This document examines current practices and opportunities in the music performance field related to artistic citizenship, community engagement, and the field of teaching artistry. The relationship of musicians to their audiences and communities has shifted significantly in the twenty-first century, and there is an increasing need to redefine the essential skills of the professional musician. Derived from the field of teaching artistry, the concept of "activating artistry" suggests that our greatest strength and power as artists lies in drawing out individual artistic expression in other people, and it is with this power that artists as a workforce can create meaningful change in society. This intention could be manifested in many different contexts during the course of a given music career, however, developing the tool kit necessary for engaging in such work is not widely emphasized in the training of musicians. What tools can be provided for students and professionals to help them navigate both traditional and evolving career paths in music? How are bassoonists doing as a field in addressing the imperative of community engagement and artistic citizenship? How might we explore more collaborative ways to engage with our diverse communities – ways that value their perspectives? These questions guide an exploration of current practices in the bassoon field, with an overall goal of providing practical examples, resources, and inspiration for engaging in the work of activating artistry. Central to the discussion is the intersection of the professional bassoonist with the teaching artist field. Examples of lesson plans/strategies and ideas for curating educational performances demonstrate potential uses of the bassoon and its repertoire in teaching artist residencies and other community engagement settings.

Det huvudsakliga syftet med projektet är att belysa utställningen och de strukturer som densamma innefattar. Specifikt för detta projekt är att jag har valt att titta på utställningarna på kulturcentret Astrid Lindgrens Näs. Metoden för projektet innebär att blanda empiri med teori vilket resulterat i att jag dels besökt Astrid Lindgrens Näs samt arbetat med teori som beskriver förhållandet mellan besökare och museum, författare och författarskap. Radioverkets syfte är ett ge en viss insikt i hur arbetet på museet genomförs, på ett praktiskt plan. Projektet visar att konventionerna i museet är närvarande och vad som bibehåller dem är rädslan för att besökarna skall missförstå. Jag upptäckte även att den författarroll som bland andra Michel Foucault beskriver är nödvändig för Astrid Lindgrens Näs. / The main purpose with the project is to put light on exhibitions and their inner structures. For this project I have specifically chosen to look at the exhibitions at Astrid Lindgrens Näs. The method for the project is to mix empiricism with theory which resulted in me visiting Astrid Lindgrens Näs and working with theory which describes the relationship between visitors and the museum, the author and the authorship. The radio piece’s purpose is to give an hint of how the museum works, in a practical way. The project shows that the conventions in the museum is present and what maintains the conventions is the fear of the visitors misunderstanding. I also discovered that the role of the author, who among others Foucault describes, is necessary for Astrid Lindgrens Näs.

Syfte och forskningsfrågor Uppsatsens syfte är att undersöka hur kvinnliga musikartister går tillväga för att lansera sitt artisteri oberoende av de större skivbolagen. Eftersom musikindustrin till större delen är dominerad av män samt beroende av de större skivbolagen riktar sig denna forskning in på det kvinnliga entreprenörskapet inom musikindustrin. De framtagna forskningsfrågorna handlar om hur kvinnliga musikartister tar sig fram när det kommer till lansering av sitt artisteri oberoende av de större skivbolagen. Alltifrån hur lanseringen ser ut, vilka redskap som kan användas samt vilka möjligheter och begränsningar som existerar för kvinnliga artister i musikbranschen. Metod Denna studie innehar en kvalitativ metodundersökning med en induktiv ansats. Det empiriska materialet har samlats in via fem stycken intervjuer genomförda med kvinnliga självständiga artister som alla är aktiva i dagens musikbransch. Därefter har en framtagen analys tydliggjort svaren av forskningsfrågorna. Slutsatser Det som gör att en kvinnlig artist i musikbranschen kan klara sig oberoende av de större bolagen handlar om att ta hjälp av det kvinnliga musiknätverket. Med en noggrann utveckling av det personliga varumärket och en utförlig lansering kan man genom det kvinnliga musiknätverket som redskap ta sig fram i musikbranschen oberoende av de större bolagen. / Purpose and research questions The purpose of this essay is to examine the way that female musicians work to launch their artistry independent of larger record labels. Since the music industry is prominently dominated by men and dependent on the larger record companies this research will focus on the entrepreneurship of women in said industry. The research questions will therefore focus on how female music artists make their way when it comes to launching their artistry independent of larger records companies. How does the launch work, what tools are used and what possibilities and limitations do the women of the music industry face? Method This study features a qualitative method research with an inductive approach. By gathering the empiric material through five interviews with female independent artists that are currently active in the music business. Thereafter an analysis produced has made the answers to the research questions clear. Conclusion The conclusion of what makes a female artist successful in the music business, independent of the larger record labels, is the social network between female musicians. With a thorough development of the personal brand and a detailed launch you can use the social network between female musicians to make their way in the music business.

