In which ways have composing processes in music appeared over the past 300 years? How may composing processes work today? What does new technology do to this processes?The key purpose of this study is to investigate various composing processes. A further purpose is also to gain an awareness of how we use modern technology by computers and their notation programmes.The research design of this thesis includes a display of literature related to composing processes. along with an analysis of the writer?s own experiences in the area.

In which ways have composing processes in music appeared over the past 300 years? How may composing processes work today? What does new technology do to this processes?The key purpose of this study is to investigate various composing processes. A further purpose is also to gain an awareness of how we use modern technology by computers and their notation programmes.The research design of this thesis includes a display of literature related to composing processes. along with an analysis of the writer?s own experiences in the area.

Noise music is created around sounds not often welcome in a musical context. Since the birth of electronic music in the 1950s a new perspective on composing has emerged. In electronic music, sounds and their timbre are as much important as melody, harmony and rhythm. This composing perspective is not often observed. Therefore I have examined a musical genre that stretches the boundaries of what we consider music, sound, noise, beautiful and terrible.

In his master thesis, Johan Jutterström pursues an anti-aesthetic and ethic artistic process. He?s using mainly three different strategies; reasoning through text, composing for ensemble, and solo improvising on the saxophone. Through composing the piece for 12 musicians Trästolen, Jutterström tries to erase himself and his taste from the music. In that endeavor he looks to physics as a catalyst.

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.

The composing of new standards in the area of machinery safety is a continuous work which aims at writing standards that works as a tool for companies and enables them to control if the fundamental demands of security and health which is prescribed by law are reached. It is optional for the companies to choose if they want to use the standards. This report is written in cooperation with SIS and the study were performed within the technical committee SIS/TK 282. The report aims to investigating if the companies that choose to use standards see any economic advantages due to this work, how these advantages take form and where they originate. The main question formulation is how the profitability among companies that have adjusted their production to machinery safety standards are affected. The study was performed with an initial literature study which aimed at obtaining knowledge and an overview over the subject as well as investigate what former studies had resulted in.

This essay describes a single case self-study of a music composer in order to track the compositional process in real time. In the study the subject and the researcher are the same person. The study builds on previous empirical studies that have used methodological approaches such as analysis of computer-based digital data collection, verbal protocol and video observations. It deals with issues of the compositional process related to for example time consumption, number of artistic decisions, the different roles and skills of a music composer, and methods of research in the musical composition process. During three shifts the researcher worked as a music composer dealing with the issue of converting an audio sketch of a composition into a representative finished audio product.

This master thesis is about the production of the record ?Brutus? with the band ?Trilobit?. Trilobit consists of the three musicians, myself, Stina Hellberg Agback on pedal harp, Simon Sva?rd on guitar and Karl Jansson on drums.During the production, I have analyzed different aspects of my own musicality and also the role of the pedal harp in jazz. I have found techniques that have simplified chromatic movements on the pedal harp, and also techniques that has developed the rhythmical aspect of my improvisation.I have also looked into my process in improvising and composing and developed new aspects, many thanks to the close collaboration with Simon Sva?rd..

Composers? and choreographers? world of ideas. Aspects of the art process. This inquiry is about the artistic process when composing contemporary music and choreographing modern dance. I have studied three composers? and three choreographers? thoughts about the artistic process and the work that leads to a piece of music or a dance.

This master thesis is about the production of the record ?Brutus? with the band ?Trilobit?. Trilobit consists of the three musicians, myself, Stina Hellberg Agback on pedal harp, Simon Sva?rd on guitar and Karl Jansson on drums.During the production, I have analyzed different aspects of my own musicality and also the role of the pedal harp in jazz. I have found techniques that have simplified chromatic movements on the pedal harp, and also techniques that has developed the rhythmical aspect of my improvisation.I have also looked into my process in improvising and composing and developed new aspects, many thanks to the close collaboration with Simon Sva?rd..

This Paper examine how a municipality hire employees and in what way they use relevantlegislation in the recruitment process. The purpose of this paper is to clarify one specific municipality and their recruitment process, where the selection of the candidates is in focus of the process.The premiss is that municipalities can hire whoever they want, although some legislation needs to be considered. The principle of objectivity, the precedence and prohibition against discrimination are some restrictions municipalities must be aware of and not contravene.Further on candidates have an opportunity to require probation of the legality if they experience that mistakes have been made with the recuritment. However, only members of the municipality can emphasise this request.The municipalities job advertisements conformation and demands will be clarified in the paper. Job advertisements has a validity regarding disputes refering to discrimination because only the advertisement can justify employers procedure and choise.

This thesis strives to demonstrate my increasingly phenomenological approach to musical composition in relation to the extensive body of musical works connected in different ways to the poetry collection ORDER by the Swedish author and play-wright Lars Norén. The hand, the touch, the voice, the space (environment) and its philosophical implications are scrutinised from a poetic perspective (my poetics). The question of language (the word), the sign (text), sound/noise/music and its immanent bodily qualities are focused and questioned in my own work as well as in primarily two case studies of the music of Pierluigi Billone (1960-) and Morton Feldman (1926-1987).The text reflects the emancipatory process my music has undergone the last 4- 5 years: moving away from language and text (representation) to body and sound, although preserving and nurturing the extended idea of the sign (as signification of sound and body) as a possible embodied vehicle in my composing and artistic thinking.The reader is invited through the extensive use of sketches and work methods to witness and follow this process as a manifestation of the ?doing? rather than the presentation or construction of an analysis in an academic sense.The thesis offers no solution and it fails to encapsulate all of the so-called ORDER-MUSIC (the music that is connected with Norén's collection of poetry) Instead it proposes a possible way of ?opening? the process to a basically phenomenological methodology inside the musical field of score based chamber music..

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.

By describing and analyzing a self made composition for the Swedish folk music instrument ?nyckelharpa? with emphasis on playing techique, dissonance treatment and interpretation questions are reflected upon regarding how dissonances and andvanced harmonical progressions are treated on a limited instrument such as ?nyckelharpa?. By emphasizing the traditional norm connected to the interpretation and instrumentation of traditional Swedish folk music (a traditon in which the nyckelharpa is included) and comparing the te- chniques connected to it with the recent composed material in a western classical context the possibilities and limitations in composition and interpretation are further investigated. Thus the musical experience and the documentation of the process of composing a concert for nyckelharpa provides a knowledge base for reflective analysis upon questions regarding interpretation, composition and dissonance treatment. This thesis also provides a brief summary of traditional playing and bowing technique as well as a short historical description of the Swedish traditional instrument ?nyckelharpa?..

Title: Creativity and blockings: Non-musicians? experiences of music making The purpose of this study was to investigate whether the ability of music-making can benefit from and/or be inhibited by extra-musical factors, such as one's own or other people's opinions, criticism, prejudice and values. An experiment was carried out, where 10 nonmusicians were instructed to solve a compositional problem (writing pieces of music to a picture) which had been expressed in two different ways, one of which (A) was intended to block creativity and the other (B) to facilitate the creative process. All subjects also had to answer a questionnaire, where their experiences in connection with the task and their attitudes towards music and composition were mapped. The result was that all subjects succeeded in composing one or more pieces of music, regardless of which instruction they had been given.