Jag har länge tyckt att soundet från en stråke är häftigt. Det finns inspelningar med jazzstråk, men det är inte jättevanligt och jag undrade varför. Är det för att det finns för många svårigheter att hantera med stråken? Eller var det kanske så att det fanns massor med möjligheter som inte många tog vara på? Syftet i mitt arbete har varit att ta reda på vad det finns för möjligheter och svårigheter med att spela stråke på kontrabas i jazzmusik. I arbetsprocessen har jag valt ut låtar och spelat in dessa låtar med ett band bestående av trummor, el-gitarr, tenor saxofon och viola. Sedan har jag skickat låtarna till verksamma stråkbassister så att de kan kommentera och ge tips. Utifrån kommentarerna, tipsen och min egna analys av låtarna har jag gjort övningar som har gjort att jag på bättre sätt har kunnat ta vara på möjligheterna och hantera svårigheterna. De tankar jag hade i början av arbetet angående vad som skulle vara möjligheterna med stråken och vad som skulle vara svårigheterna har visat sig i vissa fall inte stämma alls, i vissa fall stämma delvis och i vissa fall stämde de helt. Ett exempel är att jag tänkte i början av arbetet att få till bra rytmer skulle vara en svårighet, dock visade sig rytmer även vara en möjlighet då man kan ha större rytmisk variation med stråken än med fingrarna eftersom man kan hålla ut en ton längre med stråken. / For a long time I have been thinking that the sound of a bowed tone is cool. There are recordings of music with jazz bowing, but it is not very common and I wondered why. Is it because there are too many difficulties with bowplaying? Or are there a lot of opportunities that only a few bass players take advantage of? The aim of my thesis is to figure out what the difficulties and the opportunities with bow playing on the double bass are in jazz music.  In my research process I have chosen a couple of songs, rehearsed and recorded them with a band including drums, guitar, tenor saxophone and viola. After each recording session, I sended the recordings to a couple of active bow playing bass musicians, which answered with comments and advices.  Based on the advices and my own analysis of the songs, I did exercises that taught me how to handle the difficulties and how to fully use the opportunities with bow playing in jazz music.  In the beginning of the project I had some thoughts about what the opportunities and difficulties would be. Some of the thoughts came out to be, in some cases incorrect, in some cases partly correct and in some cases fully correct.  An example is that, beginning my research I thought that playing rhythms with a bow would be difficult, but as it turned out, playing rhythms could also be an opportunity. I then could use more versatile rhythms than with my finger, since the bow allows me to hold a tone for a longer time.

This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

This document traces a link between Pedro Valls and Giovanni Bottesini by identifying traits of Homenaje à Bottesini that resemble techniques and musical characteristics of Bottesini's music, through the comparison of Valls' Homenaje à Bottesini to Bottesini's Fantasia sur La Sonnambula, focusing on the works formal, musical and idiomatic characteristics. This is supported by documented evidence of Bottesini's presence in Spain during Valls's lifetime and Pedro Valls contact with the Italian master of the double bass school of playing and teaching method. This study also proposes adjustments in the notation of Homenaje à Bottesini to more modern and player-friendly score indications, which will help its inclusion into the active double bass repertoire. This document examines performance practice(s) of the work and what advantages or disadvantages these practices have in playing the work, and to ultimately offer a clear pathway, a road map, to performers interested in delving into Pedro Valls's work, with a better idea of what Valls's style consists of and what approach to take when performing his works.

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.

I detta projekt behandlas ämnet misslyckande i relation till mitt framförande av stycket Failing: a very difficult piece for double bass, skrivet av Tom Johnson år 1975. Stycket består av musik för solokontrabas som även har en textrad som ska läsas samtidigt som musiken spelas. Detta med syftet att framföraren ska misslyckas med sitt framträdande. Stycket Failing sätter praxis för att spela musik på sin spets, då det blir oklart vad vi egentligen är ute efter i spelandet. I denna uppsats gör jag ett försök att reda ut hur musikaliska misslyckanden fungerar, samt hur min inställning till misslyckanden kan påverka mitt spelande. Detta sker genom reflektion och begreppsliga resonemang, med vissa referenser till litteratur inom psykologin. Slutsatsen är att jag så länge jag gör ett kvalificerat försök att spela Failing, så kan jag inte misslyckas med mitt framträdande. Detta synsätt leder till minskad prestationsångest vilket kan ge en förhöjd publikupplevelse. Det kan finnas värde i att applicera de begrepp jag kommit fram till på framtida framträdanden, eller fortsätta projektet att skapa tydliga begrepp kring musikaliska framträdanden. / <p><strong>Konsertprogram</strong></p><p>J.S. Bach: <em>Allemande</em> ur Cellosvit nr. 3</p><p>A. Desenclos: <em>Aria</em> ur Aria et Rondo</p><p>S. Koussevitzky: Konsert för kontrabas, Op. 3</p><p>T. Johnson: <em>Failing: a very difficult piece for double bass</em><em></em></p><p><strong>Medverkande</strong></p><p>Joel Hedtjärn, solokontrabas</p><p>Katarina Ström-Harg, piano</p>

