This essay describes the process of composing music based on a predetermined theme to then perform it. The purpose was to find out how composing and to perform what has been composed, can be influenced by being bound to treat a particular topic. The goal was to answer the question of whether, and how, such a way of working favors or disfavors the process in general. The theme of this project was "everyday life" along with its different possible aspects or interpretations. The compositions were composed mainly using creativity and imagination complemented by the computer-based recording program Logic Pro X. Both acoustic instruments and software instruments were used during recording and the recorded material acted as a basis for learning the music. The project was then presented to the public in the form of a concert given 8 March 2018 at the Royal College of Music in Stockholm, where the music composed during the project was performed by me on vocals together with a band consisting of drums, bass, guitar, keyboard and trumpet. The project made it clear that treating a specific topic may be helpful in a lot of ways in various stages of an artistic project that includes composing and performance. / <p><strong>Repertoar</strong></p><p>Thought it was you (Melvin "Wah Wah" Watson, Jeffrey Cohen, Herbie Hancock)</p><p>So good (Charlie Puth, Tyrone William Griffin, Jacob Kasher Hindlin, Gamal Lewis, Danny Schofield)</p><p>Eyes on you (Christopher Lennerbrant)</p><p>Not for free (C. Lennerbrant)</p><p>Sugah beat (C. Lennerbrant)</p><p>All my senses (C. Lennerbrant)</p><p>Zoom (C. Lennerbrant)</p><p>Man in the mirror (Glen Ballard, Siedah Garrett)</p><p><strong>Medverkande</strong></p><p>Christopher Lennerbrant - sång</p><p>Oskar Lindström - keys</p><p>Alf Carlsson - gitarr</p><p>Björn Atle Anfinsen - trumpet</p><p>Oscar Mattsson - bas</p><p>John Bjurström - trummor</p>

The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).

archives@tulane.edu / This dissertation examines jazz in the life of the German Democratic Republic (GDR), from its founding after the end of World War II to its dissolution with the collapse of the Soviet Union in 1989. Challenging the established scholarly view that jazz was an art form whose primary dynamic consisted of opposition to the state, this dissertation argues that jazz was in fact a musical genre that enjoyed considerable state attention and in some cases support. Over the 40 years of the GDR’s history, party leaders variously legislated, controlled, repressed, encouraged, and ultimately sponsored jazz activities, recognizing throughout these years that jazz bore a critical relation to Marxist ideology with respect to its origins in racial identity and class-based oppression: this history, then, reflects the evolving struggle by socialist authorities to define this relationship and manage it accordingly. In order to make this argument, this dissertation examines previously unexamined material from a variety of sources in the GDR, including interviews from former residents and jazz actors, private documents such as diaries and letters, official government policies, and records of state surveillance. It provides the first full-length assessment of jazz over the entire lifespan of the GDR, dividing this history into four key phases and documenting the evolution of jazz from its initial use as a tool of re-education immediately following World War II to its emergence as a state-sanctioned art form in the 1980s. In sum, this dissertation argues that jazz can no longer be seen in such a simplistic way as scholars generally contend: rather, this research concludes that jazz must be understood as an art form in continuous and evolving dialogue with, not pure opposition to, the state. / 1 / admin

In this thesis I have examined different bird calls by transcribing them and incorporating them into my music. The incorporation included the writing of three compositions based on the transcriptions and the use of elements derived from the bird calls in my improvisations. The music was performed by an ensemble consisting of eight musicians, including myself, at a concert the 2nd of March 2020. In the first chapter, the purpose of this work is explained, the reader is given insight into how the idea of the project came into being and is being presented to how bird calls have been used earlier in the history of music. In the second chapter, I explain how I transcribed the birds, how I wrote the music, how I worked with improvisation and how the concert was set up. In the third chapter, the thoughts that aroused during the project are discussed and finally, in the fourth chapter, I summarise the experiences I have gained, and how I am going to continue to work in the wake of those. / <p>Sofia Svensson – sång</p><p>Sebastian Jonsson – sopransaxofon och tvärflöjt</p><p>Oskar Forsberg – fagott</p><p>Daniel Gahrton – basklarinett</p><p>Linnea Jonsson – trumpet</p><p>Anna Gréta Sigurðardóttir – piano</p><p>Johan Tengholm – kontrabas</p><p>Magnus Jonasson – trummor</p>

In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of avant-garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on avant-garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I discuss how Conover presented the avant-garde to his overseas audience. I argue that through his efforts to broadcast jazz impartially, he legitimized avant-garde and emphasized its qualities as art music. In chapter 6 I explore fandom studies as they apply to the formation of Music USA as a global fan network. I discuss the early roots of Conover’s interest in science fiction fandom as a motivation for the implementation of the Friends of Music USA (FOMUSA) groups. Chapter 7 concludes in a discussion of the deification of Conover though the medium of radio in the midst of the Cold War. I argue that, through manipulation of sound resources, Conover composed his broadcasts in a way that allowed him to improvise creatively. Finally, I discuss the effect of a radio personality on crowds and the impact of Conover’s music programming in light of studies concerning deejays as objects of devotion.