Syftet med den här kvalitativa intervjustudien är att undersöka vilken relation lärare inom den högre klassiska instrumentalundervisningen har till improvisation, såväl deras tankar kring konceptet som deras praktiska applicering av improvisation i undervisningen. De forskningsfrågor som studien har ämnat finna svar på är: Hur uppfattar lärarna inom den högre klassiska instrumentalundervisningen improvisationens roll i deras undervisning? Varför har lärarna dessa uppfattningar? Vad får dessa uppfattningar för konsekvenser för lärarnas undervisning? Studien tar sin utgångspunkt i det hermeneutiska perspektivet och genomfördes genom kvalitativa fallstudier då jag vill göra en djupare tolkning av de intervjuades livsvärldar. Jag använde mig av så kallade halvstrukturerade intervjuer vilka liknar vardagliga samtal men har ett tydligt syfte att ta reda på. Resultatet visar att respondenterna har väldigt olika syn på vad improvisation egentligen är vilket påverkar deras syn på hur mycket av undervisningen som ska läggas på improvisation. Samtliga ansåg dock att det fanns en plats i undervisningen för improvisation, även om två respondenter uttryckte oro för de negativa effekter som en mer fri improvisation kan ha på den tryckta musiken den interagerar med. En majoritet av dem har dessutom sett ett ökat intresse för improvisation bland sina studenter, men med så vitt skilda syner på improvisation från lärarnas håll blir konsekvensen att studenterna får vitt skilda kunskaper och erfarenheter kring improvisation beroende på vilken lärare de får och vilket instrument de spelar. / The purpose of this qualitative interview study is to investigate the relationship teachers in higher classical instrumental teaching have to improvisation, both their thoughts on the concept and their practical application of improvisation in their teaching. The research questions that the study has intended to find answers to are: How do teachers in higher classical instrumental teaching perceive the role of improvisation in their teaching? Why do teachers have these perceptions? What are the consequences of these perceptions for teachers' teaching? The study is based on the hermeneutic perspective and was carried out through qualitative case studies as I want to make a deeper interpretation of the interviewees' lifeworlds. I used so-called semi-structured interviews which are similar to everyday conversations but have a clear purpose to investigate. The results show that the respondents have very differing views on what improvisation actually is, and that affects their view of how much of the teaching should be spent on improvisation. However, all considered that there was a place for teaching improvisation, although two respondents expressed concern about the negative effects that more free-form improvisation can have on the printed music it interacts with. A majority of them have also seen an increased interest in improvisation among their students, but with such widely differing views on improvisation from the teachers' side, the consequence is that students gain widely differing knowledge and experience about improvisation depending on which teacher they get and which instrument they play.

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My master’s thesis project is about creating music for piano and improvising ensemble based on compositions that set the ground for an open improvisation. I wanted to find out methods of how to write and communicate a piece that gives the performing musician a maximum freedom to interpret their parts and still share the same vision of the piece. In order to get there I tried out different strategies of composing and different instrumentations. I also compare this project to previous ones and examine how the playing with the ensemble in this project affected my own style of playing. The exam concert together with this thesis document the process and outcome of this project. / <p>Composer: Johann Fritsche.</p><p>Musicians: Johanne Skaansar, Viola, Samuel Lazar Eriksson, Violoncello, August Eriksson, Double Bass, Fiach O’Briain, Drums, Johann Fritsche, Piano.</p><p>Uploaded media file: Johann Fritsche's exam concert. </p>

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<p>Cilj ovog rada je bio da se izvr&scaron;i kontrastivna ana-<br />IZ liza žanra tekstova o klasičnoj muzici na engleskom i srpskom jeziku koja bi omogućila predstavljanje ključnih jezičkih i sadržajnih sličnosti i razlika koje postoje među njima. U sklopu analize, žanr tekstova o klasičnoj muzici je sagledan i predstavljen kroz različite aspekte, a obavljena je i opsežna jezička analiza korpusa tekstova iz žanra, posebno za tekstove na engleskom jeziku i za one na srpskom. Nakon toga, obavljena je kontrastivna analiza, pomoću koje su uporedno sagledani rezultati dobijeni analizom žanra. Rezultati dobijeni u ovom radu mogu naći primjenu u četiri različita područja: u lingvističkim teorijama iz oblasti analize žanra i kontrastivne analize, pri upotrebi i kreiranju tekstova o klasičnoj muzici u okviru diskursne zajednice profesionalnih muzičara, prevođenju tekstova o klasičnoj muzici sa engleskog jezika na srpski i obrnuto i u nastavi engleskog jezika struke na visokoobrazovnim institucijama iz oblasti muzičke umjetnosti.</p> / <p>The aim of the paper was to perform a contrastive<br />AB genre analysis of texts on classical music in English and Serbian which would enable the presentation of key linguistic similarities and differences which exist between them. Within the analysis, the genre of texts on classical music was observed and presented through different aspects, and a comprehensive linguistic analysis of texts from the genre was performed as well, separately for texts in English and the ones in Serbian. After that, a contrastive analysis was performed, and by means of it the results obtained by the genre analysis were viewed comparatively. The results obtained in this paper introduce the genre of texts on classical music in the literature dedicated to genre analysis and contrastive analysis and can be applied in four different areas: linguistic theories dedicated to genre analysis and contrastive analysis, use and creation of texts on classical music within the discourse community of professional musicians, translation of texts on classical music from English to Serbian and vice<br />versa and ESP teaching at highe</p>

