Att stärka sin timing : En intervjustudie om hur musikhögskolelärare beskriver sitt arbete i att undervisa timing inom groovebaserad musik

Studiens syfte är att bidra med mer kunskap om timing och hur det undervisas på individuell nivå inom groovebaserad musik, av lärare som är anställda på svensk musikhögskola. Studien tog användning av den kvalitativa forskningsintervjun som metod för att dokumentera informanternas svar och tankar om ämnet. Fyra musikhögskolelärare intervjuades, som utöver deras anställningar som lärare även är yrkesaktiva musiker inom groovebaserad musik. Resultaten indikerar på att timing är ett rytmiskt förhållningssätt till musik som implicerar hur notvärden tidsligt placeras i förhållande till en eller flera externa ljudkällor. Externa ljudkällor är enligt resultaten nödvändiga för att musikhögskolelärarna skall kunna undervisa timing. Dessutom syftar resultaten på att timing är någonting viktigt att behärska inom groovebaserade kontext, samt betydelsefullt för att den groovebaserade musiken skall uppfattas som professionellt låtande.The purpose of the study is to bring more knowledge about timing and how it is taught to students on an individual level within groove-based music, by teachers working in Swedish music college. The study used the qualitative interview as method to document the informants answers and thoughts on the subject. Four music college teachers were interviewed, who aside from their employment as teachers are also working musicians within the context of groove-based music. The results indicate that timing is a rhythmic approach to music, in which it implies how note values are placed in relation to one or several external sound sources. External sound sources are, according to the results, of necessity to the music college teachers for them to be able to teach timing. The results also illustrate timing as something important to master within groove-based contexts, as well as significant for the groove-based music to be perceived as professional sounding.

Prelude Before Nobel – Enriching Learning Environment With A Knowledge Concert; Colliding Art And Science. Concept, Origin, And Purpose

 The concept of the knowledge concert was developed by researchers at the Royal College of Music and Karolinska Institute in Sweden where live musicians and scientific researchers creates a performance related to an important societal issue. The emotional evocativeness music allows it to act as a facilitator of knowledge acquisition which it is argued enriches the learning environment. In this study, we have built on the idea of the knowledge concert with a novel focus on Nobel prize winners’ work. Knowledge is generated from live musicians and narratives from a cicerone. The two originators will in this study develop the concept of Prelude before Nobel as a knowledge concert. Further knowledge related to the Nobel Prize scientific findings was obtained by listening to live music. In this experience thoughts and feelings were stimulated, which increased the receptivity and understanding of the Nobel Prize in terms of both content and meaning

AI som medierande verktyg i musikutbildning : Musikstudenters beskrivningar av sina upplevelser och reflektioner av AI

Syftet med detta självständiga arbete är att utforska hur musikstudenter i högre musikutbildning uppfattar och använder artificiell intelligens som verktyg för kreativt skapande. Genom kvalitativa intervjuer med studenter belyses deras uppfattningar, erfarenheter och reflektioner kring AI som ett verktyg för kreativitet. För att teoretiskt kontextualisera intervjuerna används en sociokulturell begreppsapparat. Resultatet visar att artificiell intelligens i studenters samtal kan förstås som ett verktyg för kreativitet och musikskapande, även om det också framkommer att ett sådant verktyg behöver användas med kritisk medvetenhet för att inte få negativa effekter på lärandet och den kreativa processen

Tystnadens funktioner i musik : Ett undersökande arbete om hur tystnad kan användas som parameter i komposition och improvisation

