The goal with this project was to expand the traditional way of using and playing the electric bass. Playing the bass has traditionally meant laying down a musical foundation upon which other ensemble members can play from and with. This process included: use of effects in both discrete and obvious ways, experimenting with fingering and right-hand position, playing techniques and use of different instruments. These parameters were then incorporated into three new songs of which the composing process is described in this thesis. All three songs made the player pushing the limits in terms of timing, accuracy and sound from a traditional bass player point of view.   Conclusions were then made regarding new ways of playing, treating and viewing the electric bass. A new way of viewing the electric bass as an acoustic instrument, the use of effects as subtle sound enhancers and the need of good craftsmanship to maintain solid feel when playing technically demanding music.

The purpose of this project has been to compose and arrange music to be performed by an ensemble using electronic instruments such as synthesizers and samplers. The goal has been to try to create an electronic music ensemble that utilizes improvisation while staying true to the sound of modern electronic music in terms of rhythm, harmony and melody. I have also been investigating how to incorporate the electric bass in this type of music, that most often uses synth bass. This could be done through the use of various effect pedals. I have also done a comparison on how or if jazz improvisation differs from improvisation in electronic music. The type of electronic music that we aimed for sounded better with the use of a more minimalistic approach to improvisation. / <p>Låtlista:</p><p>1. Låt 1</p><p>2. Jungle Fever</p><p>3. Rhubarb</p><p>4. Gömböc</p><p>5. Till Mamma</p><p></p><p>Alla låtar skrivna av Olle Adell.</p><p></p><p>Medverkande:</p><p>Courtney Duck - Sång</p><p>Emil Lennstrand - Synthesizer</p><p>Olle Adell - Elbas &amp; synthesizer</p><p>Sammy Hsia - SPD-SX &amp; synthesizer</p>

Studiens syfte är att belysa några yrkesverksamma elbasisters syn på egen utveckling och dess samband med övning. Som metod har halvstrukturerade intervjuer använts. Informanterna utgörs av tre yrkesverksamma elbasister som berättar om sin syn på övning och utveckling samt vad de anser vara viktigt för att utvecklas som elbasist. Den teoretiska utgångspunkten för denna studie är ett hermeneutiskt perspektiv då målet är att göra en djupare analys och tolkning av de intervjuades livsvärld. Resultatet visar att informanterna tycker att viktiga byggstenar i utvecklingen är att spela tillsammans med andra och lyssna på musik. De beskriver också sin syn på övning, tonbildning och sound samt sina upplevelser av att spela musik. Förhoppningen är att studien ska kunna bidra till mer instrumentspecifik forskning om övning samt inspirera utövare till att diskutera och dela med sig av sina varierade erfarenheter av övning. / The study aims to highlight some professional bass players approach to self-development and its connection with the exercise. The method that has been used is semi-structured interviews. The informants consist of three professional bass players who tell us about their views on practicing and development and what they consider to be important to develop as a bass player. The theoretical basis for this study is a hermeneutic perspective when the goal is to do a deeper analysis and interpretation of the interviewed life-world. The result shows that the interviewees think that the important building blocks in the development are to play with others and listen to music. They also describe their view of exercise, voice production and sound as well as their experiences of playing music. It is hoped that the study will contribute to more instrument-specific research on exercise and inspire practitioners to discuss and share their varied experiences of exercise.

Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus. / Focusing on the role of the bass in music. How is the instrument used in an ensemble? What happens if it develops and finds new spaces in the group? A work about creating music with influences from jazz and fusion that puts the bass in a new light.

