<div>Camera view composing, such as photography, has become inseparable from everyday life. Especially with the development of drone technology, the flying mobile camera is accessible and affordable and has been used to take impressive photos. However, the process of acquiring the desired view requires manual searches and adjustments, which are usually time consuming and tedious. The situation is exacerbated with difficulty in the controlling of a mobile camera that has many Degree of Freedom. It becomes complicated to compose a well-framed view, because experience, timing, and aesthetic are all indispensable. Therefore, professional view composing with a mobile camera is not an easy task for most people. Powered by deep learning, recent breakthroughs in artificial intelligence have enabled machines to perform human-level automation in several tasks. The advances in automatic decision-making and autonomous control have the potential to improve the camera view composing process significantly. </div><div><br></div><div>We observe that (a) the human-robot interaction can be more intuitive and natural for photography tasks, and (b) the drone photography tasks can be further automated by learning professional photo taken patterns with data-driven methods. In this work, we present two novel frameworks for drone photography basing on the two observations. First, we demonstrate a multi-touch gesture-controlled gimbaled-drone photography framework-FlyCam. FlyCam abstracts the camera and the drone into a single flying camera object and supports the entire control intuitively on a single mobile device with simple touch gestures. Second, we present a region-of-interest based, reinforced drone photography framework-Dr$^{3}$Cam. Our full automation Dr$^{3}$Cam is built on top of state-of-the-art reinforcement learning research and enables the camera agent to seek for good views and compose visually appealing photos intelligently. Results show that FlyCam can significantly reduce the workload and increase the efficiency in human-robot interaction, while Dr$^{3}$Cam performs human-level view composing automation for drone photography tasks.</div>

Syftet med denna studie är att ta reda på hur kompositörer inom genren svensk folkmusik idag går till väga när de komponerar ny musik, hur deras arbetsprocess ser ut och vilka arbetssätt de använder sig av. Det teoretiska perspektivet är hämtat från Stan Bennet och Max Grafs tidigare forskning om hur kompositionsprocessen ser ut för kompositörer inom konstmusikgenren. Ett didaktiskt perspektiv används också som utgångspunkt. Bakgrunden till arbetet baserar jag på tidigare forskning om kompositionsprocessen, forskning om gehörsmusik och kreativitet och idé-skapande. Jag ser även till vikten av att tränas i sitt divergenta tänkande som komponerande innebär. Undersökningen har gjorts genom kvalitativa intervjuer med tre kompositörer inom genren svensk folkmusik. Studien fokuserar på deras respektive processer och ifall det finns gemensamma drag de tre kompositörerna emellan. Resultatet visar att processen kan se väldigt olika ut, och att såväl intuitivt eller omedvetet som aktivt och medvetet komponerande sker. Något som är viktigt för kompositionen är att det finns en naturlighet i processen, att låten inte ska vara framtvingad även om kompositören arbetar aktivt med komponerandet av låten, samt att arbetsprocessen är individuell på så sätt att varje kompositör kan ha flera tillvägagångssätt Slutligen diskuteras även hur komponering kan användas i en undervisningssituation. / The purpose of this study is to see how composers in the genre “Swedish traditional music” work as they compose new music, to see their working process and what working methods they use. I will be using the theoretical perspective of Stan Bennett and Max Graf earlier research on the process in composing music in classical music. A didactic perspective is also used. I base my work on earlier researches in the area of composing, the creative process and creation in other areas. I also see to importance of divergent mind processes, which is a part of the process of composing. The study has been done by qualitative interviews of three composers in the genre of Swedish traditional music. The study focuses on their separate processes and common features. The result shows that the process can be diversified, and both intuitive and active thinking processes are being used. It is important that there is naturalness in the process. Although it´s an active process of composing, the song can´t be forced. I will present each composer one at the time and then summarize, this because the working process is so individual and each composer can have various processes. Finally I see to how composing can be used in the art of teaching.

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaves 33-40).

By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.