Silence is inevitable. It's something we can't escape in our everyday lives, and it's something we can't escape in music as well. After listening to music by Morton Feldman, I realized that silence is a big but less unexplored part of music. This made me want to study how silence can be used in music.    The purpose of this essay is to investigate the roles silence can have in music, systemize different functions silence can have, improvise and compose music that in some way illuminates silence.    My research has led me to identify and categorize seven distinct functions of silence in music. This systematic approach has empowered me to compose and utilize silence in a structured manner. The culmination of this method was the creation of six unique compositions, which were then rehearsed and performed in a concert by a band comprising of me on Piano, Maja Svanteson on Voice, Hannes Arason on Trumpet, and Fredrik Ljungkvist on Saxophone and Clarinet.   Using one or two functions when composing and thereby being able to study the chosen function isolated has made me see how multifaceted silence is. The silence is and should be seen as nuanced in the same way as a sound or tone. Our band noticed a tendency to play softly during our initial rehearsals and felt a general unease when confronted with silence. This hesitancy not only restrained our music but also our potential for growth. However, as we overcame these habits, our use of silence became more varied, enriching our music and making it more intriguing. Tyst Koral (variation 1) - Musik: Rasmus MannervikUnder stjärnorna - musik: Rasmus Mannervik, text: Pär LagerkvistSextondelar (variation 1) - Musik: Rasmus MannervikEn stilla ödmjuk själ - Musik: Rasmus Mannervik, Text: Francesco PetrarcaTyst Koral (variation 2) - Musik: Rasmus MannervikFri improvisation - Instruktion: Rasmus MannervikSextondelar (variation 2) - Musik: Rasmus MannervikKärlekens visa - Musik: Rasmus Mannervik, Text: Pär LagerkvistTyst Koral (variation 3) - Musik: Rasmus MannervikMusiker:Rasmus Mannervik - PianoHannes Arasson - TrumpetFredrik Ljungkvist - Saxofon och KlarinettMaja Svantesson - SångTill detta bifogas en ljudupptagning från konserten 18/03-24</p

Dynamisk Dynamik : En studie om dynamik, spelteknik och musikaliskt uttryck som trombonist

För musikaliskt uttryck finns få verktyg så viktiga som dynamik. Framförandet av stark dynamik på ett akustiskt instrument kommer från fysisk ansträngning, vilket kan göra musik utmanande att spela. Syftet med detta arbete var att identifiera utmaningar som finns i den andra satsen av Launy Grøndahls trombonkonsert, dynamiskt och speltekniskt för en trombonist och att hitta sätt att hantera dessa. Metoden utgjordes av en analys av konsertsatsen och konsultering med Kungl. Musikhögskolans trombonlärare i samband med individuell trombonövning. I analysen hittades sex specifika utmaningar; lågt tempo, stark dynamik, täta fraseringar och en melodi utan pauser i övre delen av trombonens register. Detta reflektionsarbete gav förståelse för hur dessa utmaningar tillsammans gör denna trombonkonserts andra sats fysiskt ansträngande för en trombonist att framföra. Appliceringen av råden som gavs under konsultationen gjorde satsens framförande mindre ansträngande. Att inför en utmanande passage: i) öka tempo i förväg för att därigenom minska tiden för fysisk ansträngning, ii) variera dynamik genom visualisering, iii) hantera luftförråd genom andningsmarkeringar. Launy Grøndahl, sats 2 (Quasi una Leggenda).Akomanjetör: Erik Lanninger</p

Barry Harris 6th diminished scale och dess påverkan på mitt musikaliska uttryck

This work explores the impact of Barry Harris' 6th diminished scale on my musical expression in jazz. Through repetition, transcription, and interviews with experts like Richard Clements, I delved into the theory and its application. It proved to be a journey ranging from the daunting to the inspiring and informative. I have reflected on how this concept changes my perspective and approach to creating music. The work also highlights the gap between traditional jazz theory and Harris' philosophy, and how I navigate between them in my musical exploration.Framförd musik:Sweat as Bear Meat – Johnny Hodges Dizzy Atmosphere – Dizzy GillespieThe Big Sound - Isac SchillbergFirst Song – Charlie HadenMoment’s Notice – John ColtraneRuby My Dear – Thelonious Monk Sing a Song of Song – Kenny Garrett Medverkande:Milos LindegrenFelix Kling Johannes BäckströmAxel LidgrenOlle Ekelind</p

Att Improvisera Intuitivt : Närvaron och nuets roll i improvisationsmusik

This study has explored the role of presence and the power of intuition in musical improvisation, drawing inspiration from Eckhart Tolle's concept of the present moment, Kenny Werner's book "Effortless Mastery," and jazz guitarist Peter Bernstein’s way of improvising. This has been presented with a combination of musical exercises that include awareness of internal thought processes. The exercises aim to cultivate a more intuitive improvisational style among musicians.   This study investigated the impact of analyzing musical phrases, engaging in active listening, and ear training, alongside cultivating presence in the moment, on enhancing musical experiences. The findings underscored the critical role of present-moment awareness in nurturing spontaneity, creativity, and emotional engagement in musical interactions for both performers and audiences. It sought to deepen our understanding of how mindful presence enriches musical expression and interaction.   Through analyzing intuition, thoughts, and awareness of ego, the study illuminated the transformative potential of present-moment awareness in fostering a deeper connection between musician and instrument, thereby elevating the authenticity and quality of musical output

