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Syftet med detta arbete var att få ökad förståelse för hur åtta specifika instrumentallärare utnyttjar möjligheterna och hanterar utmaningarna under lektioner i grupp och enskilt i cello- och blockflöjtsundervisning. Vi intervjuade åtta lärare (fyra cellolärare, tre blockflöjtslärare och en brasslärare) för att undersöka hur de uppfattade grupp- och enskild undervisning samt möjligheter och utmaningar med dessa undervisningsformer. Resultatet visar på att det är enklare att få en personlig kontakt under den enskilda lektionen och att lektionsinnehållet blir mer individuellt anpassat. Fokus på tekniken ses dock som både positivt och negativt. Relationen mellan läraren och eleven under den enskilda lektionen kan lätt bli osymmetrisk varför lärare bör försöka ”bjuda in” eleven att vara mer delaktig i diskussioner och planering. Samtliga lärare i vår studie ser gruppdynamikens möjligheter och de säger att det är enklare att leka när man har mer än en elev åt gången. Flera lärare i studien ser värdet i att barn utmanar, undervisar och påverkar varandra. Alla intervjuade lärare vill helst ha både enskild och grupp-/ensembleundervisning med varje elev. Både enskild och gruppundervisning har i vår studie visat sig ha specifika egenskaper och lärarna i studien försöker utnyttja dessa till sin och elevens fördel. Vi tycker oss se att grupplektionens negativa sidor i stort kan vägas upp av den enskilda lektionens positiva sidor och omvänt. De kompletterar varandra. Det är dock upp till varje enskild lärare att utnyttja möjligheterna och hantera utmaningarna med båda lektionsformerna. / The purpose of this study is to gain a greater understanding in how eight particular instrumental teachers utilize the potential, and deal with the challenges during group and individual instruction for the cello and recorder. Eight teachers were interviewed (four cello teachers, three recorder teachers, and one brass teacher), as part of an examination as to how they consider group and individual instruction, and the potential and challenges associated with these methods of instruction. The results indicate that individual lessons facilitate personal contact, in addition to being more suited to the individual. The focus on technique is viewed as being both positive and negative. The relation between teacher and student during the individual lesson is often asymmetrical, but by encouraging the student to participate more actively, this may be mitigated. All the teachers participating in the study acknowledge the potential of group instruction, adding that it is easier to have fun when there is more than one student being taught. Several teachers also mentioned the importance of children challenging, teaching and influencing one another. All of the teachers interviewed would prefer to teach each student both individually, and as part of a group. According to the study, both individual and group instruction offer specific qualities which are used by the teachers to the benefit of themselves and the students. The negative aspects of group instruction are balanced by the positive effects of individual instruction – and vice versa. In effect, these two methods supplement each other. Ultimately, it is the teacher who must decide how best to utilize the potential, and deal with the challenges associated with both methods of instruction.

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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos.

Benjamin Britten is a renowned and prolific English composer, well known for his operas and vocal works. He did, however, also compose five works especially for the cello as a solo instrument of which the Sonata in C for Cello and Piano Op. 65 was the first. He was inspired by one of his musical contemporaries, the remarkable Soviet cellist, Mstislav Rostropovich. Rostropovich was famous for his amazing artistry which propelled him to become one of the most prominent cellists in the world during his time. Thus Britten, who had previously only composed for cello as part of ensembles, created this sonata specifically thinking of Rostropovich and his outstanding skill as a cellist. The premiere of the sonata took place in July 1961 at the Aldeburgh Festival and it was a great success. However, despite Britten's reputation as an outstanding composer and the significance of the sonata, this sonata has been performed infrequently. Britten utilized many challenging techniques and adapted them innovatively in the composition, and perhaps performers may be reluctant to choose this work due to the complexity and challenge inherent in the composition itself. The purpose of this dissertation is to provide a practical guide for students and those who wish to learn and perform Britten's Sonata in C for Cello and Piano, Op. 65 by increasing understanding of the work, and by offering practical assistance.

In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden