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This thesis is about playing duo with double bass and voice and how I as a double bass player should play to make the music as interesting as possible but also to make the singer the most comfortable. As a bass player, I don’t have the luxury of playing several intricate chords in the same extent as for example a piano player and learning to be clear and precise in my playing is a skill that takes many years to master.  The methods I’ve chosen to explore this is composing short examples of songs for voice and double bass where I first play around with harmony and different bass notes on specific chords to make the harmonic progression clearer. I’ve also composed a short example where I play the same bassline in three different octaves. The purpose of this was to explore which of these registers was the most comfortable and what feeling the different registers gave.  In the next part of the project, I analyze my results and write music inspired by my findings to be performed at my exam concert which took place the 21st of February in Nathan Milsteinsalen at the Royal College of Music in Stockholm. The band consisted of six singers and double bass.   Concludingly, I state that the results are varied. The results for the harmonic experiment had individual aspects amongst the singers and could not specify a general rule of thumb. As for the register experiment, I found that the two lower registers we’re the most comfortable although the highest gave an interesting feeling. / <p>Devil May Care (Bob Dorough), The Way You Look Tonight (Jerome Kern &amp; Dorothy Fields), Weathered (August Eriksson), The Lovers (August Eriksson), Clouds (August Eriksson), Se Mig (August Eriksson).</p><p></p><p>Medverkande:</p><p>August Eriksson - kontrabas</p><p>Emma Jansson - sång</p><p>Emmalisa Hallander - sång</p><p>Amanda Sandorov - sång</p><p>Selma Pinton - sång</p><p>Ella Cronberg - sång</p><p>Jenny Hedman - sång</p><p></p><p>bifogade ljudbilagor är:</p><p>- examenskonserten</p><p>- utdrag ur "Se Mig"</p>

Denna studie syftar till att undersöka skapandet av popmusik (i en DAW) som är både lättillgänglig och innehåller oväntade inslag. Genom att analysera låtar av Susanne Sundfør och AURORA, samt genom att ta del av intervjuer med artisterna, undersöker jag olika konstnärliga val som kan göras i den musikaliska skapandeprocessen. Genom att använda egna upplevelser som grund för analysen, undersöker jag hur dessa val kan bidra till att skapa musik som är både lättillgänglig och konstnärligt meningsfull. Litteratur som behandlar ämnen som genreöverskridande musik och harmonik användes för att stödja analyserna.  Studien resulterade i fyra låtar som jag skrev och producerade, vilka representerar ett steg mot att förstå vad som krävs för att skapa lättillgänglig popmusik med oväntade inslag. Resultaten av studien inkluderar också en fördjupad förståelse av de konstnärliga valens musikaliska betydelse inom låtskrivande och musikproduktion. Resultatet ger insikt i möjligheterna att skapa popmusik som är både lättillgänglig och konstnärligt meningsfull. / The present study aims to investigate the characteristics of easily accessible pop music that also contains unexpected elements. To this end, songs by Susanne Sundfør and AURORA were analysed, and interviews with the artists were thoroughly examined. The analysis was based on a review of relevant literature, which covered topics such as genre-crossing music and music theory. The study explored the various artistic choices that can be made in the production process and considered their musical significance. The research approach was reflective and focused on the author's subjective experience of music. The analyses aimed to identify the specific musical elements that appealed to the author and consider their role in creating easily accessible pop music with unexpected elements.  The results of the study include four original songs written and produced by the author, which represent a step towards understanding the requirements for creating the desired music. The research also resulted in a deeper understanding of the musical significance of artistic choices in pop music production. The findings provide insight into the possibilities for creating pop music that is both accessible and artistically meaningful.

