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Musiken som kompositör och regissör är en uppsats om hur vi som utövande sångare och kompositörer omedvetet verkar i en tradition som har sina rötter i en kompositionsteknik och estetik som hade sin storhetstid för tre till fyrahundra år sedan, nämligen affektläran.Som bas för min undersökning ligger min egen komposition, operan ”Post office”, med ettlibretto baserat på Charles Bukowskis roman med samma namn. Operan är komponerad utan att jag hade någon som helst kännedom om affektläran, och jag ställer därför frågan om jagomedvetet har komponerat utifrån en tradition som går tillbaka till 1600- och 1700-talet. Jaghar använt mig av en analysmetod där jag väljer ut vissa stycken ur operan, vilka sedan haranalyserats textligt och musikaliskt utifrån affektlärans tekniker. Jag har även med hjälp av en observation av ett antal sångare, som fått framföra delar av min opera, undersökt om det retoriskt-gestiska agerandet i barockens opera omedvetet kan leva kvar hos dagens sångare. Resultatet av musikanalysen är att jag faktiskt omedvetet förhållit mig till en affektläratradition vad det gäller det musikaliska uttrycket. Att sångarna dessutom upplevde min musik på ett sätt som stämde överens med mina musikaliska intentioner visar att de har del i samma tradition. Resultatet av sångobservationen pekar däremot mot att den tradition av gestisk teknik som utvecklades i barockoperan inte på samma sätt som affektläran lever kvar bland dagens sångare. / The essay ”Musiken som kompositör och regissör” (Music as Composer and Director) is an essay about how we as composers and singers subconsciously are influenced by a tradition that experienced its glory days three to four centuries ago, namely the ”affektenlehre” As the basis for my research, I have used my own composition, the opera ”Post office” witha libretto based on Charles Bukowski’s novel with the same name.The opera was composed without having any kind of knowledge about the ”the affektenlehre”. In it, I ask the question if I have subconsciously composed in a tradition datingback to the seventennth and eighteenth centuries. I analyse four excerpts from the opera bothlyrically and musically. The second part of my research is also based on the same tradition, but from an actingperspective of the vocalist. While observing vocalists sing excerpts from my opera, I haveattempted to find gestures that are related to the manner in which performers acted in baroque opera during the seventeenth and eighteenth centuries.The result of my analysis demonstrates that I have indeed composed my opera according tothe musical tradition which the vocalists, who are part of my observation, acknowledge, before they have read the lyrics of the excerpts of the opera. The observation of the vocalists indicates however, that the tradition of rhetorical gestures that emerged during the Baroque opera, does not exist on a subconscious level in the minds of vocalists.

<p>In which ways have composing processes in music appeared over the past 300 years? How may composing processes work today? What does new technology do to this processes?</p><p>The key purpose of this study is to investigate various composing processes. A further purpose is also to gain an awareness of how we use modern technology by computers and their notation programmes.</p><p>The research design of this thesis includes a display of literature related to composing processes. along with an analysis of the writer’s own experiences in the area. Therefore, included in this thesis, is a score and a recording of a new composition together with an analysis of the writer’s own composing process. The results of the writer’s composing process of this piece, are furthermore discussed with three of the writer’s colleauges.</p><p>This study deliberately focuses on Western classical music and jazz improvisation as these are genres where the writer has his own musical background. He will therefore be able to reflect upon his own experiences in the area.</p><p>Today the computer and its programs is a natural component in the musical process, however, it might tempt us to take ’short cuts’ in parts of the creating process. The findings of this study point towards the idea that in order to create a sense of inspiration in a composition or in a performance, the process has to be rooted physically in the body, without any use of ’short cuts’.</p>

<p>Nordic Mashup - komp. och arr. av Magnus Holmander</p><p>klarinett: Magnus Holmander</p><p>piano: Alfredo Salvador</p>

