In this thesis I have examined how inner and outer preparations associated with a live experience can affect both the audience and the musicians on stage during a concert. What happens when we change the placement of the stage and the distribution of the musicians on it? By challenging conventional setups and methods of a live performance, is it possible to amplify the musicians and thereby creating a better end result for the audience as well? The testing of my thesis was carried out through a concert consisting of three acts with different concepts: “Focus inwards”, “Focus that way” and “Focus energy”. During the project I composed and arranged music in a way that would give the ensemble the optimal conditions for focusing on the music itself and the communication on stage during the concert. I also hoped to enhance communication by placing the stage in the middle of the room with the audience surrounding it.  Afterwards surveys were distributed to the musicians and the audience. The result was among other things that the ensemble shared a sense of excitement and felt like the concert lasted longer than concerts usually do. The audience reported having felt connected to everyone in the room and that the placement of the stage enhanced energy throughout the concert. / <p>KONSERTPROGRAM</p><p><strong>Skylark</strong></p><p>^{<em>Kompositörer: Johnny Mercer &amp; Hoagy Carmichael, Arrangemang: Amanda Sandorov</em>}</p><p><strong>Shiny Stockings</strong></p><p>^{<em>Kompositörer: Frank Foster &amp; Ella Fitzgerald, Arrangemang: Amanda Sandorov</em>}</p><p><strong>Sip</strong></p><p>^{<em>Kompositör: Amanda Sandorov</em>}</p><p><strong>You've Lost That Lovin' Feelin'</strong></p><p>^{<em>Kompositörer: Phil Spector, Barry Mann &amp; Cynthia Weil, Arrangemang: Amanda Sandorov</em>}</p><p><strong>Rocket</strong></p><p>^{<em>Kompositörer: Amanda Sandorov</em>}</p><p><strong>Bostadsansökan / Allt Grönt</strong></p><p><em>^{Kompositörer: Laleh Pourkarim / Jason Michael Bosak Diakité (Timbuktu) Arrangemang: Amanda}</em></p><p><strong>When Will Real Love Come Around?</strong></p><p><em>^{Kompositörer: Amanda Sandorov}</em></p><p><strong>Natural Woman</strong></p><p>^{<em>Kompositörer: Carole King, Gerry Goffin &amp; Jerry Wexler</em>}</p><p>-----</p><p>ENSEMBLE (Sandorovs Orkester)</p><p>Sång - Amanda Sandorov</p><p>Sång - Maja Svantesson</p><p>Sång - Ella Cronberg</p><p>Bas - Jakob Ulmestrand</p><p>Piano - Isak Åberg</p><p>Trummor - Ryan Ward</p><p>Slagverk - Filip Öhman</p><p>Gitarr - Anton Brodin</p><p>Trumpet - Tumi Torfason</p><p>Trombon - Tilde Schweitzer</p><p>-----</p><p>ÖVRIGA MEDVERKANDE</p><p>Dans: Kornelia Romot</p><p>Projektorkonst: Mauritz Larsson, Klara Viridén och Roxana Mohajer </p><p>Ljudteknik: Pedro Martinez</p><p>Ljusteknik: Anders Undelius</p>

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>

Med en bakgrund som jazzimprovisatör och med utgångspunkten att frångå teoretiska koncept är syftet med denna studie att undersöka möjliga användningsområden av improvisation inom musikproduktion och hur det påverkar musiken. Frågeställningarna i studien har lydigt: ”Hur kan jag använda improvisation som verktyg för att producera musik? Hur påverkar det i sin tur resultatet? Vad händer med musiken om jag frångår teoretiska koncept och genreideal och låter gehöret leda vägen?”. För att svara på dessa frågor har jag utforskat olika tillvägagångssätt för att använda improvisation och intuition inom musikproduktion. Detta har resulterat i tre musikaliska verk och två konkreta metoder: användandet av befintliga pianoimprovisationer som utgångspunkt för nytt musikaliskt material och en iterativ process för vidareutveckling av musikaliskt material som tar avstamp i improvisation och impulsivitet. Vidare, har denna studie resulterat i breddad kunskap angående improvisation som koncept.

Min tid på masterutbildningen har handlat om att skapa ett soloprojekt. Utifrån en spelteknik som bygger på att spela på två akustiska gitarrer samtidigt, har jag experimenterat med att konstruera positiva begränsningar som formar kreativa ramverk att skapa inom, men som även bidrar till en musikalisk riktning och helhet. Under arbetet har en hybridpraktik vuxit fram där mina roller som gitarrist, improvisatör, kompositör och producent blivit lika viktiga. Genom processen har jag undersökt hur dessa roller inverkar på varandra och på musiken som helhet. Resultatet av arbetet är metoderna / hyrbridpraktiken / kompositionerna / improvisationerna / ramverken / Solos / livekonserterna och allt däremellan som sammantaget kommit att forma soloprojektet.

