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In this project I explored composing wordless music within the jazz genre inspired by a Norwegian folklore: the story of Trollveggen. Influenced by composers like Meredith Monk and Maurice Ravel I wrote six programmatic compositions. Each piece was thoroughly crafted using specific keywords and rules derived from Patrik N. Juslin’s research on the emotional impact of musical elements. Additionally, I incorporated insights from Alf Gabrielsson and Erik Lindström’s study The Role of Structure in the Musical Expression of Emotions, and used Kate Hevner’s research to further deepen my compositional approach. I discuss jazz vocal performance as a non-verbal storytelling method, incorporating vocal extended techniques. I also explore how I navigated between creative constraints and artistic freedom, within the compositional framework, to bring each composition to life. Reflecting on this process, I examine its profound impact on my musical and personal growth. Through these compositions, I aim to evoke a meaningful emotional connection with the audience, inviting them to interpret the narrative in their own unique way. / <p><strong>Framförda kompositioner:</strong><strong></strong></p><p><em>Møre og Romsdal</em> - S. Levin.</p><p><em>Forelskelse</em> - S. Levin.</p><p><em>Jubalong</em> - S. Levin.</p><p><em>Å Sove/Våkne Opp</em> - S. Levin.</p><p><em>Solens Lys</em> - S. Levin.</p><p><em>Stokk og Stein</em> - S. Levin.</p><p>Samtliga kompositioner arrangerade av Sabina Levin. </p><p><em></em><strong>Medverkande musiker:</strong></p><p>Sång - Sabina Levin</p><p>Klarinett &amp; altsaxofon - Erik Hasselfeldt</p><p>Trumpet &amp; flygelhorn - Øyvind Solheim</p><p>Vibrafon - Alexander Falkebring</p><p>Piano - Fabian Erkelius</p><p>Harpa - Anna Jalkéus</p><p>Kontrabas - Amanda Karström</p><p>Trummor - Kristian Remnélius</p>

The aim of this project is to provide all the necessary information for an oboist who wishes to learn multiphonics, microtones or double tonguing. I will describe each technique and how it is produced. I will discuss my experience learning each technique and compare the different exercises and approaches I used. I collaborated with a composer to write a solo piece for oboe including the techniques above. I will talk about this experience alongside the comparison between playing the techniques in an isolated manner and in the context of a piece. / <p>Martinu Oboe Concerto</p><p>Sancan Sonatine for oboe and piano</p><p>SINK by Ciarán Hayes </p><p>Ravel Le Tombeau de Couperin arranged for wind quintet </p><p>Piano: Maria Rostotsky</p><p>Flute: Emma Eskeby </p><p>Oboe: Holly Chilton</p><p>Clarinet: Max Becker</p><p>Bassoon: Ciarán Hayes</p><p>Horn: Ludwig Hjortenhammar</p>

Egentligen hade jag aldrig tänkt arbeta med något så till synes opoetiskt som gifter, girighet och genetik i mina konstnärliga och musikaliska verk – mina tidigare verk är mer tvetydiga till sin natur. Men som någon sagt; alla intryck måste få ett uttryck. I synnerhet då det är fråga om livsomvälvande upplevelser som delas av en globalt växande grupp men samtidigt sällan kan uttryckas i brist på allmän kännedom. För mig och denna grupp jag upptäckt handlar det om hur överexponering för (bio)toxiner samverkat med genetiska variationer och gradvis förstört våra immunförsvar samt gett upphov till sk. environmental illness och en rad sammanlänkade följdtillstånd. Mina verk från den här tiden förmedlar kanske ändå klanger och spår av detta på ett poetiskt, universellt och mångbottnat sätt, medan uppsatsen är mera konkret – syftet är att ge ett ytskrap av minoritetserfarenheter med kollektiva och politiska ansatser, analysera deras avspeglingar i mina musikaliska verk och därefter utforska om och hur dessa avtryck upplevs av andra. Endel konstverk berörs i denna text men huvudsakligt fokus ligger, liksom under utbildningen, på mitt musikaliska uttryck. Slutligen tangerar jag nya verk, till vilka jag hoppas bära med mig insikter om musiken som konstnärligt, kommunikativt medium.

