The purpose of this thesis was to find out if and how studio class improves a live performance at a final examination concert. Although the specific research described in this paper was about playing the viola, the argument is made that the exploration and knowledge of pratice would be of benefit to any musician. This paper describes the studio class experiment during an academic semester within playing a musical piece and its full analysis. Information is provided about the studio class, its methods, variations, and practices. The application of studio class at the Royal College of Music in Stockholm to viola playing in general is discussed, and specifically to the preparation for the performance of Sonata for viola and piano by Janis Medins. The results of the study indicates that studio class was really beneficial to the interpretation of the piece during a live performance at a final examination concert. / <p>Janis Medins, Sonata for viola and piano (1959)</p>

In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the interpretation should strive to clarify different motives as well as enhancing contrasting characters in the music, while technical difficulties in demanding parts of the sonata often are solved by putting emphasize on evenness, and by considering input from several senses in the practice room. The results are useful for studying other large compositions and remain a documentation of how such extensive piano music can be approached. / I studien analyserades Prokofjevs åttonde pianosonat utifrån interpretation och spelteknik. Prokofjev befann sig i kommunistiska Sovjetunionen, mitt under andra världskriget, och skrev musik med mycket samlad erfarenhet. Syftet med studien var att belysa viktiga interpretations- och teknikbaserade aspekter vid uppförandet av sonaten, baserat på egen beprövad erfarenhet. För att åstadkomma detta övades stycket in under flera månader, medan reflektioner skrevs ner baserat på övningspassen samt inspelningar. Studiens resultat påvisar att tolkning bör göra motiven så tydliga som möjligt samt lyfta fram olika karaktärer i musiken som styrker temat, medan tekniska svårigheter i krävande partier ofta löses genom att fokusera på jämnhet samt att öva med flera sinnen i fokus. Resultatet är användbart även vid instudering av andra omfattande verk och är en dokumentation på hur sådan omfattande pianomusik kan tas an. / <p>S. Prokofjev - Sonat nr 8, op 84</p>

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The purpose of this essay is to explore how the application of the Alexander Technique, as taught from the point of view of the Interactive Teaching Method (ITM), can be of benefit in performance preparation as well as in the enhancement of the musician’s practice and performance in general. Although the specific performance described in this paper was for violin, the argument is made that the exploration and methods of practice would be of benefit to any musician. This paper describes the experience of a study of the Alexander Technique. Information is provided about the Alexander Technique, its origins, principles and practices. The application of Alexander’s work to violin playing in general is discussed, and specifically to the preparation for the performance of Sonata Duodecima by Isabella Leonarda. / <p>Isabella Leonarda: Sonata Duodecima Opus 16</p><p>Elizabeth Jackquet De La Guerre: Sonata No 1 in D minor for Violin &amp; Cembalo</p><p>Antonio Bonparti: Invention No 1 in A major (from 12 Inventions for Violin)</p><p>Baroque Violin: Aingeala De Búrca</p><p>Cembalo: Mayumi Kamata</p><p>The sounding part has been archived.</p><p></p>

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Senegal ranks second for mango production among West African countries and has the potential to competitively produce mangoes for the European market. Colletotrichum gloeosporioides Penz. and Sacc. has historically been considered the causal pathogen of anthracnose of mango and other fruits, but is now known to represent a species complex. Field trials to examine the efficacy of fungicides and biofungicides were conducted in southern and northern production regions of Senegal. In three southern trials, Sonata (Bacillus pumilus strain QST 2808), Serenade Optimum (Bacillus subtilis strain QST 713), and sodium molybdate provided 63%, 67% and 76% control of disease severity, respectively, whereas thiophanate methyl and azoxystrobin provided 77% and 78% control, respectively. Disease severities of all treatments were significantly lower than that of the control. Thiophanate methyl and azoxystrobin produced more disease-free mangoes (64 and 62%, respectively) than Serenade (49%), sodium molybdate (44%), and Sonata (38%). Differences within each trial were not statistically significant, but when all trials were combined, all treatments resulted in significantly more disease-free mangoes than the control. Among treatments, thiophanate methyl and azoxystrobin resulted in significantly more disease-free mangoes than Sonata. No results were obtained in the northern orchards due to an absence of disease development. Sequencing of the ITS gene region of 30 Colletotrichum isolates from mangoes from different regions in Senegal indicated that all belonged to the C. gloeosporioides species complex. Sequencing of the ApMat intergenic region identified all of them as most closely resembling C. siamense. / Master of Science in Life Sciences