El presente trabajo de investigación se basa en una propuesta de negocio en la industria de accesorios musicales dirigida a personas que toquen guitarra y bajo, y que se encuentren entre los NSE A, B y C en Lima Metropolitana. Para investigar y validar varios supuestos, se ha creado la marca “Mallku”, una empresa que diseña uno de los accesorios más conocidos, pero, a la vez, difícil de encontrar en el mercado, el pedalboard. Este accesorio sirve como una herramienta que ordena los pedales que usan guitarristas y bajistas, y permiten ahorrar tiempo al poder llevarlos ya armados a una grabación o al escenario. A partir de las primeras investigaciones, se validó que hay un gran potencial para desarrollar este producto, que el consumidor valora los artículos artesanales, y que aprecia que se utilice madera como insumo principal. Por otro lado, se pudo validar la aceptación del producto a través de las ventas realizadas en redes sociales, llegando a vender estos accesorios a miembros de bandas que están en crecimiento y que ya son relevantes para la escena local. Para la realización del proyecto se hicieron diversos análisis de la industria, los cuales involucran al consumidor, insights, competidores y otros factores externos que permitieron elaborar diferentes planes y determinar una estructura organizacional favorable para la viabilidad del mismo. Como resultado, bajo una inversión inicial de S/. 39,227.00, se obtiene una utilidad neta de S/. 31,158.00 para el primer año, S/. 24,077.00 para el segundo y S/. 23,105.00 para el tercero. / This research work is based on a business proposal in the musical accessories industry aimed at people who play guitar and bass, and who are between socioeconomic levels A, B and C in Lima Metropolitana. To investigate and validate many hypothesis, we have created “Mallku”, a business that designs one of the best known products in the industry, the pedalboard. This accessory works by helping organize the pedals that guitar and bass players use, and allows to save time when the users need to record or give a concert. From the first investigations, it was validated that there is great potential to develop this product, that the consumer values ​handmade items, and that appreciates that wood is used as the main input. On the other hand, it was possible to validate the acceptance of the product through sales made in social networks, selling these accessories to members of bands that are growing and that are already relevant to the local scene. For the realization of the project, various analyzes of the industry were made, which involve the consumer, insights, competitors and other external factors that allowed developing different plans and determining a favorable organizational structure for its viability. As a result, under an initial investment of S /. 39,227.00, we expect to obtain a net profit of S /. 31,158.00 for the first year, S /. 24,077.00 for the second and S /. 23,105.00 for the third. / Trabajo de investigación

Syftet med detta arbete är att studera min läroprocess när jag övar på notläsning a prima vista på elbas samt att undersöka hur mina val för lärandesituationens design påverkar mitt lärande. Under en fyraveckorsperiod har jag övat a vista-läsning 3-4 gånger per vecka vilket dokumenterats genom videofilmning och loggbok. Arbetet tar utgångspunkt i ett designteoretiskt perspektiv på lärande. Resultatet visar en progression i min förmåga att läsa a prima vista samt hur olika resurser påverkat lärandet. I diskussionsdelen problematiseras resultaten i förhållande till tidigare forskning inom området samt vilka förutsättningar det valda materialet och studiens metod innebär för mitt lärande. / The purpose of this work is to study my learning process when practicing sight-reading on the electric bass and to examine how my choices on the design of the learning situation affect my learning. During a four-week period I’ve been practicing sight-reading 3-4 times per week which has been documented using video recording and a logbook. The study is based on a design theoretical perspective on learning. The results show a progression in my ability to sight-read and also how various resources affect my learning. In the last chapter I problematize the results in relation to previous research in this field of study and what preconditions the chosen material and the study’s method mean for my learning.

