This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.

Syftet med detta examensarbete är att undersöka hur nuvarande och tidigare musikerstudenter på svenska musikhögskolor får ta del av arbetsmarknadsrelaterade kunskaper inom sin utbildning och genom till yrkesverksamma musiker. Vi har utifrån våra frågeställningar fokuserat på vilka kompetenser som informanterna fått ta del av och hur de upplevt att skolan mött dessa kunskaper. Undersökningen är baserad på 6 kvalitativa intervjuer med musikstudenter som nyligen har examinerats eller är under utbildning. Alla har utifrån ett studentperspektiv fått besvara frågor och reflektera själva kring vad de ansett som viktiga kompetenser och tillvägagångssätt för att kunna försörja sig som musiker. Resultatet har visat att samtliga informanter upplever att det inte fått det stöd eller kunskap de anses ha behövt under sin studietid för att möta arbetsmarknadens krav. Det blir tydligt att det finns brister i undervisningens arbetsmarknadsfrågor och bristande stöd i karriärövergången till att bli yrkesverksam musiker. En studerande kan få erfarenhet av arbetsmarknaden som frilansande under studietiden. Ansvaret ligger på individen att göra sig attraktiv och synlig på arbetsmarknaden. Alla 6 informanter menar att ett stort kontaktnät är fördelaktigt för att konkurrera med andra musiker. Resultatet har analyserats utifrån Savickas Career construction theory, CCT, en metateori som baseras på att jobbet ska matchas till individen och nå självförverkligande. Begreppet school-to-work har i studien stått i centrum för att analysera övergången mellan skola till arbetsmarknad för musikstudenterna, där fokuset har legat på att se om de högre utbildningarna möter Savickas kriterier för en lyckad övergång till arbete. / This study concerns Swedish music students' experiences on how the music academies prepare them for a career as professional musicians. The 6 participants were either current or former students at the academies and data was drawn from semi-structured interviews. They were interviewed about their experiences of support and counselling from the schools and its employees. During the interview they were asked to reflect and discuss their experiences as students and individuals on their way to becoming working musicians. Questions were asked about competencies and skills required of the students to become a part of the labour market. The answers showed an imbalance between the knowledge they received and what they actually needed to become professional musicians, both according to the interviewees themselves as well as according to previous studies summarized. The music academy's teaching did not depict the reality as a musician according to its students. The interviewees could identify the major competences needed on the labour market, and identified the same ones missing from their curriculum. Through M. Savickas Career Construction Theory and his concept school-to-work transitions the interviewees answers were analyzed to find what was lacking for the students in aid to make a successful transition from higher musical education to work as professional musicians. Light was also shed on what competences and resources the education has given them. Our major finding concluded that there is a lack of occupational information in higher musical education, as well as a lack of real-life experiences that reflect the true labour market according to the students. The students do not get to evolve the skills they need to, but are able to build a network during these years in school that can aid them in these areas all through their careers.

This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.

I tidigare forskning har beskrivits vad motivation kan innebära, hur motivation kan kännetecknas och beskrivas samt att det finns olika typer av motivation, såsom inre och yttre motivation. Bakgrunden till den här studien är ett intresse för hur motivation fungerar och påverkar oss människor. Syftet med den här studien är att undersöka två motivationer hos musiklärare, motivationen att undervisa och motivationen att arbeta som musiker. Studien har en kvantitativ forskningsdesign och har genomförts med enkäter som datainsamlingsmetod. Populationen i undersökningen består av musiklärare på estetiska programmet på gymnasiet i hela Sverige. 30 respondenter svarade på frågor gällande motivation att undervisa och motivation att arbeta som musiker. Utifrån enkätsvaren analyseras sambandet mellan dessa två motivationer samt sambandet mellan motivationerna och andra utvalda variabler såsom ålder, kön och nuvarande familjesituation. Studien visar ett obefintligt samband mellan motivationen att undervisa och motivationen att arbeta som musiker. Vidare har även studien visat ett obefintligt samband mellan motivationerna och andra utvalda variabler. / Previous research has described what motivation can mean, how motivation can be characterized and described, and that there are different types of motivation, such as internal and external motivation. The background to this study is an interest in how motivation works and affects us people. The purpose of this study is to investigate two motivations of music teachers, the motivation to teach and the motivation to work as a musician. The study has a qualitative research design and has been conducted with surveys as a data collection method. The population in the survey consists of music teachers in the aesthetic program at high school in Sweden. 30 respondents answered questions about motivation to teach and motivation to work as a musician. Based on the questionnaire, the relationship between these two motivations is analyzed, as well as the relationship between the motivations and other selected variables such as age, gender and current family situation. The study shows an unrelated relationship between motivation to teach and motivation to work as a musician. Furthermore, the study also showed an unrelated relationship between the motivations and other selected variables.

