Untersucht wird der Einfluss der französisch-romantischen Orgelschule auf das Frühwerk Olivier Messiaens. Aus methodologischen Gründen – mit Blick auf das Spannungsverhältnis zwischen musikhistorischen, -analytischen und ästhetischen Urteilen – wird sich diversen Traktaten der Harmonie- und Improvisationslehre (Durand, Dupré, Koechelin) sowie Messiaens eigenen musiktheoretischen Schriften zugewendet. Erörtert werden die dort dargelegten Akkordtypen und deren unterschiedliche Kombinationsmöglichkeiten, die sich durch eine Fokussierung auf den Einzelklang und das Entbinden von den Erfordernissen einer funktionalen Harmonik auszeichnen. Sie eignen sich dadurch in besonderem Maße für die Improvisation, die insofern als der Urgrund für alle stilistischen Affinitäten gelten kann. Überlegungen zur Verwandtschaft zwischen der französisch-romantischen Orgelschule auf dem Frühwerk Olivier Messiaens auf dem Gebiet des Rhythmus, der Setzweise und dem theologischer Implikationen runden die Untersuchung ab. / This article examines the influence of the French-Romantic organ school on the early works of Olivier Messiaen. For methodological reasons having to do with the tension between music-historical, analytical, and aesthetic judgements, emphasis will be placed both on various harmony and improvisation treatises (Durand, Dupré, Koechelin) and Messiaen’s own music-theoretical writings. The types of chords described therein and their various possibilities for combination, which are distinguished by a focus on the single chord and the exoneration of the requirements of functional harmony, will be discussed. Such chords are particularly appropriate for improvisation, which may be taken as the ultimate basis for all stylistic affinities. This examination concludes with reflections on the relationship between the French-Romantic organ school and Messiaen’s early works in regard to rhythm, manner of composition, and theological implications.

Syftet med studien är att få syn på hur jag approprierar kulturella redskap på kontrabas inom jazzgenren och hur den sociala kontexten påverkar mitt lärande. Det sociokulturella perspektivet ligger till grund för min studie och fokuserar på ökat deltagande, mästarlära och appropriering av kulturella redskap. Perspektivet, bakgrundslitteratur och relevant forskning inom området presenteras i bakgrundskapitlet. Efter detta följer ett metodkapitel där jag presenterar metoderna; videoobservation och loggbok vilka är de jag valt att använda för att besvara mina forskningsfrågor. Därefter presenteras ett resultat innehållande två huvudrubriker; Att lära sig i en social kontext samt Improvisation och kommunikation. Resultatet behandlar gehörstraditionen, lärlingars beroende av sina mästares erfarenhet, för och nackdelar med att tillhöra en grupp samt avsaknaden av kvinnliga instrumentalister på Musikhögskolan Ingesund. Slutligen diskuterar jag resultatet utifrån refererad tidigare forskning och bakgrundslitteratur. Diskussionen innehåller bland annat kritiska faktorer inom gehörsspel, hur studenter blir mer centrala deltagare i den sociala praxisen med hjälp av sina lärare samt hur genusperspektivet kan ge en bakgrundsförståelse för de mentala svårigheter jag möter under studiens gång. / The aim of this project is to study how I develop my double bass skills in the jazz genre, using cultural tools that depend on the social context.  The sociocultural perspective focuses on enhanced participation, apprenticeship and learning trough cultural tools which is what I base my study on.  The theoretical perspective, relevant literature, and previous research is presented in the background chapter. In the following chapter I present the methods that I’ve used to answer my research questions, which are videoobservation and keeping a journal. Subsequently I present the results to my study using two headlines; To learn in a social context and Improvisation and communication. The result describes the tradition of playing by ear, apprentices’ reliance on their more experienced masters, pros and cons of group affiliation and the lack of female instrumentalist on Musikhögskolan Ingesund.  Finally, I discuss the results using the previous research and background literature. The discussion is mainly about critical factors that affect playing by ear, how students become more central participants in the social praxis guided by their teachers and how a gender perspective can explain the mental difficulties that I faced during my study.

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In this bachelor thesis in the field of artistic research, the author’s aim was to gain practical and experience-based knowledge on how to access their inner voice in the process of composing notated contemporary music. The theoretical framework was obtained from theories on compositional craft, composers’ voice and a concept from the rhetoric, mimesis, was used as a model for the approach to creating composition exercises. The procedure of the bachelor thesis started with semi-structured interviews with four professional composers, who were asked about their compositional processes. Based on the results of the interviews, a composition exercise, called mimesis-exercise, was created for each of the interviewee, and then performed by the author. After each mimesis-exercise was finished, a reflective evaluation on the process was written.  A summary of each interview is presented in the implementation and detailed descriptions on how the compositional process was conducted for each of the four mimesis-exercises are presented in the results part. The artistic production of the bachelor thesis consists of five new pieces, each composed for one of the ensembles: SATB-choir, string ensemble, organ (two pieces), and solo trombone. The four research questions were answered through a thematic analysis and reflective texts.   The conclusions made during the process of the bachelor thesis was that the author experienced an enhanced understanding and connection to both the compositional process and the sounding material produced. The experience of composing, both the pieces which was part of the project, but especially those composed close after the thesis’s end, was more emotional and personal than the author experienced before the start of the bachelor thesis. The author reflected on how her development and discovering of her compositional voice was made through the procedure of the mimesis-exercises. The conclusive texts of the bachelor thesis add accounts for experience-based and personal perspectives to previous research on composer’s voice.

