation is today.

I denna uppsats behandlar jag orkestermusikers syn på sitt eget lärande. Hur de studerar in verk och om de har liknande strukturer och lärstilar i sin övning. Undersökningen utfördes med hjälp av att intervjua fem altviolinister ur Stavangers symfoniorkester.Jag har i undersökningen kommit fram till att de fem orkestermedlemmarna har väldigt olika inlärningssätt vad gäller sin egen övning. De visade sig också vara en viss skillnad mellan de som på något sätt ägnat sig åt undervisning mot de som inte har någon koppling till det alls..

This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale Musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied..

This thesis examines Swedish composers' modes of work and production within the Swedish film industry. It starts off with a historical overview treating live music in early silent film, the conversion to sound and the Swedish production climate until present time. The analysis consists of contemporary empirical studies; interviews with people writing music for film, TV and commercials. The Musician's perspective is in focus but directors and other film workers are heard as well. The situation for female composers in a male-dominated industry is also discussed.

The purpose of ?The Lake? was to create an experience with music and visuals working with no budget.A personal purpose was that I wanted to explore new areas in design, like scenography, and combine them with my previous knowledge and skills. My method was to keep my hands busy at all times and use new materials. I also wanted to work with other creators and learn from their methods. Together with a Musician I created the music and the concept for the project.

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.

Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum.

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.