Den här undersökningen syftar till att få en djupare förståelse för hur musik- och kulturskolans verksamhet kan se ut i framtiden. Jag vill få en inblick i vilka faktorer som påverkar utvecklingen av den kommunala musik- och kulturskolan, samt hur musik- och kulturskolan väljer att förhålla sig till dessa faktorer. För att undersöka detta har jag använt mig av kvalitativ intervju som forskningsmetod för att därigenom få fram fyra instrumentallärares och tre musikledares tankar och erfarenheter.Resultatet visar på flera faktorer som påverkar förväntningarna på den kommunala musik- och kulturskolan varav de mest framträdande är media, musikaliska trender, sociala faktorer och elevernas förväntningar på undervisningen. Dessa faktorer påverkar musik- och kulturskolan både som organisation och verksamhet, men också själva undervisningen. Bland annat visar undersökningen att musik- och kulturskolan behöver förhålla sig till att dagens elever har nya uppfattningar om vad det innebär att musicera och att lära sig spela ett instrument. Många lärare beskriver att elever sällan förstår att de måste öva på sina instrument för att lära sig spela. Resultatet visar också att musik- och kulturskolans ledning idag jobbar mer för att skapa en utåtriktad verksamhet, vilket man också sannolikt kommer att behöva göra i framtiden.En slutsats i undersökningen är att musik- och kulturskolans verksamhet idag behöver ha en bred och mångfasetterad verksamhet vad gäller både instrument, repertoar och undervisning för att möta dagens elever. En annan slutas är att grundambitionen att bilda folket i musik, har ändrats till att ge alla barn en möjlighet att utvecklas med musik. / This study aims for a deeper understanding in how the community school of music and art will develop in the future. I would like to decide which factors influence the development of the community school of music and art, and how the school chooses to approach these factors. Four instrumental teachers and three music leaders have been interviewed.The results indicate factors that influence the expectations of the community school of music and art, of which the most prominent are media, musical trends, social factors and the student’s expectations on the education. These factors exert influence on the community school of music and art, both as an organization and as a productive activity, as well as the education. Furthermore, the study demonstrates that the community school of music and art must approach students with new views, on what it means to play and learn an instrument. The teachers point out that the students seldom understand that it is necessary to practice to learn how to play their instruments. The result also shows that management at3the community school of music and art is working to create a more expansive business, which will continue into the future.One conclusion of the study, is that the community school of music and art of today, needs to have a wide productive activity in regard to meeting the students’ need concerning instruments, repertoires and education. Another conclusion is that the basic ambition to educate people in music, has given way to provide all children a possibility to develop through music.

In this thesis I argue that the relationship between the increasing ubiquity of digital audio technologies and the transformation of aesthetic hierarchies in electroacoustic and sound art traditions is not deterministic, but negotiated by producers and policy-makers in specific historical and cultural contexts. Interviews, observations, and historical data were gathered during sixteen months of ethnographic fieldwork in the Canadian city of Montreal between 2011 and 2012. Research was conducted and analysed in collaboration with a transnational group of researchers on a programme of comparative research that tracked global changes to music and musical practice associated with digital technologies. The introduction presents Montreal as a rich ecology in which to track struggles for aesthetic authority, detailing its history as a key site of electroacoustic and sound art production, and its local positioning as a politically strategic 'hub' for the Canadian culture industry. Core chapters examine the specific role of digital mediation in the negotiation of electroacoustic and sound art aesthetics from multiple interlocking perspectives: the recursive relationship between technological affordances and theories of mediation; the mobilisation of digital technologies in the delineation of cultural, professional and generational territories; the political contestation of digital literacies and pedagogies; the articulation of the digital's opposition with analogue in the construction of instruments and recording formats; and the effects of the digital on the dynamics of genre and genre hierarchies. The concluding chapter offers a critique of the notion that digital mediation has shifted the balance between the normative and the generative dimensions of genrefication in the scenes in question, and closes by suggesting how a better understanding of this shift at an empirical level can inform an ongoing rethinking of the interaction between technology and aesthetics among scholars, policy makers, and musicians.

Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and poorly explained to begin with. It will become evident to the reader, in the case of the dadaists, and to some extent the surrealists, the provocative nature of their activities was deliberately designed to create incomprehension, incoherency, and confusion.

Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.

For decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, Sarah Brightman, and a classical instrumentalist group named 2 Cellos. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? This paper ends with a conclusion highlighting my findings, which summarizes the major points of this research and provide ideas for further research on the concept of crossover. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Thesis (M.M.)--University of North Texas, 2002. / A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

Thesis (BA (Hons)--Art and Design) -- AUT University, 2005. / Print copy accompanied by CD. Includes bibliographical references. Also held in print (iii, 26 leaves : ill. ; 30 cm. + CD (4 3/4)) in City Campus Theses Collection (T 776.7 YEU)

Thesis (Ph.D.)--Ohio University, November, 2004. / Includes bibliographical references (leaves 210-237 )

Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in Music." Includes bibliographical references (p. 105).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 28).