The purpose of this research study was to examine the instructional strategies, rationale, understandings, and perceptions of an elementary music specialist, Michelle Roberts, regarding the integration of traditional core content areas (TCCAs) in the kindergarten music classroom. This study sought to scrutinize the characteristics and details of Michelle’s teaching through Elliot Eisner’s notions of educational connoisseurship and criticism and through his conceptualization of educational research and practice as art. A number of early childhood educators and researchers have stressed the importance and pedagogical efficacy of using interdisciplinary, holistic instructional approaches with young children. Such approaches have the potential to create space for a humanizing education in the early childhood classroom. This qualitative research study was conducted at a public elementary school in a large, urban district in Texas, between September 18, 2009 and January 26, 2010. The participant was Michelle Roberts, an elementary music specialist with nearly 25 years of teaching experience. Data sources included classroom observations, examination of instructional artifacts, and semi-structured interviews. Following analysis of the data, three conclusions concerning the music specialist’s rationale, understandings, and perceptions regarding the integration of traditional core content areas and kindergarten music instruction were drawn. First, Michelle’s rationale, understandings, and perceptions regarding the integration of the TCCAs and kindergarten music instruction were grounded in her wealth of teacher knowledge and skills and in her beliefs regarding teaching. Second, Michelle’s rationale for the integration of the TCCAs and kindergarten music instruction was that it allowed her to educate her students in the most fitting manner possible and that it made learning “solid” or “a complete picture” for the students. Third, Michelle’s perceptions and understandings regarding the integration of the TCCAs and kindergarten music instruction were grounded in three beliefs: (a) the integration of the TCCAs and music instruction is beneficial for young children; (b) it is important to maintain the integrity of the discipline of music when integrating instruction in the TCCAs and kindergarten music instruction; and (c) music cannot be taught in isolation from other content areas. / text

Friedrich Nietzsche’s 1874 essay "On the Use and Disadvantage of History for Life" (HL) presents ideas on how the past ought to be appropriated and how history ought to be written. His 1887 book "On the Genealogy of Morality" (GM) presents an account of the historical development of European morality. Given that Nietzsche appropriates the past through writing in GM, the question arises: does GM put into practice Nietzsche’s earlier ideas from HL concerning how the past ought to be appropriated through the writing of history? I argue that GM does indeed apply some of Nietzsche’s key ideas from HL. In particular, GM remains consistent with HL insofar as it appropriates the past unhistorically, makes use of the monumental and critical modes of history, and appropriates the past in a way that encourages the flourishing of an elite kind of human being. However, Nietzsche’s manner of appropriating the past in GM also diverges from what he espouses in HL. Whereas in HL he emphasizes the usefulness and desirability of forgetting and distorting the past, in GM he exhibits a more notable concern with knowing the truth about the past. I show that this difference in approach is due to the significant change that Nietzsche’s epistemology underwent between the writing of HL and the writing of GM. This difference in approach notwithstanding, the great virtue of illuminating GM through the lens of HL is that it allows us to see more clearly how a lack of concern with truth and knowledge plays a positive role in Nietzsche’s writing of the past in GM. It also helps us to understand why he appropriates the past the way that he does in GM. Just as in HL Nietzsche thought that the past ought to be appropriated in a way that encourages the activity of genius, his writing of the history of European morality in GM is undertaken with the intent to encourage the occurrence and activity of a select kind of human being, a kind of human being that Nietzsche values above all else.

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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.

<p>This study examines the nature and possible causes of the changes in the art and artistry of Abdul Rahim Ghafori, an Afghan artist who has migrated to Sweden. The premise of this paper is that over time a person who migrates to another culture will undergo change. In an artist this change should manifest itself in his art and artistry. The study examines this process of change and how it is manifested in the artistry and art of Abdul Rahim Ghafori. The study intends to increase knowledge and understanding of the changes a person undergoes when experiencing a culture change.</p> / <p>Studien är en detaljerad fallstudie vilken ingående belyser ett konstnärskap och utförligt diskuterar ett antal av konstnärens verk. Studien undersöker vilka förändringar i konst och konstnärskapberoende på kulturbyte som kan skönjas hos den afghanske men till Sverige invandrade konstnären Abdul Rahim Ghafori. Att det över tid sker en förändring hos en person som invandrat till en annan kultur är ett utgångsantagande för studien. Hos en konstnär bör denna förändring visa sig i konst och konstnärskap. I studien undersöks vad som händer och hur detta visar sig i Ghaforis konstnärskap och konst samt vilka möjliga orsaker dessa förändringar har. Studien avser att utöka kunskapen om och förståelsen för de förändringar en människa går igenom när han eller hon byter kultur. </p>

This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details. Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach. The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are; a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time. b) the access to a network of musically active women, from which a sense of being part of a female community can be created. c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

This study examines the nature and possible causes of the changes in the art and artistry of Abdul Rahim Ghafori, an Afghan artist who has migrated to Sweden. The premise of this paper is that over time a person who migrates to another culture will undergo change. In an artist this change should manifest itself in his art and artistry. The study examines this process of change and how it is manifested in the artistry and art of Abdul Rahim Ghafori. The study intends to increase knowledge and understanding of the changes a person undergoes when experiencing a culture change. / Studien är en detaljerad fallstudie vilken ingående belyser ett konstnärskap och utförligt diskuterar ett antal av konstnärens verk. Studien undersöker vilka förändringar i konst och konstnärskapberoende på kulturbyte som kan skönjas hos den afghanske men till Sverige invandrade konstnären Abdul Rahim Ghafori. Att det över tid sker en förändring hos en person som invandrat till en annan kultur är ett utgångsantagande för studien. Hos en konstnär bör denna förändring visa sig i konst och konstnärskap. I studien undersöks vad som händer och hur detta visar sig i Ghaforis konstnärskap och konst samt vilka möjliga orsaker dessa förändringar har. Studien avser att utöka kunskapen om och förståelsen för de förändringar en människa går igenom när han eller hon byter kultur.