Sammanfattning Mitt syfte med uppsatsen är att utforska om eftergymnasiala danselever upplever att Benesh Movement Notation kan var ett hjälpmedel i den praktiska dansundervisningen. Studiens syfte är även att förtydliga vikten av att koppla teori till det praktiska ut-övandet av danskunskap. Min metod i denna undersökning har varit att intervjua 12 eftergymnasiala danselever om deras upplevelser, det vill säga, fördelar och nackdelar med Benesh Movement Notation i praktisk dansträning, möjligheten att skriva egna anteckningar och i repertoararbete. Resultatet visar att genom att kombinera praktik och studier i Benesh Movement Notation utvecklar eleverna sin analysförmåga i rörelse och självständigt tänkande i den praktiska dansträningen. Eleverna utvecklar vidare sin förmåga att uttrycka sig och formulera sig verbalt i dansträningen, och får en djupare kunskap i förmågan att tolka interpretationen..

This thesis is about the interaction between composition, Notation and interpretation and what occurs between the fields with an extended Notation.The purpose of my thesis is to examine the possibilities tothoroughly describe and map the sounding samples through composition prototypes.The thesis has a qualitative approach, and the empirical material consists of different documents about Notation and from interviews with musicians and students about the instruments used in the thesis.It also consists of 17 compositions recorded at Örebro University School of Music as an appendix.The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing..

This thesis is about the interaction between composition, Notation and interpretation and what occurs between the fields with an extended Notation.The purpose of my thesis is to examine the possibilities tothoroughly describe and map the sounding samples through composition prototypes.The thesis has a qualitative approach, and the empirical material consists of different documents about Notation and from interviews with musicians and students about the instruments used in the thesis.It also consists of 17 compositions recorded at Örebro University School of Music as an appendix.The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing..

This thesis is about the interaction between composition, Notation and interpretation and what occurs between the fields with an extended Notation.The purpose of my thesis is to examine the possibilities tothoroughly describe and map the sounding samples through composition prototypes.The thesis has a qualitative approach, and the empirical material consists of different documents about Notation and from interviews with musicians and students about the instruments used in the thesis.It also consists of 17 compositions recorded at Örebro University School of Music as an appendix.The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing..

The purpose of this master thesis is to examine a proposal for basic class 4 in UDC, which has been empty since 1964, and to pick out a negotiable subject for that proposal. The proposal is analysed from a theoretical perspective based on principles created by S. R. Ranganathan. Three principles are used.

The aim of this thesis is to compare two different classification schemes with each other and see what the differences and similarities are when classifying literature concerning film and television. One of the schemes is of general kind, Klassifikationssystem för svenska bibliotek (SAB) and the other is a special system, FIAF Classification scheme for literature on film and television. The focus of the examination is on comparing the structure, contents and division of firstly the main classes and secondly on comparing the Notation and the auxiliary tables in the schemes. The theoretical framework of the comparison is based upon theory of classification but the conclusions drawn are though mostly of a more subjective character. In addition to the comparison itself interviews have been made with four libraries, two with experiences of SAB and two with experiences of FIAF.

This master's thesis examines the possibilities of correction and change in a classification scheme, with regard to the changes that occur in the world the classification system intends to describe.Applying a comparative method and classification theory, the classification of the example of the former Yugoslavia (1918-1941, 1945-1991), its republics and successor states, and the languages, formerly known as Serbo-Croatian are examined through a comparison of the main classes and divisions of language, geography, and history, in Dewey Decimal Classification (DDC), and Klassifikationssystem för svenska bibliotek [Classification for Swedish Libraries] (SAB). Eight editions of DDC, from 1876 to 2014, are compared to seven editions of SAB, from 1921 to 2013. The editions have been selected in order to show the changes prior to, and following, the First World War, changes after the Second World War, and changes following the collapse of Yugoslavia in 1991.The examination shows that both systems have updated their editions according to the changes in former Yugoslavia over the years. DDC has well constructed facet schedules, especially Table 2 concerning geography, but fails, in some cases, to construct a logic and hierarchical structure for the republics and languages of Yugoslavia, partly due to the fixed classes and divisions that survive from the very first edition of DDC from 1876, but also as a result of the decimal Notation, and its limitations, itself.SAB seeks to construct a hierarchically logic and equal scheme for the languages, areas, and states of the former Yugoslavia. Although the facets for geography and chronology aren't as developed as the ones in DDC, the overall result is that of a logically consistent and hierarchically clear classification, with short Notation codes, thanks to the alphabetic mixed Notation, which allows more subdivisions than the numerals and the pure Notation of DDC.This study is a two years master's thesis in Archive, Library and Museum studies..

The purpose of this Master's thesis is to determine which of the three general classification schemes, DDC, SAB, and UDC is the most appropriate for classifying music documents. This is done by analysing and classifying 60 music documents such as recordings, scores and books about music. The codes resulting from the classification are analysed according to a number of evaluation criteria based on classification theory. The criteria focus on the systems specificity, exhaustivity, exclusivity, helpful sequence, hospitality, Notation and that related classes are kept together. The study showed that the systems specificity in classification was of great importance in classifying music documents because of the diversity of music genres.

En personlig reflektion om att komponera för jazzmusiker och praktiska tips för konstmusiktonsättare om jazzmusik och dess estetik..

rary of Sweden Statens musikbibliotek [51][pdf.gif] The aim of this study is to investigate how bibliographic description of music materials has improved through history. The historical aspect is given by a study of bibliographic data in different catalogues of a specific collection. The aim is also to understand what specific problems will arise in the work of cataloguing music materials and how the problems are discussed in the literature. The study is focusing of church music material and the history of churchmusic is therefore given an exposition. The origin of musical Notation, which took place within the church, is also discussed.

Abstract During object-oriented system development, programming should be preceded by analysis and design to assure that the system fulfils the demands of the customer and simplify during the development phase and documentation. When modeling the analysis and design phases, several different Notations may be used. One of these is the UML (Unified Modeling Language) which this thesis will cover. The aim is to compare the use of the UML i practice versus what is said in the literature. The investigation is built upon interviews at different companies to receive their reflections about the UML.

Abstract During object-oriented system development, programming should be preceded by analysis and design to assure that the system fulfils the demands of the customer and simplify during the development phase and documentation. When modeling the analysis and design phases, several different Notations may be used. One of these is the UML (Unified Modeling Language) which this thesis will cover. The aim is to compare the use of the UML i practice versus what is said in the literature. The investigation is built upon interviews at different companies to receive their reflections about the UML.

Title: Learning to read music Notation on the guitar ? an analysis of various guitar schools on the market with added own examples. Purpose: To analyse currently available teaching materials on the subject of guitar Notation on the market. A comparative analysis is made of five chosen books on the topic. Four criteria for the analysis of these five books are stated: 1) Structure and progression of the study of reading music on the guitar.

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 is a study of the work of a Danish music teacher at a free school (grade 1 9) in Copenhagen. The teaching is based explicitly on playing in ensemble and the pupils play at a high artistic level compared to a normal school. Data collection was made during three days with the help of observation, video recording and qualitative interviews. The report contains video clips where the pupils and the teacher play together. The great differences between this model of teaching and the normal, lie in the teacher participation in the music making, the central role of the rhythms, the early start (grade two), the form of songs and arrangements and the lack of Notation in favor of music making by ear.