In this work I am exploring piano chord techniques and exploring to which degree I can execute them on guitar. If not, the task is to explore if it’s possible to play something with similar effect. By exploring performances by great guitarists as well as pianist, you develop a knowledge of what works on both instruments. Devices like triads, quartal harmony, shells and skeleton voicings can be used to achieve piano-like harmony when used in different combinations that’s discussed in this work. / <p>Spelade endast egenskrivna kompositioner. Namnen på låtarna som framfördes är: "Pim Pim", "Until Spring Comes", "Mangrove", "Gränsland", "Arising" och "Komposition 1". </p><p>Medverkande musiker:</p><p>Katarina Kochetova - piano</p><p>Joakim Milder - tenorsaxofon</p><p>Markus Isberg - trummor</p><p>Olle Lannér Risenfors - kontrabas</p>

In this bachelor thesis, I am exploring vocal improvisation through analysis of three different scatsolos. I am reflecting on rhythmic, melodic and harmonic elements. I am also learning and writing Vocalese for all scatsolos. My ambition was to improve as an improviser. I am presenting some methods which have been useful in order to master the jazz vocabulary found in the scatsolos. I have also been recording with an ensemble while singing my own written Vocaleses. In the last part of the thesis, I have concluded that the three chosen scatsolos are different from each other. One include more arpeggios, while another contains more chromatic. One is more improvised “outside” the chord changes while another is more improvised “inside” the changes. Furthermore, I have concluded that learning and analyzing solos has resulted in a clear vision of how the chosen exercises can be helpful for me as an improviser. The exercises are presented in contexts that motivates their function. I think Call and response is the most effective way to develop improvisation skills. Moreover I conclude that writing my own Vocaleses made the process of learning the solos more motivating and profound since I used my own creativity!

En studie om medveten memorering av harmonik inom klassiskt pianospel. Arbetet bygger på observationer av en tolv veckors lång instuderingsprocess, sett i relation till ett urval av tidigare litteratur och forskning inom området. Studien har i syfte att ge en djupare bild och förståelse av memoreringens påverkan vid konsertsituationen samt vilka fördelar respektive nackdelar det kan finnas med medveten memorering av harmonik. För att uppnå syftet tar studien utgångspunkt i tre frågeställningar. Frågeställningarna berör medveten memorering av harmonik som metod att instudera ett stycke, vilka fördelar och nackdelar det kan få samt om det kan hjälpa en musicerande att känna sig tryggare på scen. Som blivande lärare hoppas jag att detta dels ska hjälpa mig vid egna uppspel men också att jag ska kunna förmedla en bra memoreringsmetod till de elever som jag kommer att möta under min tid som lärare. / A study about conscious memorization of harmony in classical piano playing. The study is based on observations of a twelve week period and on chosen literature from previous research in this field. The purpose of the study is to get a deeper knowledge and understanding in how memorizing can effect the results at a performance and also what other benefits and disadvantages there could be. The study has as a starting point three questions. These questions are about memorization of harmonics as a method to learn a music piece, the benefits and disadvantages with conscious memorization and also if a pianist can feel safer on stage after consciously memorizing harmony. As a future teacher I hope this study will help me with my own performances and also the pupils that I will teach and meet during my professional work as a musicteacher.

