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<p>Max Stark - Trumpet, flygelhorn</p><p>Magnus Dölerud - Tenorsaxofon</p><p>Anton Dromberg - Piano</p><p>Joel Hulander - Bas</p><p>Ludwig Gustavsson - Trummor</p><p></p><p>Material:</p><p>Life Is What's Happening</p><p>Linneas Vals</p><p>If I Have To Choose</p><p>Ballad For Bernt</p><p>Puebla Lucia</p>

The aim of this study is to explore to what extent and how different jazz programs on the college level include repertoire memorization in their curriculums. By repertoire memorization I mean the study and memorization of a certain amount of standard jazz repertoire, which include songs from the so-called great American songbook and tunes by jazz composers that are commonly played by jazz musicians around the world.  Whether the schools include repertoire memorization in their official curriculum or course descriptions or leave the subject to the discretion of the individual instructors is explored. Methods for teaching the subject, methods of assessing the students’ memorization, and views of different jazz department heads regarding the importance of the subject are also investigated. A sociocultural perspective is adopted in the study to see if academia attempts to address or perhaps recreate some of the sociocultural contexts that jazz learning existed in before jazz was included in music conservatories and universities. Eleven jazz programs and one jazz educator were asked to be a part of the study and of those, four schools responded. The data was collected in email correspondence with the four different department heads that were from the United States, Finland and Sweden (two schools). The results showed that the programs in Finland and the United States placed great importance on the subject and use required repertoire lists that the students were tested on. One of the Swedish programs had suggested repertoire lists for students without formal testing and the other Swedish program left the subject up to the individual instructors although the subject did seem to be encouraged. One unexpected observation from the repertoire lists used from the schools in Finland and the United States was that there were a surprisingly large number of songs that were not in common to both lists.

Magíster en artes con mención en composición musical / La presente tesis plantea bajo qué criterios y puntos de vista, definir el concepto de Jazz contemporáneo. Así se despliega un discurso estético-práctico, con herramientas que denoten el vínculo entre las partes. Para esta tarea, el estudio entrecruza la historiografía del estilo y sus parámetros de construcción, con elementos y relaciones de y desde la contemporaneidad o devenir contemporáneo, que se conecten con el concepto e idea. El estudio historiográfico del estilo, precisa acerca del quehacer constructivo del material musical en la elaboración del discurso, además especifica cuál o cuáles son los caracteres predominantes en la disposición de éste en relación a su desarrollo en el tiempo. Con esta tarea se establecen los cimientos materiales – estéticos, para la construcción de obra. Para establecer la idea de contemporaneidad, se vincula el desarrollo estilístico ej. Melodía, armonía o forma, con elementos preponderantes en el proceso y desarrollo de nuestra época, ej. Técnica instrumental, composicional, reproducción, técnicas de grabación, medios digitales o desarrollo de plataformas y lenguajes predominantes en la actualidad. Con la suma de estos elementos se construye un discurso coherente, para la creación de obras que relacionan los componentes expuestos desde el lenguaje del Jazz. Desde la composición, y relacionándose con lo anterior, se escriben y graban en formato audio tres obras que funcionan a modo arquetípico del concepto, existiendo un macro estético que hace que todas se relacionen directamente, ya sea por material y discurso. Con esta representación a modo paradigmática, las obras se acercan o alejan de la tradición, formulando a partir de la composición una vía para contextualizar, conceptuar y trabajar el Jazz desde procedimientos actuales y contemporáneos, adscritos, relacionados y contemplados en el trabajo.

"Voodoo Love" is a music video for jazz saxophonist, Lance Ellis. Set at The Turning Point Lounge in New Orleans, as well as the countrysides of Madisonville and Bush, Louisiana, the video takes us into a world where classic Motown style meets the world of campy horror films. Voodoo Love is also the first local jazz video to be produced in high-definition video. It includes appearances by Lischelle Brown, Mardi Gras Indian Big Chief Alfred Doucette, blues player Big Al Carson and the singing trio Mahogany Blue. The video was authored to DVD and includes extras features on the making of the video, including an extended behind the scenes documentary.

