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In this thesis I have explored how to combine improvisation with technical trumpet studies by creating exercises that are based on my compositions. The goal was to develop a uniform practice routine in order to become more free as an improviser. This semester I have had the benefit to have Ingrid Jensen as a trumpet teacher and therefore the process is mainly inspired by her experience and advice. I have found new tools to incorporate in my practice routine such as practicing to a drone and applying Flow studies on self-composed phrases. I have not only noticed a difference in my playing, but also realized the importance of giving yourself time to make progress. / <p>Wheels, Fragments of Spring, New Beginnings, Morning Light, Hymn of the Forest (Linnea Jonsson är kompositör på samtliga låtar)</p><p>Medverkande:</p><p>Linnea Jonsson, trumpet</p><p>Britta Virves, piano</p><p>Bjarni Ingólfsson, gitarr</p><p>Ingrid Schyborger, kontrabas</p><p>Kristian Remnelius, trummor</p>

The main goal of this thesis was to develop tools and methods for creating new music for the Japanese bamboo flute shakuhachi. Shakuhachi is an end-blown bamboo flute, which has existed in Japan since the seventh century. The oldest shakuhachi solo repertoire, honkyoku, can be considered as “tone-color melodies”, where the expression is primarily happening through microtonal alterations of pitch and timbre, while the melody is secondary. An early fascination with timbre led the author to the shakuhachi and its sound aesthetics, and towards exploring new methods for making music. The main method described is composing through improvisation, using nonlinearity to focus on the present with the sound and timbre of shakuhachi. To learn about unconscious factors during music making, a micro-phenomenological interview method is used, aiming to reach a deeper understanding of the decision-making and the pre-reflective experience during improvisation. The history, learning methods, aesthetics, and concepts of Japanese traditional shakuhachi music are explored to give inspiration and context for the work, in the search for a personal musical expression within the tradition. Analysis of timbral gestures is conducted to further research the timbral aspect of Japanese traditional music, as well as to analyze the musical connection between Japanese traditional shakuhachi music and the music composed in the project.

This dissertation investigates how historical musicians’ relationships to harmonic or contrapuntal rules intersected with their individual and collective experiences of fully improvised or improvisatory music. Within the realm of interpersonal relationships, musicians experience and develop powerful mental and artistic bonds through improvisation. Deep levels of sympathy and communication were documented in the seventeenth and eighteenth centuries, within the cultural contexts of Bernardo Pasquini (1637–1710), Carl Philipp Emanuel Bach (1714–1788), and Christopher Simpson (1602–1669), the three musicians I focus on in this study. In the arena of harmonic rules and parameters, I contend that what appears to be “rule-breaking,” when it shows up on paper can instead be viewed as a frozen-in-time representation of the type of liberties that may have been commonplace in seventeenth- and eighteenth-century improvisation. Improvisers in this era seem to have been more concerned imparting a large-scale sense of harmony and producing engaging melodic variety than with compliance to the most formal rules of counterpoint. Through studying surviving documentation of historical improvisation, I show how its spirit can suffuse formal composition. By shifting focus from fine points of historical musical style to a discussion of generalized artistic and conceptual concerns around improvisation, I suggest that modern day musicians can discover how they themselves relate to baroque works that demand performers’ agency and creativity. My approach aims to suggest ways in which performers today can apply lessons from the past in modern interpretations of improvisation-based baroque music. / Music Performance

One thing that has inspired me about film music is that it has always managed to easily pull me into a different reality. In this essay I have gone deeper into different methods of convey- ing storytelling through music. I have composed nine songs to four different filmmakers materials. This was performed at KMH the 6th of April. I did some thorough research before composing, which affected my way of approaching the music. The methods I used was proven helpful for me, not only in a compositional stage, but useful also in my vocal interpretation, when conveying the material to a band and when thinking about how the concert was going to be executed. I will use these methods further in my work as a singer and composer.

Denna forskningsstudie undersöker ifall musiklärare på svenska folkhögskolor använder sig utav pedagogik som involverar att tala om paralleller mellan musikalisk improvisation och lingvistik. För att förklara närmare vad detta innebär så beskriver studien först vad tidigare forskning säger om vad det innebär att improvisera, exempelvis hur aktiviteten fungerar neurologiskt och kognitivt för att senare enklare kunna illustrera parallellerna till lingvistik. Studien dokumenterar även och citerar befintligt utländskt undervisningsmaterial där parallellerna skrivs om för att senare kunna jämföras med det svenska undervisningsområdet. Sedan så beskrivs studiens frågeställningen i närmare detalj och studiens använda forskningsmetod förklaras. Senare i studien så beskrivs själva processen för undersökningen och de insamlade resultaten dokumenteras. Studien avslutas med ett diskussionskapitel där genomförandets brister diskuteras och iterationer inför möjligt kommande uppföljningsarbete spekuleras.

Sammanfattning av uppsatsen: Syftet med denna uppsats är att undersöka ett nytt alternativt sätt för mig att närma mig improvisation med flygeln som medium utifrån givna byggstenar hämtade ur traditionell japansk musik. Genom att välja ut byggstenar baserade på traditionell japansk musik skapar jag ett ramverk som tillåter nya idéer och impulser att ta plats. Byggstenarna namnges: sinnestillstånd, sound och struktur. Dessa fokuserar på filosofiska, tonrelaterade och strukturella idéer. I undersökningen använder jag byggstenarna i fyra fria improvisationer som analyseras vartefter och förbättras till nästa kommande experiment. Arbetet resulterade i en improvisationsteknik som öppnade upp för nya impulser och ett närmande som skilde sig från hur jag vanligtvis musicerar. Den krävde aktivt närvarande och acceptans över det som klingade i stunden samtidigt som musiken strävade framåt och hela tiden utvecklades. Arbetet visade på hur gamla musikaliska idéer från en annan kultur kan generera inspiration för nya musikaliska idéer. Arbetet gav även en mersmak för vad denna teknik kan leda till i framtida forskningsprojekt inom exempelvis komposition, ensemblespel och pedagogiskt närmande till improvisation.

The goal of this master project was to create reverberant sound worlds on the border between acoustic and electronic sounds. I approached this goal through the exploration of musical repetition, difference and timbre. These fields were approximated both through practical and theoretical work. This thesis gives insight into my practical work of solo piano playing, with specific focus on the combination of acoustic piano with electronic effect pedals and extended techniques. Reading about and translating concepts and ideas from the fields of minimalism and ambient music has led me to approaching repetition, difference and timbre through thinking-feeling texture. This thesis focuses on the music and concepts that arise in the in-between of these four fields: repetition, difference, timbre and texture. In addition, the text includes theoretical reflections on texture, repetition and listening modes from a conceptual and philosophical angle. This master project has given me new entryways to create music and changed my way of listening. I developed a new style and technique for playing solo piano, which includes a set up for electronically processed and prepared piano. Moreover, I developed several concepts that explain my musical driving forces as well as connect my musical work with visual art and serve as useful tools to share my artistic practice. Especially important are the concepts of uneven repetition, antipiano and texture-gesture continuum. / <p>Anna Wohlfarth – prepared piano</p><p>Marika Markström – electronic processing</p><p>"spatial magnets"</p><p>Solo:</p><p>Anna Wohlfarth – piano, effects</p><p>"3 improvisations"</p><p>Duo:</p><p>Anna Wohlfarth – piano, effects</p><p>Petter Norbäck – sampler, elektronik</p><p>"tonefloat; dark atmo // iceland memories; disintegration"</p>