In this essay I will be exploring the work of five significant jazz trumpet players of the 20thcentury: Miles Davis, Clifford Brown, Lee Morgan, Freddie Hubbard and Woody Shaw. I will be delving deeper into the styles of these five trumpeters to find some characteristics of their improvisation. After that I will implement them into my own jazz improvisation vocabulary. By studying transcriptions of their solos, reading articles and watching videos about these trumpeters and their playing style, I intend to create exercises in order to add these aspects of their playing into my own improvisation. I will also explore the mental aspect of playing specifically jazz trumpet, and how the mindset can help develop my playing by studying how the aforementioned players’ mindset and attitude appears in their playing. The results will be a host of exercises which I created on my own, or acquired from other musicians, and different ways of approaching jazz improvisation on the trumpet.

In this essay I will be exploring the work of five significant jazz trumpet players of the 20th century: Miles Davis, Clifford Brown, Lee Morgan, Freddie Hubbard and Woody Shaw. I will be delving deeper into the styles of these five trumpeters to find some characteristics of their improvisation. After that I will implement them into my own jazz improvisation vocabulary. By studying transcriptions of their solos, reading articles and watching videos about these trumpeters and their playing style, I intend to create exercises in order to add these aspects of their playing into my own improvisation. I will also explore the mental aspect of playing specifically jazz trumpet, and how the mindset can help develop my playing by studying how the aforementioned players’ mindset and attitude appears in their playing. The results will be a host of exercises which I created on my own, or acquired from other musicians, and different ways of approaching jazz improvisation on the trumpet. / <p>My examenskonsert was 25th of February, 2022</p>

<p>The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of health-promoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.</p>

The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of health-promoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.

The present paper discusses the two concepts 'music as art' and 'music as function', put in a historical context but also based on my own experiences and development throughout the Nordic Master in Folk Music. Special regard is given to how my changing relationship to these two concepts have affected my own development. The paper also describes several different methods for artistic development as well as some ideas about what (folk) music can be and how we can think about it. / <p>Bilaga: 1 DVD</p>

In this thesis I ́m trying to to find out whether we need to make our art into a product and I am using myself and my career as an example of a product. I wanted to use the word “product” in a positive way and inspire people to think about music management and personal branding as something they could use as a tool when working with something creative. I ́m writing about my own journey as a folk musician and solo artist and wish to turn something personal into something common and shared. ! I approached my research question “How much of a product would you have to be in order to be a successful artist at the Nordic folk music scene?” from three angels. Firstly, I ́ve gathered information that I have from my years as a freelance musician. Secondly, I interviewed a few professionals, and finally I read a lot of material and wrote about the basics of music business and working life of a folk musician in the Nordic countries. My theory is that we ́re all selling a product when selling our music and playing for money, that is why we need to know this product, love and respect it and have a need to share it. I believe that finding your artistic me is a spiritual journey and when you start searching for your “core” you ́ll become a better musician since you ́re getting better in recognising and handling your own emotions. I ́m trying to diminish the polarisation between music business and being a genuine artist. I believe that knowing your core gives you power to work better in the field which is continually changing and demands a lot. This spiritual journey into yourself is also an artistic journey and I see personal branding as a fun and inspirational tool for anyone who wants to get to know oneself and build a personal brand which is true, likeable and also selling. / <p>Master konsert: ILMOI; medverkande Anna Fält, Joonas Ojajärvi, Jenni Venäläinen</p>

Doctor of Philosophy / Curriculum and Instruction Programs / Marjorie R. Hancock / The No Child Left Behind Act of 2001 (PL 107-110) drives today's teaching environment. With the pressure not to leave any student behind, classroom teachers often request struggling students to attend summer school. This qualitative case study sought to gain a deeper understanding of how visualization embedded in the writing process may influence struggling learners in a kindergarten through fourth grade summer writing camp. The 3 1/2 week summer writing camp was based on Donald Graves' (1983/2003) writer's workshop and writing process. The selected 19 students (K - 4) and 5 teachers in a Midwestern school district participated in the visual, learning, and literacy-rich environment. During the writing workshop, teachers gave Lucy Calkin's (1994) inspired mini-lessons to teach struggling students how to use visualization embedded in the writing process. Students participated in 4 community-based field experiences, which served as inspiration for drawing and writing. Mental imagery has powerful effects on reading comprehension (Sadoski, 1983, 1985) and students recalled information and images from the field experiences by observing digital photographs, and then drawing and writing. Thirty-nine student art/writing samples were analyzed using Lowenfeld and Brittain's (1975) stages of artistic development, Northwest Regional Educational Laboratory (2004) writing levels, and Piaget and Inhelder's (1969/2000) stages of cognitive development. Drawing in the writing process created tangible images to help student authors in the primary grades increase their Six-Trait Analytical (Spandel, 2004) writing scores for Ideas, Organization, and Conventions. Students in the intermediate writing group also increased their writing scores in Ideas, Voice, and Conventions. In addition, the data revealed the student's stage of artistic development reflects his or her writing level and stage of cognitive development. The involved teachers believed aspects of the summer writing camp could be incorporated throughout the school year, and they wanted to learn more about using visualization in the writing process. This study provided insight essential to better understand how visualization embedded in the writing process influences struggling learners.

No description available.