In this project, Björn Atle Anfinsen has composed music for his group Anfinsen Atmosphere with focus on finding freedom in his musical expression. The music was played and recorded on his exam concert at the Royal College of Music in Stockholm in the beginning of march 2019. In his compositions he combines different genres such as electronic, hard rock, folk-world and ambient music. The goal with combining genres is to create an image where different styles of music could be together. The music is written as a suite for the concert where all the songs are played directly after each other as one song, with no break in between. The idea of this is to do a concert similar to a theatre performance.  As a result of the project, Björn Atle states that he has found new ways of writing music where he can achive freedom in his musical expression. He also explores new sounds that he creates with the trumpet within the genres he combines. / <p>Examenskonsert. Kungasalen, Kungliga Musikhögskolan. Kompositör: Björn Atle Anfinsen. Medverkande:</p><p>Björn Atle Anfinsen - trumpet</p><p>Leo Krepper - gitarr</p><p>Manne Skafvenstedt - Klaviatur</p><p>Malte Bergman Byström - bas</p><p>Noa Svensson - trummor</p>

In this project I have examined how I can use different ways to compose for a bigger ensemble and for my own instrument, guitar, as a part of it. As a musical form for the composing I chose to write music based on my musical preferences and influences from the film music genre. For the project I wrote five different pieces which I performed together with an ensemble which included seventeen other musicians in KMH:s concert hall “Kungasalen” on the 6th of mars 2019. The theses will give you a perspective on how I wrote the compositions and what tools I used, theoretically and emotionally. In this project I also go deeper into how I can evolve as a bandleader and how thorough I am with how I handle such a big ensemble, both socially and musically, and how I should manage in the future in similar situations to achieve the best possible result.

In this bachelor thesis I describe the process in detail of making a recording of self-composed music from different times during my years at the Royal College of Music in Stockholm. The music was recorded with a quartet consisting of piano, electric guitar, upright bass and drums. My questions concern the role of the guitar voice in my compositions, how I work as an ensemble leader and how my own composing is influenced by the musicians who inspire me.   One aspect that I explore more thoroughly is how a guitar voice can be used in my compositions, since the music from the beginning is written for piano trio. I discovered that I appreciate when the melody is played in unison by guitar and piano. I contribute this to the fact that vibrato cannot be played by the piano. Instead, it is complemented by the guitar in a natural way.   In my discussion of my role as a bass player and how I work as a band leader, I reflect upon how my personality affects the way I lead. I come to the conclusion that I personally enjoy being a sideman, so that I with the help of my instrument can support and provide a depth to the music. As an ensemble leader, I have been practicing entering a new role. Here I have found the strength in utilizing and seeing the value of my fellow musicians' opinions and ideas to let the composition reach its full potential. All in all, this project has allowed me to gain a greater understanding of how I function as a musician and has produced five recordings that I take great pride in. / <p><strong>Repertoar</strong></p><p><em>Agnes</em> - Joel Hulander</p><p><em>Arpeggio</em> - Joel Hulander</p><p><em>Grubbel</em> - Joel Hulander</p><p><em>Regn</em> - Joel Hulander</p><p><em>Östergyllen</em> - Joel Hulander</p><p></p><p><strong>Medverkande</strong></p><p>Flygel - Oskar Lindström</p><p>Elgitarr - Oscar Olsén</p><p>Trumset - Filip Olofsson</p><p>Kontrabas - Joel Hulander</p>

This project deals with the different aspects and problems that I associate with being a soloist with a big band, playing my own music. I put together a big band with some of my favorite musicians, wrote four arrangements on original tunes and played them on a concert at The Royal College of Music on the 7th of March 2019. In the arranging process, I tried to focus on making my trumpet playing sound as natural as possible. The goal throughout the whole project has been to make the music match my trumpet playing and improvisational sound. / <p>Medverkande: Sebastian Jonsson, Leonard Werme, Björn Bäckström , Samuel Muntlin, Emma Josefsson (träblås), Erik Tengholm, Isac Åberg, Max Stark, Linnea Jonsson, Emma Granstam (trumpet), Lars Ullberg, Agnes Darelid, Hampus Adami, Simon Skogh (trombon), Mattias Olofsson (gitarr), Anna Gréta Sigurdardóttir (piano), Johan Tengholm (kontrabas), Oscar Johansson Werre (trummor).</p><p>Till uppsatsen bifogas inspelningar av mina egna kompositioner som är kopplade till arbetet: Complexity of Love, Motljus, Livejazzbaren och Island.</p>

In this project Jonathan Stribrny has composed and recorded music for his quintet focusing on finding his own voice as a composer. The music was recorded at The Royal College of Music in Stockholm. The purpuse of the project was to develope a characteristic sound as a composer and discover new ways for himself as a soloist.  The process of composing and using various composition techniques are well described in the paper. Problems that have appeared like finding it hard to play certain musical lines due to lack of trumpet technique are discussed, as well as the process of writing lyrics to a composition for the first time. In the end Jonathan states that he has realized the importance of incorperating fragments of something that is experienced as unexpected for the listeners into a composition. These fragments could be drastic tempo changes, rhythmic alternations and key changes. He also presents an idea of continuing writing music for singers and a wish to make a record with only song lyrics