Made available in DSpace on 2015-05-14T12:52:24Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7346981 bytes, checksum: 18e46c38ae7d5b14fb1aafc3aca716d7 (MD5) Previous issue date: 2012-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aimed to describe how extended techniques are related to sound settings and the concept of "sound figures" described by Salvatore Sciarrino, used in his pieces for solo flute, published in the book L'Opera per Flauto. Such techniques and figures are fundamental to an understanding of his works. In our analytical reading, we started from the methodological considerations of the composer, described in the book Le Figure della Musica da Beethoven a oggi, which proposes a methodology of analysis based on the concept of "sound figures" - a criteria imported from the visual arts. These sound figures are also present in his compositional works, in a way that they interact with the musical discourse organization. It was sought an understanding of how visual criteria established in its methodology also encompassed the formal considerations of his works for solo flute. So, two different methodologies were used: the qualitative one, based on the theoretical assumptions of the composer; and the quantitative one, based on the spectral analysis of the audio recordings of the pieces. Our goal was to investigate and describe the trajectory of the partial over the time, in order to investigate and demonstrate concepts created by the composer through the proposed analysis. / A presente pesquisa teve como objetivo descrever como as técnicas expandidas estão relacionadas com as configurações sonoras e as figuras descritas por Salvatore Sciarrino e utilizadas em suas peças para flauta solo, publicadas no caderno L Opera per Flauto. Tais técnicas e figuras são fundamentais para a compreensão de suas obras. Em nossa leitura analítica, partimos das considerações metodológicas do compositor, descritas no livro Le Figure della Musica da Beethoven a oggi, no qual propõe uma metodologia de análise baseada no conceito de figuras sonoras - um critério importado das artes visuais. Essas figuras sonoras estão presentes também no plano composicional de suas obras, de maneira que interagem na organização do discurso musical. Assim, buscamos compreender como critérios visuais estabelecidos em sua metodologia englobaram também as considerações formais de suas obras para flauta solo. Para tanto utilizamos duas metodologias distintas: a qualitativa, que parte dos pressupostos teóricos do compositor; e a quantitativa que parte da análise espectral das gravações em áudio das peças. O objetivo é investigar e descrever o comportamento geral dos parciais no decorrer do tempo, com intuito de averiguar e evidenciar, através das análises propostas os conceitos formulados pelo compositor.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2018-02-02T20:43:04Z No. of bitstreams: 1 DISS_2013_Jasson Andre Ferreira Sobrinho.pdf: 16536373 bytes, checksum: 32447dd0fcc830d5aad7f8926009090d (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-02-03T13:17:29Z (GMT) No. of bitstreams: 1 DISS_2013_Jasson Andre Ferreira Sobrinho.pdf: 16536373 bytes, checksum: 32447dd0fcc830d5aad7f8926009090d (MD5) / Made available in DSpace on 2018-02-03T13:17:29Z (GMT). No. of bitstreams: 1 DISS_2013_Jasson Andre Ferreira Sobrinho.pdf: 16536373 bytes, checksum: 32447dd0fcc830d5aad7f8926009090d (MD5) Previous issue date: 2013-03-26 / Dentro das possibilidades de procedimentos e materiais sonoros utilizados no processo de composição musical contemporâneo, o uso das técnicas estendidas tem sido um elemento transformador e marcante da percepção sonora e visual desta música de concerto. Falando especificamente do saxofone, as técnicas estendidas têm estado presentes em muitas obras compostas para o instrumento, fazendo com que as pessoas envolvidas neste processo de realização musical sejam levadas a se deparar com constantes e novas possibilidades de composição e interpretação. O presente trabalho tem como objetivo traçar, através das técnicas estendidas, um panorama estético e propor discussões sobre alguns processos composicionais presentes nas obras de concerto contemporâneas para saxofone. Analisando a utilização destas sonoridades em obras específicas juntamente com as necessidades relacionadas à execução geradas por tais sonoridades, procuramos partir da percepção e compreensão das rupturas ocorridas nos processos criativos, culminando na necessidade de expansão das técnicas composicionais e performáticas por parte de intérpretes e compositores. Como parte importante do trabalho, nos propomos também à composição de uma música em que se façam presentes os elementos tratados no desenvolvimento da pesquisa, de modo a servir como material final para a experiência prática nos assuntos aqui tratados. / Within the possibilities of sound procedures and materials used in the process of contemporary musical composition, the use of extended techniques has been a remarkable and transformative element of aural and visual perceptions of this music. Speaking specifically of the saxophone, extended techniques have been present in many compositions for the instrument, so that people involved in the process of making music are brought to find new possibilities for creation and interpretation. The present paper aims to trace, through extended techniques, an aesthetic overview and to propose discussions on some compositional processes present in works of contemporary concert music for saxophone. Analyzing the use of these sounds in specific works together with the needs related to the implementation generated by such sounds, we depart from the perception and understanding of the ruptures occurred in creative processes, culminating in the need for expansion of compositional techniques and by performance by players and composers. As an important part of the work, we propose also the composition of a song where the elements developed across research can be included to serve as final material for practical experience subject.

No description available.

This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well. / <p>A recording of Laconisme de l'aile by Kaija Saariaho</p>

Trataremos de posturas composicionais e interpretativas que abordam a questão da fisicalidade presente na atuação instrumental, em situações nas quais as potencialidades do conjunto executante - instrumento são levadas a situações limite. Isso se dará levando-se em consideração as seguintes variáveis: características intrínsecas do instrumento; interação do intérprete com o instrumento; elementos mecânicos de interferência nessa relação. Serão abordadas, especialmente, obras dos compositores Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy e Simon Steen-Andersen. Também será abordada a produção artística do autor do trabalho. / In this work we deal with music, both from the composition as well as from the performance viewpoints, in which the potentials of the relationship between performer and musical instrument are taken to limit situations. This is done with an analysis of the following elements: specific and intrinsic characteristics of an instrument; interaction between performer and instrument; mechanical elements of interference in this relationship. We will approach, specially, works of Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy and Simon Steen-Andersen. Recent musical pieces of the author of this work will also be mentioned.