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I solistiskt spel inom jazzen är det inte ovanligt applicera pentaskalor över ackorden för att markera ackordens färg och karaktär, men vad händer om man använder samma tonmaterial när man kompar?  Det här arbetet handlar om att kompa med kvartstaplingar från pentaskalor över jazzharmonik, ur en jazzgitarrists perspektiv. Målet har varit att få en djupare förståelse för kvartstaplingar, sambandet mellan kvartstaplingar och pentaskalor samt att undersöka hur komp av detta slag kan appliceras på olika typer av jazzlåtar, i olika musikerkonstellationer. Arbetet har resulterat i en inblick i kvartstaplingars potential och svårigheter som approach i improviserat komp och berör även konstnärliga resonemang om kvartstaplingarnas musikaliska funktion. Studien riktar sig till gitarrister och andra instrumentalister som vill utöka sin arsenal av ackord-voicings och utforska ett annat sätt att spela ackord på som inte grundar sig i traditionella tersstaplingar.  Arbetet fokuserar på två pentaskalor och kvartstaplingar ur dessa – moll-/durpenta och moll7b5-/Coltranepenta.

This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos. / Music Composition / Accompanied by two .pdf scores: 1) Amphion.pdf. 2) Zethos.pdf.

This dissertation is an ecological philosophy rooted in dance as a somatic mode of knowing and as a way of perceiving the world through and as movement. It is phenomenological, drawing meaning from a dedicated practice of improvisational dance and from extensive dialogue with dance and somatics artist/philosopher Sondra Horton Fraleigh. This emergent knowledge is integrated into discourses and practices addressing the relationship of the human and more than human world in the context of a deepening environmental crisis in the 21st century. Employing both somatic and conceptual ways of knowing, I investigate dance as a tool for restoring a sense of ecological kinship with nonhuman co-habitants of planet Earth. The pretext for the dissertation is the emerging concept of the Anthropocene, a term introduced by Paul Crutzen in the early 2000s which defines human activity as the dominant geophysical force affecting the movements of the Earth system, including weather patterns and chemistries of soil, air and water. This concept, while subject to debate both in and out of the sciences, highlights the entanglement of humans and Earth and calls into question anthropocentric notions placing humans at the center of the universe of significance and meaning. In light of growing challenges associated with the Anthropocene, including climate change and mass extinction, the dissertation makes a case for greater inclusion of ecological and environmental contexts in dance studies scholarship as an epistemological move towards increasing reciprocity with Earth. I argue that environmental crisis, while daunting, presents an opportunity for radical creativity in re-thinking the interconnected movements of human bodies and planet Earth. In summer 2015, I conducted a one-month, fieldwork-based interview with Fraleigh, which included verbal dialog, dancing, and exploration of the landscape of southern Utah, where she lives following retirement from university teaching. Fraleigh, whom I had known personally and professionally for twelve years since studying with her as an MFA student in the early 2000s, is a dance artist, philosopher and somatic educator widely known within and outside the academic dance community for her writing and teaching in phenomenology, dance aesthetics, somatics, and butoh. Her decades of inquiry into the nature and meaning of dance and human embodiment have consistently included questions about the relationship of humans and nature, and she has argued that humans are ecological as well as cultural beings. Through collaborative somatic and intellectual processes, we extended questions we shared about the relationship of humans with Earth through its contextualization within the emerging paradigm of the geologic Age of Humans. The dissertation is organized into two parts. Part One describes the onto-epistemological context for the fieldwork I conducted in Utah and includes background literature on the subjects of body, perception, matter and environmental ethics, followed by an explanation of the research methodologies I employed. Part Two is a phenomenological account of the fieldwork, which spirals between thick description of specific experiences and theoretical reflections on emergent meanings. Through this format, I integrate somatic and conceptual ways of knowing and illuminate dance as a mode of meaning making and response to geologic transformations taking place on Earth. By engaging dance as a tool for thinking about and with the Anthropocene, I aim to promote more scholarly inquiry into ways that dance can and does transform, heal, revitalize and aestheticize human-Earth relations in the context of a planet in crisis. / Dance