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Angesichts der zunehmenden Häufigkeit von Rechtsstreiten über musikalische Urheberrechtverletzungen, bei denen es um Millionenbeträge geht, scheinen Musiktheoretiker*innen gute Voraussetzungen mitzubringen, ihre esoterische Ausbildung für einen ausgesprochen praktischen Zweck einsetzen zu können, nämlich in Form sachlicher Expertise innerhalb einer “forensischen Musikforschung”, die “grundlegende Ähnlichkeiten” (substantial similarities, so der juristische Terminus) zwischen musikalischen Werken einschätzt. Dieser Artikel befasst sich mit einem kürzlichen derartigen Fall, “Skidmore v. Zeppelin et al.”, der aus dem Vorwurf entstand, dass der Beginn von Led Zeppelins Stairway to Heaven (1971) auf jenem von Taurus (1968) der Band Spirit beruhe. Die “grundlegende Ähnlichkeit” hierbei umfasst die absteigende Harmoniefolge der eröffnenden akustischen Gitarre, ein Ausschnitt aus einer Lamentobassfigur von der Tonika A fallend bis zum F (die Dominante E erscheint in einer oberen Stimme), eine Variante des Drooping-Modells im Rock. Nach einer Diskussion relevanter Details des Rechtsstreits, stelle ich kurz einen Abschnitt aus der Geschichte der Drooping-Figur im Rock vor, als Querschnitt berühmter Aufnahmen in den Jahren unmittelbar vor Led Zeppelins Platte. Mein Ziel ist es dabei nicht, den Rechtsstreit “Skidmore v. Zeppelin et al.” zu lösen, sondern vielmehr die entscheidenden Aspekte dieses Falls zu erhellen und die Rolle, die Musikologen in ihrer Bestimmung eingenommen haben. Abschließend argumentiere ich dafür, dass Musiktheoretiker_innen verstärkte Anstrengungen unternehmen sollten, um sich im Bereich der forensischen Musikforschung einzubringen, zum Wohle nicht nur der Gerichtsverfahren, sondern auch der Musiktheorie selbst, einer akademischen Disziplin, die in historischer Sicht selbst von ihren engsten Geschwisterfächern isoliert war, von der allgemeinen Öffentlichkeit gar nicht zu reden. / In light of the growing prevalence of multimillion-dollar musical copyright infringement litigation, music theorists seem positioned to use their esoteric training for a decidedly practical purpose: as an informed presence within “forensic musicology,” the practice of evaluating “substantial similarities” (the legal term) between musical works. This article examines a recent example of such litigation, “Skidmore v. Zeppelin et al.”, involving the accusation that the opening of Led Zeppelin’s Stairway to Heaven (1971) is based on Taurus (1968) by the band Spirit. The “substantial similarity” in question involves the opening acoustic-guitar descents, a partial lamento bass figure sinking from tonic A down to F (the dominant E appearing in an upper voice), a version of rock’s “drooping” schema. After discussing relevant details of the case, I briefly outline some of the history of rock’s drooping figure across multiple prominent recordings in the years immediately before Led Zeppelin’s record. My aim is not to solve the issues of “Skidmore v. Zeppelin et al.” but rather to shed light on what the issues in fact are in this particular case, and what role music scholars have played in their determination. In the end, I advocate that music theorists make a concerted effort to involve themselves in forensic musicology, to the benefit not only of the lawsuits but also of the profession of music theory itself, an academic discipline historically isolated from even its closest musicological siblings, let alone the general public.

Der Beitrag diskutiert zunächst den Generalbasses als Notationsform oder ‚Aufschreibesystem‘ im musikgelehrten Diskurs in der Mitte des 18. Jahrhunderts. Dann wird seine Rolle in der Akkordbildungs- und Satzlehre in Joseph Riepels Anfangsgründen zur musicalischen Setzkunst untersucht. Riepel benutzt ihn als kombinatorisches Programm zur Bildung von Akkorden (in der Gründlichen Erklärung der Tonordnung insbesondere, 1757), nutzt sein Potential aber auch in Form von Sequenzmodellen bei seiner Überarbeitung von älteren Kontrapunktübungen nach Johann Joseph Fux und Meinrad Spieß. Generalbass dient ihm mithin als Medium theoretischer Reflexion wie auch einer modernisierenden Transformation des musikalischen Satzes. Für Riepel ist es typisch, dass mit kleinen versatilen Theoriesegmenten, ausgehend von Beispielen, arbeitet. Eine reduktive Theorie, die den Anspruch einer allgemeinen Gültigkeit haben soll, liegt ihm fern. Insofern spiegelt seine Art der Theoriebildung die Aufspaltung des Stilbegriffs nach 1750 in eine Vielzahl lokaler Praktiken. / The paper first discusses the thorough bass as a form of notation or operational writing technique (F. Kittler) in musicological discourse in the mid-18th century. Then, its role in chord formation and movement theory is examined in Joseph Riepel's Anfangsgründe zur musicalischen Setzkunst. Riepel uses it as a combinatorial program for the formation of chords (in the Gründliche Erklärung der Tonordnung insbesondere, 1757), but also exploits its potential in the form of sequence models in his revision of older counterpoint exercises after Johann Joseph Fux and Meinrad Spieß. Thorough bass thus serves him as a medium of theoretical reflection as well as a modernizing transformation of the musical movement. For Riepel it is typical to work with small versatile theory segments, starting from examples. A reductive theory, which should have the claim of a general validity, is far from him. In this respect, his way of theorizing reflects the splitting of the concept of style after 1750 into a multitude of local practices.