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Mitt projekt handlar om att vara jazzsångare och att reflektera över vad jag anser att en jazzsångare är. Det handlar också lika mycket om processen att utvecklats i min musikerroll och utforska de många aspekternas innebörd. I de individuella sånglektionerna hos Irene Sjögren under min kandidatutbildning har det inte varit en skarp skiljelinje mellan att vara sångare och musiker; båda ryms inom begreppet jazzsångare. Det reflekterar också mitt synsätt på min egen identitet som jazzsångare och att samtidigt vara bandledare.  Målet är därför att försvara jazzsångarens legitimitet som improvisatör och musiker, och redovisa projektet i en konsert som blir mitt personliga ”statement i jazzsång” tillsammans med en jazztrio. Jag konkretiserar en del av de aspekter som utgör en jazzsångare och samtidigt visar min process hur jag repeterade och planerade programmet för att lyfta fram dessa aspekter i konserten. Arbetetet fokuseras därför till stor del på musikledarskap och hur jag som jazzsångare leder mitt band för att uppnå en bra konsert. / <p><strong>Medverkande musiker</strong></p><p>Liselotte Östblom – sång </p><p>Filip Ekestubbe – piano </p><p>Josef Karnebäck – kontrabas </p><p>Emil Norman Kristiansen – trumset </p><p>Björn Arkö - tenorsaxofon </p><p></p><p><strong>Program </strong></p><p>Time Remembered (Bill Evans / Paul Lewis)</p><p>Night And Day (Cole Porter) Arr: Liselotte Östblom </p><p>Yardbird Suite (Charlie Parker / Eddie Jefferson)</p><p>Winter Sweet (Kenny Wheeler / Norma Winstone)</p><p>Very Early (Bill Evans / Carol Hall)</p><p></p><p>Be Bop Lives (Boplicity) (Miles Davis / Mark Murphy)</p><p>Arr: Liselotte Östblom, Björn Arkö </p><p></p><p>When Lights Are Low (Benny Carter / Spencer Williams)</p><p>Arr: Liselotte Östblom </p><p></p><p>Turn Out The Stars (Bill Evans / Gene Lees)</p><p>Cherokee (Ray Noble)</p><p>Prelude To A Kiss (Duke Ellington / Irving Gordon / Irving Mills)</p><p>Beautiful Love (Victor Young)</p>

Syftet med denna studie var att genom aktionsforskning undersöka vilka påverkningsbara musikpedagogiska faktorer som visar sig gällande nivåanpassning av den Amerikanska jazzsaxofonisten George Garzones jazzimprovisationsmetod The Chromatic Approach (TCA). Aktionsforskning tillämpades som vetenskaplig metod där en progressiv nivåutveckling av varje students musikaliska möjligheter till anammande av TCA utarbetades. Tre interventioner genomfördes totalt, två med en Kungl. Musikhögskolestudent och en med en Gymnasiestudent. Bakgrunden till studien ligger i vikten av att som musiker få utveckla förmågan till genrebrytande improvisation, en motverkan mot att fastna i givna och stigmatiserade musikaliska bojor som kan kväva studentens nyfikenhet och lust till utveckling av den egna unika musikaliska rösten. Studiens resultat och analys visade på utkristalliserade faktorer som under utvecklingsprocessen arbetats fram och tydliggjorts där vikten av musikpedagogiska förberedelser med nykomponerade övningar behövdes för att nivåanpassa med hänsyn till instrumentteknisk nivå och även till respektive students musikteoretiska förkunskaper. I studiens avslutande diskussion problematiseras aktionsforskningsmodellen som vetenskaplig utgångspunkt för pedagoger som genom sin forskning får dubbla roller. Pedagogen och forskaren i samma person.