Les sens complémentaires en arabe sont multiples et variés. Outre les aspects syntaxiques, nous relevons des aspects sémantiques propres à chaque complément. L’introduction de l’un de ces sens dans la phrase l'enrichit et entraîne des précisions qui se rattachent au verbe. Les grammairiens classiques parlent des (mafûîät) ou encore des (manûübät) noms au cas accusatif, ils s'intéressent ainsi au traits formels des compléments. Les rhétoriciens soulignent les traits sémantiques. Ils insistent sur le sens de la restriction déterminative qu’exerce le complément sur le verbe. Une approche critique démontre que les compléments en arabe jouent un rôle important dans l'éclaircissement du sens de l’action. C’est donc le verbe qui sélectionne le sens complémentaire convenable. En arabe moderne (dans les écritures contemporaines) l’usage des compléments ne s’écarte pas loin de l'usage classique. Les auteurs sont soumis aux règles de la théorie grammaticale des premiers siècles. Toutefois, il existe certains aspects d'évolution qui reviennent, soit au choix libre de l’écrivain, soit à l’évolution interne de la langue elle-même. / The complements in arabic are multiple and various. Besides syntactic aspects, we put a spot light on the Semantic aspects of each complement. The insertion of such complement to the sentence enriches the meaning by adding precisions related to the verb. The classical grammarians talk about (mafülät) or (manlïlübäù) nouns that finish by the short vowel (a). They are also interested by the formal character of these complements. The rhetoricians highlight the Semantic character. They emphasize on the meaning of the deeming restriction that the complement exerts on the verb. A critical approach shows/proves that the complements in Arabic have an important role in the understanding of the action meaning. Consequently, it is the verb that selects the adequate complementary meaning. In modem Arabic, like in contemporary writings, the usage of complement does not differ from the traditional and classical usage. The authors are subject to the rules of grammatical theory of the early centuries. However, there are some aspects of evolution that are back either at the discretion of the writer, or at the internal evolution of the language itself.

This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement.

In collaborations with jazz musicians and classical musicians, the focus has traditionally been on the composer. In this thesis, I have focused on the musicians in the project instead. The most important thing was to explore what could be learnt in such meetings and what challenges you might face. I have examined this in four topics: 1. Composition 2. Interpretation 3. Rehearsing 4. Improvisation In the project, I composed five pieces inspired by both jazz and European classical composers. To understand classical phrasing and to implement it in my own playing, I studied for classical teachers. In order to include classical musicians, so I developed several methods. Working closely with the classical musicians made the contrasts between the genres clearer. The contrasts between jazz and the classical way of working and playing made my tendencies more apparent and I became more aware, and in control over the way I played. / <p>Ljud och bildupptagning gjordes under konserttillfället. Erik Tengholm vikarierade då på trumpetplatsen.</p><p>Kompositionerna i arbetet och de medverkande var som följer.</p><p><em><strong>Styrfart</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Victor Andersson, altsaxofon</p><p>Fredrik Jergle Almquist, fagott</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><em><strong>The Crow</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Anders Langørgen, kontrabas</p><p><em><strong>8</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Emma Granstam, trumpet och flugelhorn</p><p>Lars Ullberg, trombon</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><strong><em>Golem</em></strong></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, sopransaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett</p><p>Victor Andersson, altsaxofon</p><p>Fredrik Jergle Almquist, fagott</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><em><strong>Den inte så lille tennsoldaten</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt och piccola</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, basklarinett</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p></p>

The purpose of this project is to use different improvisational and compositional methods to compose music for a duo, trio, and a quartet. The goal is to explore the possibilities of each setting regarding the different improvisational methods and if it has an impact on decision making as an improviser. One of the factors of changing the setting is the possibilities of the various roles of each musician in each arrangement.   The combination of the ensembles:  Duo: Tenor saxophone and drums. Trio: Tenor saxophone, drums, and bass. Quartet: Tenor saxophone, drums, bass, and guitar.  Three improvisational methods will be compared to each other:  Improvisation through a melody, without written chords.  Improvisation over a traditional form: Melody – solos over written chords – melody.  Collective improvisation.  Compositional methods: Open arrangements. Using the main instrument to compose.  There will be a discussion about the different roles of the musicians in each setting and how the roles may affect the arrangements in various ways. One of the factors is to avoid the common roles as an accompanist and a melody instrumentalist in each setting. Two of the settings do not include a chord instrument and that will lead to a certain role for me as a saxophonist along with the different roles of the rhythm section. There were six rehearsals planned in total, followed by an examination concert in Nathan Milsteinsalen, Kungl. Musikhögskolan on February 23rd. / <p>Björgvin Ragnar Hjálmarsson - Tenorsaxofon</p><p>Bjarni Már Ingólfsson - Gitarr</p><p>Johan Tengholm - Kontrabas</p><p>Henrik Jäderberg - Trummor</p>