I denna uppgift kommer jag presentera resultatet av min självstudie där jag lär mig tekniken vandrande bas på elbas genom lärarledda elbaslektioner. Denna process är videoinspelad, semistrukturerad intervju har hållits och dokumentationen analyseras genom transkription. Jag kommer bearbeta begreppet kunskap och redovisa några teorier om vad kunskap är och hur man kan kategorisera detta begrepp genom antingen uppdelande av praktisk och teoretisk kunskap. Jag kommer också undersöka huruvida pragmatismens kunskapssyn är applicerbar på denna studie. Studien behandlar hur jag använt mig av mina kunskaper som klassisk gitarrist i min inlärning av elbas. Hur jag kan använda mina kunskaper funna i elbasspelet i mitt klassiska gitarrspel. Även hur de pedagogiska upptäckterna jag gör i elbasspel kan användas i min framtida roll både som elbaslärare och gitarrlärare. Detta behandlas med ett sociokulturellt perspektiv i grunden samt mästarlära. Resultatet visar att förkunskaper i klassisk gitarr är mycket användbart om man vill lära sig elbas och att flera aspekter av gitarrspelet är direkt eller indirekt överförbara till elbasen. Det kommer också visa sig att det finns flera olikheter som kan försvåra inlärandet av elbas. Jag har också hittat grundläggande kunskap i metodik för elbasspel på nybörjarstadium. / In this project, I will present the result of my self-study where I learn the technique of walking bass on electric bass through teacher-led electric bass lessons. This process is video-recorded, semi-structured interview has been held and the documentation is analyzed by transcription. I will process the concept of knowledge and report some theories on what knowledge is and how to categorize this concept through either the division of practical or theoretical knowledge. I will also examine whether the knowledge view of pragmatism is applicable to this study. The study deals with how I used my knowledge as a classical guitarist in my learning of electric bass. How I can use my knowledge found in the electric bass game in my classic guitar play. Even how the pedagogical discoveries I make in electric bass games can be used in my future role both as electric bass teacher and guitar teacher. This is dealt with a socio-cultural perspective in the basics and master-apprentice perspective. The result shows that prior knowledge of classical guitar is very useful if you want to learn electric bass and that several aspects of the guitar play are directly or indirectly transferable to the electric base. It will also show several differences between the instruments that can make learning electric bass more difficult. I have also found basic knowledge in methodology for electric bass games at the beginner stage.

No description available.

Syftet med studien är att i relation till musik- och kulturskolornas verksamhetsidéer/planer få insikt i elbaslärares förhållningssätt till vad som är viktigt för nybörjarelever att lära sig. Utifrån detta syfte är avsikten att försöka förstå vilka lektionsmoment elbaslärare prioriterar i sin undervisning av nybörjarelever, varför de valt att fokusera på just dessa och deras syn på eventuella styrdokument för respektive arbetsplats. Jag har i min undersökning genomfört kvalitativa intervjuer med fyra elbaslärare från olika musik- och kulturskolor. Arbetets har sin utgångspunkt i historiska perspektiv på musikkulturskolornas framväxt och de pedagogiska traditioner som format dem samt det sociokulturella perspektivet på lärande.   I resultatet framkommer att det viktigaste för informanterna är att eleven får komma igång och spela så snabbt som möjligt och att den huvudsakliga drivkraften i nybörjarundervisning för elbaselever är lust, glädje och upplevelser – vilket går helt i linje med mycket av de tendenser som behandlas i forskning rörande musik- och kulturskolan samt dess verksamhetsplaner under senare år.   Under diskussionsrubriken diskuteras informanternas syn på vad de tycker är viktigt för nybörjarelever att lära sig i relation till de traditioner, idéer och värderingar som enligt det sociokulturella perspektivet styr hur undervisningen formas. Utöver detta diskuteras musiklärarnas förhållningssätt till rådande styrdokument och deras respektive arbetsplats verksamhetsplan. / The purpose of this study is, in relation to the activity ideas/plans of community schools of music and art, to gain insight into the electric bass teachers approach to what is important for beginners to learn. From this view, the intention is to try to understand which lesson content is prioritized in the teaching of beginners, why they chose to focus on these and their views on possible regulatory documents for each workplace. In my survey I have conducted qualitative interviews with four bass guitar teachers from various community schools of music and art. Work is based on theories of the emergence of community schools of music, the educational traditions that shaped them and the sociocultural perspective on learning.   The results show that the main driving force of beginners teaching for bass guitar students is desire, joy and experiences – which is in line with much of the trends covered in research on community schools of music and art and their activity plans in recent years.   In the discussion section the views on what informants thinks is important for beginners to learn is discussed in relation to the traditions, ideas and values according to previous research which determines how the lessons are shaped. In addition to this the music teacher's attitudes and relations to current regulatory documents at their respective workplace is discussed.

Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value. / <p>Numera Inti Oyarzun-Jonsson.</p>