Une étude de l’histoire du jazz en Tunisie montre une interaction entre des facteurs culturels intrinsèques, comme la réceptivité vis-à-vis les cultures d’autrui et le développement de la productivité culturelle locale, et des facteurs culturels extrinsèques liés à la mondialisation de la musique. Ce phénomène, ayant ensuite fait l’objet d’une étude statistique et sociologique, sous-tend de nouvelles tendances d’écoute, d’apprentissage et de pratique musicale chez les jeunes musiciens des Instituts Supérieurs de Musique en Tunisie (ISM-s). Les intérêts enregistrés pour les musiques improvisées extra-arabes – comme notamment la musique turque et le jazz – sont corrélés avec des tendances de métissage musical. L’analyse d’un corpus d’improvisations réalisé auprès d’un échantillon de trois jeunes pianistes/claviéristes orientaux diplômés des ISM-s montre un discours particulièrement acculturé, révélateur d’un disfonctionnement de l’appareil didactique local, mais au demeurant rattaché à une identité culturelle endogène. Enfin, la dernière phase du travail a été consacrée à l'étude d’un corpus de métissage expérimenté. L’analyse approfondie d’une musique du `ûdiste/compositeur Anouar Brahem accompagné par le contrebassiste de jazz Dave Holland, dévoile un processus créatif original et conceptuel, basé sur une fusion musicale multi-référentielle, subtile et cohérente. Ce processus, synonyme de diversité culturelle, est toutefois entravé par des enjeux commerciaux et d’uniformisation esthétique. / This historical study of jazz in Tunisia reveals an interaction between intrinsic cultural factors, such as receptivity to other cultures and the development of local cultural production, and extrinsic factors related to the cultural globalization of music. First, this dissertation includes a statistical and sociological study concerning the new listening, learning, and performance trends among young musicians at the Higher Institutes of Music in Tunisia (ISM-s). These students’ interest in non-Arab improvised music – especially Turkish music and jazz – is correlated with their tendencies towards musical hybridity. Next, this work includes an analysis of a collection of improvisations by a sample of three young pianists / oriental keyboard players graduating from ISM-s. Their improvisations reveal a particularly globalized discourse; and although defaults in their work stem from problems in the local pedagogical system, their improvisations are nevertheless linked to their endogenous cultural identity. The final section of the dissertation examines a collection of experimental, hybrid recordings by ûdiste/composer Anouar Brahem, accompanied by jazz bassist Dave Holland. An analysis of these recordings unveils a creative process that is original and conceptual, based on a musical fusion that is multi-referential, subtle, and coherent. This process is synonymous with cultural diversity, yet it is hampered by issues of commercial and aesthetic uniformity.

Denna uppsats handlar om Charles Tournemires (1870-1939) improvisation från 1930 över den gregorianska sekvensen Victimae Paschali. Improvisationen nedtecknades senare av Maurice Duruflé. Sekvensen återfinns i den svenska psalmboken från 1986 där den sjungs som en växelsång mellan kör och församling. Uppsatsen behandlar frågor gällande komposition och improvisation och den eventuella problematiken som kan uppstå i nedtecknandet av en annan musikers verk. Vad händer när man spelar musik som var menat att finnas en gång, där det framgått att upphovsmannen inte velat få den transkriberad? Hur mycket hänsyn till notbilden tar musikern när denne vet att det är en improvisation, gentemot när det rör sig om en komposition? / <p>Konsertprogram, examenskonsert:</p><p>J.S Bach: Komm, heiliger Geist, Herre Gott (BWV 651)</p><p>D. Buxtehude: Toccata d-moll (BuxWv 155)</p><p>M. Reger: Melodia (Op 59 no 11)</p><p>C. Tournemire: ur <em>Cinq improvisation</em>: Improvisation sur le Victimae Paschali</p>