La thèse présente étudie de façon exclusive quelques aspects fondamentaux des liens entre la musique classique persane et la musique classique turco-ottomane. Le premier chapitre est une esquisse des liens historiques des musiciens persans avec le milieu culturel ottoman, et l'influence qu'ils ont eue sur la musique classique de cet empire. Le second chapitre dégage des liens entre certains aspects du répertoire instrumental attribué aux compositeurs persans des XVIe et XVIIe siècles dans les manuscrits ottomans d’Ufki et de Cantemir avec ceux du répertoire classique persan le plus ancien transmis jusqu'à nos jours ; le répertoire qâjâr. Sous l’angle des convergences et divergences des écoles classiques persane et turque contemporaines, le troisième chapitre se focalise sur le concept fondamental de mode et entreprend de comparer les particularités de cinq éléments constitutifs modaux dans les pratiques turque et persane actuelles. Le quatrième chapitre, en vue d'une démonstration concrète des théories modales développées dans le chapitre précédant, analyse des affinités et des divergences de cinq maqâms turcs actuels d’une même famille modale, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, dont la substance est comparable dans la tradition persane actuelle, soit Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. Le dernier chapitre est une approche anthropologique destiné à présenter une tentative concrète de revivification du répertoire des « ‘Ajamlar » dans les milieux des musiciens iraniens contemporains, et à étudier les réactions de ces derniers faces à ce répertoire inconnu en Iran tiré des sources ottomanes. / This thesis studies exclusively some fundamental aspects of the links between the Persian classical music and the Turkish-Ottoman classical music. The first chapter is an outline of historical connections of Persian musicians with the Ottoman cultural environment, and the influence which they have had on the classical music of this empire. The second chapter identifies the links between some aspects of the instrumental repertory attributed to Persians composers of 16th and 17th centuries in Ufki and Cantemir’s Ottoman manuscripts and those of the oldest Persian classical music transmitted to our days; the qâjâr repertory. From the angle of convergences and divergences between contemporary the Persian and the Turkish classical schools, the third chapter focuses on the fundamental concept of mode and undertakes to compare the particularities of five modal constituent elements in the current Turkish and Persian practices. The fourth chapter, with a view to concrete demonstration of modal theories developed in the previous chapter, analyzes the affinities and differences of five current Turkish maqâms of a same modal family, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, whose substance is comparable in the current Persian tradition, with Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. The last chapter is an anthropological approach intended to present a concrete attempt to revivification of the “‘Ajamlar” repertory in contemporary Iranian musicians’ circles, and to study the reactions of these latter facing this unknown repertory in Iran taken from the Ottoman sources.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

The problem of the investigator is the compilation of an exhaustive list of art songs other than those dealing with subjects of a romantic or religious nature.

A collective description and analysis of the first three Prussian sonatas of Bach

Esta pesquisa aborda a trajetória da gravadora Festa, criada na década de 1950, no Rio de Janeiro, pelo jornalista paulista Irineu Garcia (1920-1984), que teve como sócio nos dois primeiros anos o livreiro e editor carioca Carlos Ribeiro (1908-1993). A título de recorte, a dissertação trata do período compreendido entre 1955 e 1971, quando o selo fonográfico, sob a coordenação de Garcia, gravou dezenas de discos de literatura (poesia, prosa, teatro), música erudita e popular. A partir de extensa pesquisa em arquivos públicos e particulares, bem como em periódicos publicados entre os anos de 1940 e 1990, além da realização de diversas entrevistas, o trabalho busca organizar a história da gravadora de forma panorâmica, com o intuito, inclusive, de possibilitar outras investigações de aspectos pontuais sobre este objeto. Procurou-se também inserir a narrativa dentro do contexto histórico daquele momento, quando emergia uma indústria cultural no país. Por fim, reuniu-se em um anexo capas, contracapas e/ou informações acerca de 97 produções fonográficas realizadas pela gravadora no período contemplado pelo estudo. / The present research recovers the trajectory of the Festa record company, launched in Rio de Janeiro during the 1950s by São Paulo-born journalist Irineu Garcia (1920-1984) and the editor and bookseller carioca Carlos Ribeiro (1908-1993), his business partner during the first couple of years. It focuses on the period between 1955 and 1971 when the phonographic label, under Garcia\'s leadership, recorded dozens of literature discs (poetry, prose, theater), popular and classical music. After extensive data recollection from public and private archives as well as from publications released from 1940 to 1980 and many interviews, the present work broadly organizes the history of Festa with the intention of providing for other research works that could take on specific aspects of the object. It also places the narrative in the historical context of the emergence of a cultural industry in the country. Finally, the research includes an Annex with covers, back covers and general information on 97 phonographic productions by the record company in the studied time frame.