This study is a theoretical inquiry into the meaning potentials of rhythm in improvisation, with implications for improvisational music therapy. A review of music therapy literature regarding assessment and treatment reveals that improvisation is a widely applied music therapy method, but that rhythm--found universally in all forms of clinical improvisational processes--has received little attention. Theories from the areas of music philosophy, psychology of music, social psychology of music, musicological studies of jazz, and music therapy are explicated and implications for potential meanings of rhythm for improvisation and improvisational music therapy are described. Concepts that are foundational to the ways that the various theories find meaning in music include symbolism, metaphorical conceptualization, and interpersonal interactions. Theoretical foci for analysis include improvised rhythm (i.e., the rhythmic products), an improviser or co-improviser's processes while playing, and the perspective of a listener. Differences between solo improvisation and co-improvisation processes are considered. An integral theory of rhythm in improvisation is proposed along with clinical implications. Potential benefits of the study for music therapy and musicology are proposed and considerations for future investigations regarding the topics of rhythm and improvisation are articulated. / Music Therapy

Advancements in medical care are helping people to live longer lives. However, this longevity brings other challenges and health issues. As baby boomers age, the needs of an increasing number of individuals are growing as a consequence. Dementia is an issue in this aging population, and is associated with cognitive and other types of losses. Persons with dementia need emotional support, and these needs increase as the dementia progresses. It is important that these individuals with dementia receive medical and therapeutic care to maintain their quality of life for as long as possible. Music therapy is one treatment option that has been shown to provide cognitive, physical, emotional, social and behavioral benefits for this population. However, music therapy-specific assessments are needed to document the clinical and research outcomes of music therapy interventions. The purpose of this study was to examine the reliability of the Music Therapy Assessment for People with Dementia (MTAPD), a researcher-developed measure designed to assess behaviors or responses of persons with dementia during singing or vocalization, instrumental improvisation and in non-musical domains. In order to develop assessment items, the researcher, using videotapes, extracted and identified essential elements of clients' behaviors and responses. Those items were categorized into three domains (i.e., behaviors or responses during singing or vocalization (n=7), behaviors/responses during instrumental improvisation (n=16), and non-musical response or behaviors (n=6). Scoring was based on a five-point scale for items. After developing the assessment tool, the researcher asked eight music therapists with expertise in dementia to review the assessment. Nordoff-Robbins (NR) music therapists (n=9) and non-NR music therapists (n=14) participated in the reliability testing of the assessment. Therapists rated the musical behaviors and responses of clients in these three domains while viewing 15 video excerpts of clients with dementia in music therapy sessions. Results showed that the MTAPD was a reliable instrument for assessing musical and non-musical behaviors of individuals with dementia. An inter-rater reliability analysis generated particularly strong findings with all intraclass correlation coefficients above r = 0.85 with the exception of the analysis of agreement among the NR trained music therapists with more than 10 years of clinical experience. With further reliability and validity testing, the MTAPD may serve a variety of purposes in music therapy clinical practice and research. / Music Therapy

Med syftet att ta reda på hur instruktionsmaterial för erfarna elgitarrister kan skapas, analyserar denna studie befintliga material för gitarr för att sedan applicera dem i skapandet av ett eget material. Resultatet visar på olika strategier att närma sig improvisation. Det handlar om gitarrteknik, förebilder och metaforer. Utifrån den studerade litteraturen har ett eget undervisningsmaterial utformats, där delar av den studerade litteraturen bearbetats. Men även eget utformade förslag anges. Det egna undervisningsmaterialet inkluderas i detta arbete inklusive klingande underlag. Vid skapandet och analysen har ett sociokulturellt samt musikdidaktiskt perspektiv använts.

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This work explores the impact of Barry Harris' 6th diminished scale on my musical expression in jazz. Through repetition, transcription, and interviews with experts like Richard Clements, I delved into the theory and its application. It proved to be a journey ranging from the daunting to the inspiring and informative. I have reflected on how this concept changes my perspective and approach to creating music. The work also highlights the gap between traditional jazz theory and Harris' philosophy, and how I navigate between them in my musical exploration. / <p><strong>Framförd musik:</strong></p><p>Sweat as Bear Meat – Johnny Hodges </p><p>Dizzy Atmosphere – Dizzy Gillespie</p><p>The Big Sound - Isac Schillberg</p><p>First Song – Charlie Haden</p><p>Moment’s Notice – John Coltrane</p><p>Ruby My Dear – Thelonious Monk </p><p>Sing a Song of Song – Kenny Garrett </p><p><strong>Medverkande:</strong></p><p>Milos Lindegren</p><p>Felix Kling </p><p>Johannes Bäckström</p><p>Axel Lidgren</p><p>Olle Ekelind</p>