In this theses Oskar Nöbbelin explores new ways of finding inspiration for writing modern jazz using recordings of vocal improvisations made by non-musicians and finding ways to incorporate their outsider perspective into his own music. The text follows the process and difficulties collecting these recordings. Initially failing at street interviews and later finding success with friends and acquaintances, and even recordings of himself as a child. It then moves on to the compositional work of processing the recordings into a finished product using an array of compositional tools, some of which acquired through an interview with saxophonist and composer Nils Berg, going through each song one by one. Lastly, he reflects on how working with the non-musicians’ improvisations and the compositional tools affected the music that was written and concludes that inspiration might not be as important as he first thought going into the project. / <p><strong>Musik:</strong></p><p>”Riffraff”</p><p>”En Vals”</p><p>”P.S puss”</p><p>”Fler än jag”</p><p>”Godnattvisa till mina vänner”</p><p>”Allt kommer bli bra” </p><p>All musik är skriven och arrangerad av Oskar Nöbbelin</p><p></p><p><strong>Medverkande musiker:</strong></p><p>Oskar Nöbbelin - Klaviatur</p><p>Sabina Levin - Sång</p><p>Hannes Arason - Trumpet och flygelhorn</p><p>Johannes Bäckström - Kontrabas</p><p>Ture Lewin - Trummor</p>

This dissertation explores my process of drawing inspiration from visual objects and visual arts in order to generate compositional tools for music writing. It analyzes some of my earlier works, when this practice started taking shape, up until the construction of Bad Habits, an orchestral piece that utilized the late works of late North American painter Philip Guston as its main drive. The text follows a chronological and journal-like approach that seeks to dissect and investigate each step from the elaboration to the organization of each element drawn from visual objects in order to create a cohesive composition that leans heavily on subjectivity as it pays homage to Guston as an individual and as an artist.

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