Musiklärarstudenters samtal om hur utbildningen förbereder för musikläraryrket

Music teacher education aims to prepare students for the professional role of a music teacher. In our independent study, we examine what characterizes music teacher students' discussions about how the subject teacher program prepares them for the music teaching profession. We have identified four discourses that permeate the discussions of music teacher students about music teacher education: the discourse on academia, the discourse on practice and practical work, the discourse on the breadth of the music teaching profession, and the discourse on the breadth of the music educational program. Our data collection method involved conducting focus group discussions with music teacher students. Our thesis is based on a social constructionist foundation with discursive psychology as the theoretical framework, where we have analyzed the creative and functional aspects of language. Our results show that there is a discursive perception that the education is too academic and our informants call for a more practice-oriented education. Furthermore, it emerges that the breadth of the education causes students to feel that they do not have the opportunity for in-depth knowledge. A discursive perception of the music teaching profession is that the profession is too broad for the education to fully prepare students

Vibroakustisk terapi : En intervjustudie om den vibroakustiska metoden i musikterapi.

Under 1980-talet uppfanns vibroakustisk terapi. Denna upptäckt gav musikterapeuter möjlighet att använda en ny receptiv metod i musikterapi. I denna studie har jag utifrån intervjuer med tre musikterapeuter fått ta del av deras kunskap om vibroakustisk terapi. Syftet med uppsatsen har varit att skapa kunskap om den vibroakustiska metoden i musikterapi. Slutsatsen jag kommit fram till i arbetet har varit att det är en verksam metod och att behandlingen kan hjälpa många olika patientgrupper. Jag kan också dra slutsatsen att vibroakustisk terapi kan vara ett bra komplement till att endast använda musik i musikterapi, och att musiken spelar stor roll i vibroakustisk terapi.During the 1980s, vibroacoustic therapy was invented. This discovery provided music therapists with the opportunity to use a new receptive method in music therapy. In this study, based on interviews with three music therapists, I have examined their knowledge of vibroacoustic therapy. The purpose of the thesis has been to increase understanding of the vibroacoustic therapy method in music therapy. The conclusion I have reached in the work is that it is an effective method, and that the treatment can help many different patient groups. I can also conclude that vibroacoustic therapy can be a good complement to just using music in music therapy, and that music plays a significant role in vibroacoustic therapy.

From Studio to Global Stage : How Sweden became a Music Powerhouse

The music industry has undergone significant changes in recent years, particularly in Sweden, where music production, exports, and consumption have evolved with the advancement of technology and digitization. The digitization of the music industry has revolutionized music production, making it more accessible and enabling remote collaboration. With today's digital technology, music producers can collaborate with performers, musicians, and co-producers from anywhere in the world, leading to a wider global audience for music exports. The availability of IT and media technologies has also increased access to audio equipment and music production software, resulting in a significant increase in the number of individuals producing music. Furthermore, the way people listen to music has transformed with the advent of streaming services and algorithm-controlled systems. Platforms like Spotify have provided listeners with access to music from all over the world, contributing to changes in music consumption patterns. The development of media technology has not only improved music production tools but has also brought new challenges for music creators in reaching their audiences amidst the abundance of new music worldwide. In Sweden, the music export industry has a rich history of successful artists and producers making a global impact. From Jenny Lind, The Nightingale, who achieved success in America in the 1850s, to modern-day artists such as Avicii, Zara Larsson, and Max Martin, Swedish music exports have made a mark on the international music scene. The breakthrough of ABBA in the mid-1970s and the international success of Björn Skifs’ “Hooked on a Feeling” in 1974 are notable examples of Swedish music reaching global audiences. The roles and responsibilities of music producers have also evolved significantly. Today's music producers take on various roles, such as songwriters, musicians, arrangers, and entrepreneurs. They play a crucial role in overseeing all aspects of the production process, from selecting songs and performers to mixing and mastering tracks, with the goal of delivering high-quality products that meet client expectations. The terms “topliner” and “producer” are used to describe distinct roles, with the topliner providing the melody and the producer creating the backing track. However, given the dynamic nature of the music industry, the scope of a producer’s responsibilities is expected to continue evolving. In conclusion, the evolution of music production in Sweden has been shaped by digitization, technological advancements, and changes in music consumption patterns. The country's rich history of successful music exports, combined with the impact of modern artists and producers, has contributed to Sweden's prominent position in the global music industry. As technology continues to advance and consumer behaviors evolve, the music industry in Sweden and worldwide will likely continue to undergo further transformations in the years to come