Det här konstnärliga arbetet har pågått under en lång tid, närmare bestämt fyra år. Jag påbörjade det år 2017 när jag studerade master-programmet i jazztrumpet på Kungliga Musikhögskolan. Våren 2019 blev jag dock tvungen att sluta spela trumpet på grund av hälsoskäl. Beskedet kom plötsligt och var inte något jag räknat med, vilket ledde till att jag var tvungen att tänka om. Hösten 2019 började jag istället studera master-programmet i jazzkomposition på Kungliga Musikhögskolan. Arbete utgår från frågeställningen: hur kan jag använda improvisation som kompositionsmetod med utgångspunkt i Vingt Études pour Trompette Ut ou Si♭? Idén för den konstnärliga praktiska delen har varit att pröva kombinera en jazzsättning med piano, bas och trummor med en stråkkvartett för att tillsammans bilda en sorts kammarensemble som tar avstamp i både jazzmusiken och den klassiska musiken. Till arbetet hör fem egenskrivna verk: Form, Pyramid, Inversion, Fragment och Final. / <p>Till dokumentationen hör partitur till Form, Pyramid, Inversion, Fragment och Final. Den kommer även att kompletteras med en videodokumentation som preliminärt sker HT-21 eller VT-22.Henning Ullén: Form (2021) 10’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Pyramid (2021) 7’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Inversion (2021) 10’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Fragment (2021) 6’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Final (2021) 7’, för piano, kontrabas och trummor samt stråkkvartett – partitur. </p>

In this thesis, I have investigated how to work creatively with melodies in the process of composing music. The starting point of the project was to transcribe phrases from different solos and to be assigned with newly composed ones from musicians around me. The melodies were applied to different composing methods. The methods were there to have a way of making music of the melodies and to put them in a context. The purpose of the work was to investigate how the use of these melodies and melody-based methods were affecting my composing. How could I create new musical possibilities in my composing by working like this? How could I in the process use the knowledge to develop harmonic possibilities and concepts on my main instrument? The work resulted in four newly composed pieces and concepts in how to improvise with melodies. I made the conclusions that the combination of variation, patience and a non-valuable working environment was a fruitful way to stay inspirated and creative. / <p>Medverkande musiker:</p><p>Joanné Nugas - sång</p><p>Malte Bergman Byström - bas</p><p>Noa Svensson - trummor</p><p>Björn Eriksson - piano</p><p>Oskar Nilsson - gitarr</p><p>Ebba Åsman - trombon</p><p>Björn-Atle Anfinsen - trumpet</p>

No description available.

In many music ensembles there are hierarchies and a focus on the vision of the bandleader. This thesis explores the possibilities of creating conditions for improvisational co-creation and follows the common development-process of an improvising trio. Emphasis is placed on democratic interplay and a collective expression without compromising with each musician’s personal sound. Through structured and free improvisations, the trio discovered and developed their musical language, limitations and possibilities. Self-recording, listening to it and discussions about what was experienced, perceived and what potential variations there might be alongside with a non-judgmental attitude served as a powerful tool to raise awareness and to develop the trio. The work resulted in a live streamed concert consisting of a freely improvised piece of music.  By focusing on process-oriented solutions that involves and activates the whole ensemble, the trio has been able to develop an interplay and expression that is nonhierarchical, spontaneous and has potential to change. / <p>Marcus Wärnheim - altsaxofon</p><p>Karin Ingves - piano</p><p>Kristian Remnelius - trummor</p><p>All musik av alla medlemmar.</p>

This study aims to explore the boundaries and creative possibilities of composing and improvising music with a base in sampled saxophone fragments inside of Ableton Live. The study have included things as: exploring different sound design techniques, manipulation of saxophone samples, composing and rearranging music as well as rehearsing with a band and trying different concepts and approaches to performing the music in a live situation. The work includes creating polytonal sample instruments built inside of Live and the creation of more texture based ones as well. This work also resulted in composing 6 different compositions and the rearranging of an earlier composition to match the aesthetic character of the other ones. I’ve also tried to stretch the linear boundaries of Ableton Live with a more rubato based approach to composing to see what possibilities the program had to handle that type of context.As a composer I’ve early on created an aesthetic vision of what I wanted this sample based music to sound like and tried to very precisely recreate what I’ve heard inside of my head in detailed sketches in Ableton Live using midi instruments together with the sampled textures and instruments. I then realised that a great deal of the final task of this study was to bring this vision to the ensemble and make them play the music in a way that resonated with what I’ve heard when I composed it.

In this thesis transcriptions of solos from selected musicians are explored as a way to deepen my connection with improvisation and my instrument. It is about a number of different philosophies towards transcribing and working with transcriptions, as well as my reflections on ways to utilize transcriptions in a way that I can absorb the concepts and language from solos without regurgitating it in my own playing, but rather attempting to utilize it to explore ways to expand my playing and conception of improvisational language as well as my own instrument.