With the purpose of enriching my walking bass lines I have studied the work of Israel Crosby, who is most famously associated with the Ahmad Jamal Trio. His walking bass line- construction hints to his background as a musician from the swing-era, with a foundation in tuba-playing. The 2017 paper “Israel Crosby (1919-1962): An Analysis of His Bass Line Construct” by Gibral Anees Kahn worked as an aid in my attempt to dissect the idiosyncrasies of Crosby in addition to my transcription work, which was focused on memorizing and internalizing, rather than reading the transcriptions as sheet music. By studying three recordings I made several conclusions about Crosby’s habits and methods which I could implement in my own playing. By habitually playing the transcriptions and listening extensively to the music of Ahmad Jamal over the course of 6 months, I engrained parts of Crosby’s playing which was demonstrated in the devoted recital concert, that featured a diverse repertoire. The project resulted in me developing my playing in both conscious and unconscious ways. / <p>Repertoar:</p><p>This Can't Be Love - Richard Rodgers</p><p>Out of the Past - Benny Golson</p><p>Prelude to a Kiss - Duke Ellington</p><p>Bitty Ditty - Thad Jones</p><p>I Get a Kick Out of You - Cole Porter</p><p>Third Movement - Jeb Patton</p><p></p><p>Medverkande:</p><p>Jacob Sandberg - Bas</p><p>Elias Larrsson - Piano</p><p>Albin Eklund - Trummor</p>

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

Specialförband och specialoperationer beskrivs ofta i förhållande till reguljära enheter och konventionella operationer. De beskrivs som något som ligger utanför reguljära förbands förmågor. Detta kan i sin tur ställa andra krav på specialförbandslogistiken än på logistiken för reguljära förband.   Den logistikteori som finns idag är i huvudsak baserad på fallstudier av konventionell krigföring. Det saknas alltså ett teoretiskt ramverk för specialförbandslogistik och idag baseras det på doktriner och handböcker som bygger på praktiskt vunna erfarenheter. Syftet med denna uppsats är att analysera fram viktiga principer för specialförbandslogistik och i och med det ge ett bidrag för att öka förståelsen för just fenomenet specialförbandslogistik vid genomförande av specialoperationer.   Genom att analysera specialförbands och specialoperationsempirin, både deduktivt med hjälp av befintlig logistikteori och induktivt genom extensiv läsning, har logistikteorin utvecklats. Några principer från logistikteorin har nyanserats och omarbetats, någon har strukits och några tillkommit. Principerna för specialförbandslogistik vid genomförande av specialoperationer är integrering, framsynthet, improvisation, flexibilitet, tillgänglighet, tempo, enkelhet, överlevnad, effektivitet, kreativitet, operationssäkerhet och interoperabilitet.

“What is more real than the thoughts in your mind?”, “Re/structure your memories, re/construct your reality, re/define yourself”. The foundation of my research is about practising theory instead of theorising practice. My project begins with theory, which then leads to the science fiction film Mnemophrenia that constitutes the practical aspect of it. I attempt to demonstrate how theory and practice can be joined to create a fruitful union, each one feeding the other. In my research, I am inspired by Marshall McLuhan’s idea and use the medium as the message in order to depict and explore how cinema can affect human memory and more specifically create artificial memories and thus contribute to the dissolution of any boundaries between reality and fiction. The key research question that Mnemophrenia explores is: what would happen if in a future postmodern society the Bazinian myth of ‘total’ cinema becomes a reality? If ‘total cinema’ is pure realism and cinema can lead to artificial memories, then artificial memories and pure realism become one and films become artificial memories. Mnemophrenia depicts a different kind of human being or species, a schizophrenic ‘cyborg’ changed from within due to the advancement of virtual reality films which signals the end of cinema as we know it today. Mnemophrenia is about the future of cinema and maintains a horizon of hope that could lead to utopia; it does not discard technology as something evil as many previous science fiction films have done. I am interested in depicting through the film and examining in my thesis the possibility of a society where the dissolution of borders between fiction and reality does not lead to horrific consequences for humanity but instead promotes a potential for a new kind of identity that is an amalgam of real and artificial memories.

No description available.