In work with clients having profound learning disability, music therapists may include in sessions assistants not trained as music therapists. This study is a qualitative inquiry addressing the questions: 1) How does improvised music influence the interaction between teenagers with profound and multiple disability and learning support assistants? 2) Which aspects of the music are associated with any influences found? A survey of music therapists, exploring how assistants are used and how effectively they perform their role, found that assistants are often used as ‘interaction partners’. To explore how the therapist may facilitate client-assistant interaction, about which little is known, video clips from the writer’s clinical practice were purposively selected in order to illustrate an approach entitled Triadic Support of Interaction by Improvisation (TSII). Seven learning support assistants (LSAs) each viewed a video clip showing her own interaction with a teenager having profound disability, supported by the writer’s improvised music. Semi-structured interviews explored the LSAs’ understanding of the behaviour and inferred mental processes of the teenagers, their own behaviour and mental processes and the music improvised by the therapist to support the interaction. A variant of Interpretative Phenomenological Analysis generated shared themes, which included concern for the teenagers’ autonomy, interest in their communicative behaviour and understanding of the mutuality of interaction. The therapist’s improvisation was seen by the LSAs as influencing only the teenagers. All the clips were also viewed by three music therapists, who used a mechanical continuous response device to register the influence of the therapist’s improvisation on four ‘scenarios’: the teenagers’ behaviour, their inferred mental processes, the LSAs’ behaviour and their inferred mental processes. Inter-rater agreement between the three therapists’ continuous responses was generally low, but some intra-rater correlations were found between pairs of scenarios, which the music was perceived as influencing in similar ways. This finding supports the conclusion that musical influences, although they may be analysed according to the four scenarios, actually function as a mutually inter-related system rather than as four independent processes. Each therapist selected decision points from the graphic record of her/his individual responses to discussed with the other therapists as a panel. Positive evaluations were made of the role of TSII in supporting the observed teenager-LSA interactions and the inferred underlying mental processes. This research design was exploratory, and not intended to test specific hypotheses about the mechanisms of musical influence. Tentative suggestions of associations between influences and musical features are however offered by the writer. Indications for the use of TSII are given and other applications suggested for novel aspects of the methodology developed for this study. A refinement of the continuous response task is proposed, and the requirements for any future formal evaluation of TSII are outlined.

Music therapy is widely portrayed either as a paramedical practice within which music is a technology applied as a form of treatment or as a form of psychotherapy within which the music plays a primarily symbolic role or acts as a lead in to verbal consideration of the patient’s presenting issues. Music therapy research currently focuses predominantly on demonstrating “evidence of effectiveness” in terms of symptomatic outcome, thus preserving a focus on the individual congruent with the medical model. In contrast, this thesis seeks to examine ethnographically the ways in which music therapy gets accomplished as a situated social practice within a community mental health resource centre in a UK urban area. Drawing both on the observations and experiences of the researcher (a music therapist already working within this setting) and on formal and informal interviews with the centre’s members and staff, it seeks to identify ways in which music therapy gets done and value ascribed to it. Observations are compared with the “norms” portrayed by dominant professional discourse, and reasons for discrepancies considered. Particular attention is paid to self-awareness, intimacy and conviviality as facets of what music therapy has to offer in such a setting, and to social capital theory and Goffman’s dramaturgical approach as broader conceptual frameworks for such affordances. Consideration is also given to the “fit” between the affordances of music itself, and the “craft” required of diverse actors in order that music therapy can be considered to offer an ecology which promotes health and well-being. Finally, the findings are re-addressed towards music therapy itself via the lens of what it means to be “clinical” in order that a sociological “craft” perspective maybe brought to bear within the discipline.

The following thesis draws from a recent production assignment at the Shakespeare Theatre Company in Washington, D.C., in which I acted as Associate Fight Director under Broadway Fight Director Rick Sordelet. We worked on three shows in all: William Shakespeare's Taming of the Shrew, and Christopher Marlowe's first play, Tamburlaine, and his last, Edward II. By analyzing and assessing the working methods utilized during this production process, I hope to elucidate the most effective elements, and finally synthesize the tenets of my own working method. Structurally, I will recount the experience chronologically, from preproduction to performance, treating the pros and cons in each section of production. As a movement designer, I am interested in choreographic methods that both draw organically from actor's impulses, and integrate acting choices immediately. Too often the acting work is left off until the end; the actors are expected to layer their choices onto a fight that was not choreographed with those choices in mind. Instead, I seek to articulate a working method that allows and guides actors towards physical engagement with specific objectives, and that enables actors to make active choices from the very beginning.