Through continuing technological advancement, increased media exposure occurs as consumers are able to obtain access more easily. Various media formats, including video, are a means whereby consumers gather information about the world around them, and continually make comparisons between that information and themselves. Among the information obtained from media channels is how bodies are portrayed in the media. Comparisons between media images of body and self-perceptions of body are particularly prevalent in women. The current study employs the use of eye-tracking to examine how women view other women's body types and areas of the body in video-based advertising. The study also employs self-report measures to further understand how individual body region satisfaction, drive for thinness, and media influence relate. Findings indicate that women, regardless of personal satisfaction, tend to look longer at thin women than plus-sized or average women. Furthermore, media pressures and internalization were found to play a strong role in women's drive for thinness and personal satisfaction, while media as a source of information played no such role.

Hybrid-electric technologies have recently been introduced into the market for heavy-duty vehicles (HDVs). However, challenging an established technology with a new and untried technology is difficult, also under the best conditions. Forecasting is a vital tool in product portfolio management, since it provides guidance on how much resources a firm should allocate on new innovative projects and products and when and where to enter the market. Therefore, this thesis forecasts the market penetration of hybrid HDVs in Europe by usage of innovation diffusion models – based on three different market scenarios assuming no, some and considerable incentives or legislative CO2 for HDVs. Hybrid-electric, hydraulic hybrid and flywheel hybrid vehicles are considered and an analogical approach is used based on sales data for radial tyres, disc brakes and anti-lock braking systems. The result from a non-linear regression analysis indicated that innovation diffusion models of mixed influence are capable of predicting future market demand, not only of hybrid HDVs, but also of other HDVs with new innovative technologies or solutions. Therefore, it was suggested that innovation diffusion modeling should be a standard tool in the strategic planning of a HDV firm’s all new innovative products. All market scenarios resulted in a rather low diffusion speed of hybrid HDVs during the first ten years, but the speed increased then rapidly during the next ten years such that 40-50 percent of the HDV market was penetrated in 2030. In the most hybrid-friendly scenario, the market was nearly fully penetrated after 50 years since the first introduction in 2010, while in the least hybrid-friendly scenario additional ten years was needed to fully penetrate the HDV market. The forecasts may be affected by possible pre-diffusion, the emergence of a dominant design or the diffusion acceleration effect. One of the major challenges of using innovation diffusion models for sales forecasting of hybrid HDVs, was to find appropriate and sufficient analogous sales data. Therefore, Thomas (1985) analogous approach was further developed to be more focused on finding analogous sales data from internal, external or public sources.

The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

Studies of sexual dimorphism of the sacrum have generally been conducted as part of broader population research or on living persons and cadavers, making the anthropological literature sparse. The greater sciatic notch and the preauricular sulcus of the ilium have both been found to show sexual dimorphism, although studies of these traits often have ambiguous definitions of characteristics and lack the standardization of measurements. This research was designed to reexamine and test the accuracy of standard scoring systems and measurements of the posterior pelvis used to determine sex and to establish new formulae combining traits and measurements to accurately determine sex using logistic regression analysis. A series of metric measurements and morphological scores were recorded for 104 males and 106 females of both European- and African-American ancestry from the William M. Bass and Terry Collections. In order to reexamine previous research conducted on the posterior pelvis, standard ratios of metric measurements were analyzed to determine ranges and cut-off values for males and females in this sample. The ratio of ala width to the maximum transverse diameter of the sacral base and the ratio of the length and width of the sciatic notch have proven to be the most useful ratios in sex determination, though not as accurate as the formulae created using logistic regression. These data were also analyzed in SPSS using logistic regression to assess the usefulness of metric measurements and morphological scores of the posterior pelvis in sex determination. Using stepwise logistic regression, a combination of traits for both the sacrum and posterior ilium that are the most reliable and accurate for sex determination have been determined. The values for these selected traits can be incorporated into the log odds formulas which will classify an individual as male or female. The ultimate goal of this research was to provide physical anthropologists with iii logistic regression equations that can be used to estimate the sex of the posterior ilium and sacrum. Two equations ranging in accuracy from 79-84% were developed to determine sex of the posterior pelvis.