<p>Bilaga: 1 DVD, 1 CD</p>

Petite symphonie / Charles Gounod -- Little threepenny music for wind ensemble / Kurt Weill / text

Pedals, pipes, and percussion -- Ave Maria -- Nocturne and prelude, waltz and rumba. / text

Syftet med undersökningen var att studera hur dagens gymnasieelever interagerar och lär i skolans ensembleverksamhet. Uppsatsen utgick från ett sociokulturellt perspektiv för att lyfta de lärprocesser som sker i det sociala samspelet mellan elever och lärare. Två ensemblelektioner observerades. En av dessa var lärarledd medan den andra till största delen pågick utan lärarens närvaro. Dessa två undervisningssituationer kom att påvisa två fundamentalt olika kulturella praktiker med olika spelregler och förutsättningar för lärande.Resultatet visade att lärarens närvaro påverkar vilka musikkulturella redskap för lärande som eleverna erbjuds och utvecklar. Även deras roller i musikskapandet påverkades. I den lärarledda undervisningen låg fokuset på att höja den musikaliska kvaliteten och läraren fungerade som förmedlare av redskap för att förhöja denna. Eleverna överlät åt läraren att leda undervisningen och ta musikaliska beslut gällande musikens karaktärsdrag. Detta fick konsekvensen att eleverna utvecklade redskap för kalibrering och nyansering av musiken istället för redskap för egna musikaliska värderingar. I den lärarlösa undervisningen tog eleverna själva initiativ till att reflektera över musiken och det kollektiva framförandet för att sedermera ta musikaliska beslut. De utvecklade därför sociala och pedagogiska redskap för eget värderande av musiken på ett sätt som snarare påminner om den informella replokalens förutsättningar, men de fick inte samma tillgång till redskap för djupare nyanser. Undersökningen visar alltså att lärarens närvaro eller icke närvaro ger helt olika förutsättningar för att utveckla musikkulturella redskap.

Forgotten Names is a fifteen-minute programmatic work for wind ensemble and electronics. The piece represents my aim to express conceptually the memories of human lives being lost with the passage of time. The two salient vehicles used to convey the concept are melodic motivic development and pre-recorded electronic audio accompanying the ensemble. The prerecorded electronics work in tandem with the ensemble and provide the audience with inferable aural symbolism. These audio samples are to be triggered by a percussionist by using the free, downloadable program, Pure Data along with a performance file provided by the composer. Forgotten Names also draws its influence from similar works by well-known American composers. The pitch material used in this work is derived from On the Transmigration of Souls by John Adams while the formal structure is influenced by Charles Ives’s The Unanswered Question.

A comparison and analysis of existing texts whose focus was jazz and contemporary vocal ensemble techniques, in combination with the information gathered from interviews, as well as the author's personal teaching and professional experience as a jazz vocal artist, group singer, and jazz vocal ensemble director, served as the basis for developing strategies for a jazz and contemporary vocal ensemble sound. The major elements found to be the most critical for inclusion in sequence include: commonalities and differences, sound system and vocal production, ballad interpretation, swing interpretation, and contemporary interpretation. It is the author's intention to design an easy-to-follow guideline for the traditional choral director whose desire is to develop a jazz vocal ensemble within the choral program. The strategies presented are intended to introduce basic concepts of vocal production and style that are deemed relevant and idiomatic for the jazz and contemporary vocal ensemble. A compact disc is also included, demonstrating the written examples. A series of interviews were also conducted with Professor Larry Lapin (University of Miami), Dr. Stephen Zegree (Western Michigan University), Kerry Marsh (Sacramento State University), Janis Seigel (Manhattan Transfer), Lauren Kinhan (New York Voices), Michelle Amato (Yanni/Disney/studio singer), and Julia Dollison (Down Beat Jazz Vocal Winner).

Mitt självständiga projekt har varit att genom sångteknisk träning, ensemblesångsträning och arrangering skapa en luciakonsert för trestämmig damkör. Denna framfördes på Nytorgsgårdens äldreboende i Stockholms stad den 12 december 2012. Programmet bestod av de klassiska luciasångerna i såväl redan utgivna arrangemang som nya arrangemang, framarbetade av mig och Sandra Halvarsson under hösten. Med detta projekt ville jag utveckla mig själv som sångerska och få möjlighet att sjunga inför en publik. Jag ville även skaffa mig kontakter till ställen där jag kan sjunga i framtiden. / <p>Bilaga: 1 DVD</p>

Examensarbete kandidat Bilaga: 1 CD

The multi-scale mixed finite element method (MsMFEM) discussed in this work uses a two-scale approach, where the solutions to independent local flow problems on the fine grid capture the fine-scale variations of the reservoir model, while the coarse grid equations appropriately assimilate this information in the global solution. Temporal changes in porous media flow are relatively moderate when compared to the spatial variations in the reservoir. Hence, approximate global solutions by adaptively solving these local flow problems can be obtained with significant savings in computational time. The ensemble Kalman filter, used for real-time updating of reservoir models, can thus be coupled with the MsMFEM-streamline simulator to speed up the historymatching process considerably.

The performance of an ensemble prediction system is inherently flow dependent. This dissertation investigates the flow dependence of the ensemble performance with the help of linear diagnostics applied to the ensemble perturbations in a small local neighborhood of each model grid point location ℓ. A local error covariance matrix Pℓ is defined for each local region and the diagnostics are applied to the linear space Sℓ defined by the range of the ensemble based estimate of Pℓ. The particular diagnostics are chosen to help investigate the ability of Sℓ to efficiently capture the space of true forecast or analysis uncertainties, accurately predict the magnitude of forecast or analysis uncertainties, and to distinguish between the importance of different state space directions. Additionally, we aim to better understand the roots of the underestimation of the magnitude of uncertainty by the ensemble at longer forecast lead times. Numerical experiments are carried out with an implementation of the Local Ensemble Transform Kalman Filter (LETKF) data assimilation system on a reduced (T62L28) resolution version of the National Centers for Environmental Prediction (NCEP) Global Forecast System (GFS). Both simulated observations under the perfect model scenario and observations of the real atmosphere are used in these experiments. It is found that (i) paradoxically, the linear space Sℓ provides an increasingly better estimate of the space of forecast uncertainties as the time evolution of the ensemble perturbations becomes more nonlinear with increasing forecast time, (ii) Sℓ provides a more reliable linear representation of the space of forecast uncertainties for cases of more rapid error growth, (iii) the E-dimension is a reliable predictor of the performance of Sℓ in predicting the space of forecast uncertainties, (iv) the ensemble grossly underestimates the forecast error variance in Sℓ, (v) when realistic observation coverage is used, the ensemble typically overestimates the uncertainty in the leading eigen-directions of ˆP ℓ and underestimates the uncertainty in the trailing directions at analysis time and underestimates the uncertainty in all directions by the 120-hr forecast lead time, and (vi) at analysis time, with a constant covariance inflation factor, the ensemble typically underestimates uncertainty in densely observed regions and overestimates the uncertainty in sparsely observed regions.