Syftet med denna studie är att undersöka kulturskolepedagogers uppfattningar om skapande i musikundervisning. Detta har gjorts genom att besvara tre frågeställningar: Hur tolkar kulturskolepedagoger aktiviteten skapande i musikundervisning? Hur beskriver kulturskolepedagoger sitt arbete med skapande i musikundervisning? Vilka hinder ser kulturskolepedagoger för elevers skapande i musikundervisning? Arbetet har haft ett genomgående hermeneutiskt perspektiv och vilar på en interpretativistisk kunskapssyn. Tidigare forskning presenteras såväl som språkliga definitioner av de centrala begreppen i studien. Studien är en intervjustudie. De genomförda intervjuerna har transkriberats och sedan analyserats tematiskt för att därefter forma ett resultat. Resultatet visar på en tolkning av skapande som en aktivitet där individen (eleven) producerar något eget och något nytt. Det framkom i intervjuerna att lärarna beskriver sitt arbete med skapande i egenskap av en lek utan rätt eller fel. I resultatet framkommer att kulturskolepedagogerna upplever det främsta hindret för elevens skapande är eleven själv. Därefter diskuteras resultatet utifrån tidigare forskning där likheter och skillnader i resultat lyfts fram. Sist i arbetet presenteras en metoddiskussion som problematiserar studiens utförande. / The aim of this study is to investigate what music-making means to four music teachers in the nonobligatory music- and culture school. This has been investigated by answering three main questions: How do music teachers interpret music-making as an activity in teaching? How do music teachers describe their work with music-making in their own teaching? What obstacles for pupils’ music-making do music teachers experience? The study is based on a hermeneutic perspective and based on an interpretative view of epistemology. In the study, earlier research is presented along with linguistical definitions of the words central for this study. The study is based on interviews which have been transcribed and then analyzed thematically to present a result. The result shows an interpretation of the activity music-making as something new to the individual (the pupil) produces, something of their own. It was shown in the interviews that the music-teachers describe their work with music-making as a form of play, which cannot be subject to outer conceptions of right or wrong. In the result it is presented that the informants of the study experience the pupils themselves as the main obstacle for their music-making. Then the result is discussed in the context of previous research, where similarities and differences in the findings are shown.

Under projektets gång har fem kompositioner skapats utifrån förbestämt utvalda avgränsningar. Resultatet analyserades utifrån ett teoretiskt ramverk utifrån Carl Jungs arbete inom den analytiska psykologin. Syftet med studien är att få en förståelse för hur mina skapandeprocesser kan förstås sett ur västerländsk psykologi samt hur lust i skapande kan främjas utifrån avgränsade metoder. Loggbok användes som dokumentationsmetod och analyserades sedan med en tematisk analysmetod. Resultatet presenteras i enskilda teman med underrubriker som besvarar forskningsfrågorna: Hur kan kreativa processer förstås utifrån ett Jungianskt perspektiv? På vilka sätt kan lust till skapande främjas? Arbetet avslutas med diskussion av resultatet i förhållande till studiens valda litteratur, forskning samt det valda teoretiska perspektivet. / During the project five compositions were created within predetermined given limits. The result was analyzed based on Carl Jung's ideas within analytical psychology. The purpose with the study is to gain an understanding how the psyche gets affected within creative processes and to explore how desire to create can be encouraged with help from limited methods. Journaling was used as the documentation method and was then analyzed with a thematic analysis. The results are presented in individual categories with subheadings that answer the research questions: How can creative processes be understood from a Jungian perspective? In what ways can the desire to create be encouraged? The study finishes with a discussion of the result in relation to the studies selected litterature, research and the selected theoretical perspective.