In which ways have composing processes in music appeared over the past 300 years? How may composing processes work today? What does new technology do to this processes? The key purpose of this study is to investigate various composing processes. A further purpose is also to gain an awareness of how we use modern technology by computers and their notation programmes. The research design of this thesis includes a display of literature related to composing processes. along with an analysis of the writer’s own experiences in the area. Therefore, included in this thesis, is a score and a recording of a new composition together with an analysis of the writer’s own composing process. The results of the writer’s composing process of this piece, are furthermore discussed with three of the writer’s colleauges. This study deliberately focuses on Western classical music and jazz improvisation as these are genres where the writer has his own musical background. He will therefore be able to reflect upon his own experiences in the area. Today the computer and its programs is a natural component in the musical process, however, it might tempt us to take ’short cuts’ in parts of the creating process. The findings of this study point towards the idea that in order to create a sense of inspiration in a composition or in a performance, the process has to be rooted physically in the body, without any use of ’short cuts’.

An examination of the composing processes of blind writers was conducted to determine the strategies used by these composers. Two individuals blind from birth and two persons blinded later in life participated in the study. Using participant observation and stimulated recall, the researcher examined the composing processes of these subjects. Each individual participated in four writing sessions and used the compose-aloud technique where by the composer repeats orally any thoughts that occur during writing. In addition, an interview was conducted with each participant which provided a writing history, attitude toward writing, and composing strategies. Results of the research indicated that blind writers use the same basic processes of writing as reported for sighted writers. Blind writers in this study did not make written plans prior to writing and spent between one and four minutes in prewriting. Planning was an ongoing feature of the composing process. The writers in this study demonstrated the recursive feature of composing. Rescanning was a continual part of their composing sessions . Three of the subjects reported using rescanning for planning and editing. One individual reported using rescanning for editing only. Some differences were found in the blind writers as compared to the research on sighted composers. First, blind writers averaged 39 rescansions per essay, while research on the sighted reported approximately six rescansions in each session. The difference in the number of rescansions between these two groups may be a result of the blind writer's need to locate position on the page or from a difference in short-term memory in the sighted and non-sighted. Writers blind from birth demonstrated a difference in the ability to organize an essay in the extensive mode. These composers made no global plans. Rather they allowed the writings to unfold as they wrote. This research would indicate that sight may have a role in composing.

This master thesis has two main objectives, the first is to develop a list of impressionistic key features and the second is to apply those key features when writing idiomatic music for the guitar. The composers of the impressionist era tried to capture the sense of an emotion through the musical language, something this master thesis investigates further. During the process of gathering information about impressionistic key features, I found important building blocks that made me aware of the impressionistic musical language. The four methods I used were arranging and analyzing sheet music, interviews with composers, literature studies and video interpretation. When I found enough material, I started to write music using the impressionistic key features. It resulted in three impressionistic sounding pieces. The pieces are presented with sheet music and an audio recording. As a reader and musician, one can gain knowledge about the impressionistic sound, how to write idiomatic music for the guitar and methods how one can intertwine these two subjects. The discussion part of the thesis addresses problems I struggled with during the process and how I could move away from these difficulties using composing methods and utilizing the impressionistic key features in a creative manor.

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The study of writing has moved through process and product movements. The rapid introduction of technology into classroom spaces has provided new platforms and opportunities for students to integrate multiple modes of communication into a single act of composing. While there is an acknowledgment that digital multimodal composition is a highly complex act and set of processes, much of the literature and investigation into this digital turn in composing has largely been product focused versus process focused. This exploratory qualitative case study examined how students compose using digital tools and were driven by questions about what activities in which they engage and what patterns exist in how those activities come together. Using a combination of data sources including screen capture video, think-aloud protocols, and retrospective surveys, eleven process activity categories emerged from analysis including selection, text entry, manipulation, referencing, environment setting, review, contemplation, waiting, breaks, transition, and completion. Process activity categories then informed the inductive determination of four tendencies that impact how process activity comes together during participant acts of composing. Participants displayed as one-dimensional, irresolute, flexible, and perfectionist. Broad patterns related to process activity progression and traditional concepts of print were present in participant composing activity. Viewed together, vague complexities noted in literature are explicitly illustrated and elaborated and an argument for digital multimodal composing as a design process is made. Recommendations for practitioners and researchers are shared.