Essa tese propõe uma leitura da música, enquanto recurso didático, a partir da análise do embate metodológico entre a educação jesuíta e a educação pombalina, imediatamente após a reforma educacional proposta pelo Marquês de Pombal. O período de transição da educação no Brasil colônia foi enfocado a partir de dois métodos norteadores das diretrizes conceituais e educacionais, são eles: o Ratio Studiorum, da educação jesuíta e O Verdadeiro Método de Estudar de Verney, da educação laica. Fundada por Inácio de Loyola, em 1534, a Companhia de Jesus estabeleceu prioridades pedagógicas basicamente voltadas à educação de novas gerações e à ação missionária de difusão dos valores religiosos, sendo que, nessas duas instâncias a música teve papel relevante na perspectiva da relação ensino-aprendizagem da educação religiosa. Verney, conforme relata a historiografia, teve um papel central para compreensão do movimento iluminista português, norteador da reforma pombalina, pois através de sua obra, mobilizou novos rumos para educação de Portugal e suas colônias, compatíveis com o pensamento vigente na Europa do século XVIII. Com a reforma pombalina a música foi minimizada no ambiente escolar, ocupando outros espaços e criando estilos diferenciados, tanto no que diz respeito à produção musical sacra quanto à profana. O Brasil Colônia obteve representatividade musical na Europa, pela qualidade de seus músicos-compositores mulatos, em especial os de Minas Gerais, Bahia, Pernambuco e sacros em Mogi das Cruzes. / This thesis proposes reading music as a resource for teaching, from the analysis of the methodological clash between the Jesuit Education and the Pombal Education, immediately following the educational reform proposed by the Marquis of Pombal. The educational transition in Colonial Brazil was focused on two guiding methods of conceptual and educational guidelines, they are: the Jesuit Ratio Studiorum and Verney\'s True Method of Studying, of secular education. Founded by Ignatius of Loyola in 1534, the Society of Jesus establishes educational priorities primarily focused on education of new generations and the missionary work of infusing religious values, being that in these two instances music has played a significant role in the perspective in teaching or having a religious education. Verney, as reported by historians, played a central role in understanding Portuguese Age of Enlightenment, leading the reform of Pombal, because it was with his work that new directions for education were mobilized in Portugal and its colonies, befitting of the prevailing thought in eighteenth-century Europe. With the Pombal Reform the music was oppressed in school environments, occupying other spaces and creating differentiated styles, with regard to music production being sacred as well as profane. Colonial Brazil won musical acknowledgement in Europe for its mulatto musician-composers predicate, especially those of Minas Gerais, Bahia, Pernambucco and Mogi das Cruzez.

Essa tese propõe uma leitura da música, enquanto recurso didático, a partir da análise do embate metodológico entre a educação jesuíta e a educação pombalina, imediatamente após a reforma educacional proposta pelo Marquês de Pombal. O período de transição da educação no Brasil colônia foi enfocado a partir de dois métodos norteadores das diretrizes conceituais e educacionais, são eles: o Ratio Studiorum, da educação jesuíta e O Verdadeiro Método de Estudar de Verney, da educação laica. Fundada por Inácio de Loyola, em 1534, a Companhia de Jesus estabeleceu prioridades pedagógicas basicamente voltadas à educação de novas gerações e à ação missionária de difusão dos valores religiosos, sendo que, nessas duas instâncias a música teve papel relevante na perspectiva da relação ensino-aprendizagem da educação religiosa. Verney, conforme relata a historiografia, teve um papel central para compreensão do movimento iluminista português, norteador da reforma pombalina, pois através de sua obra, mobilizou novos rumos para educação de Portugal e suas colônias, compatíveis com o pensamento vigente na Europa do século XVIII. Com a reforma pombalina a música foi minimizada no ambiente escolar, ocupando outros espaços e criando estilos diferenciados, tanto no que diz respeito à produção musical sacra quanto à profana. O Brasil Colônia obteve representatividade musical na Europa, pela qualidade de seus músicos-compositores mulatos, em especial os de Minas Gerais, Bahia, Pernambuco e sacros em Mogi das Cruzes. / This thesis proposes reading music as a resource for teaching, from the analysis of the methodological clash between the Jesuit Education and the Pombal Education, immediately following the educational reform proposed by the Marquis of Pombal. The educational transition in Colonial Brazil was focused on two guiding methods of conceptual and educational guidelines, they are: the Jesuit Ratio Studiorum and Verney\'s True Method of Studying, of secular education. Founded by Ignatius of Loyola in 1534, the Society of Jesus establishes educational priorities primarily focused on education of new generations and the missionary work of infusing religious values, being that in these two instances music has played a significant role in the perspective in teaching or having a religious education. Verney, as reported by historians, played a central role in understanding Portuguese Age of Enlightenment, leading the reform of Pombal, because it was with his work that new directions for education were mobilized in Portugal and its colonies, befitting of the prevailing thought in eighteenth-century Europe. With the Pombal Reform the music was oppressed in school environments, occupying other spaces and creating differentiated styles, with regard to music production being sacred as well as profane. Colonial Brazil won musical acknowledgement in Europe for its mulatto musician-composers predicate, especially those of Minas Gerais, Bahia, Pernambucco and Mogi das Cruzez.

Denna uppsats studerar användandet av språk kring konst och konstnärlighet i fråga om musik. Den problematiserar svårigheten att dela språk kring dessa be- grepp inom olika musikpedagogiska inriktningar; utbildning till lärare i musik, utbildning till musiker och utbildning till musikterapeut.Hur konstrueras mening i tal kring konst i musik, kring pedagogisk konsekvens av konstbegreppet i konstnärlig utbildning samt det statliga uppdraget att utbilda i musik. I de samtal som ligger till grund för studien, deltar verksamma pedagoger inom högre musikutbildning vid tre olika lärosäten. Diskussionen och förhand- lingarna mellan dessa pedagoger har analyserats med hjälp av diskursanalys med fokus på diskurspsykologi. De retoriska teman och positioner som de medver- kande agenterna har till hands inom diskursen är i föreliggande studie sedda som tecken på diskurs. Två diskurser framträder tydligt och diskuteras slutligen utifrån historiska diskurser och effekter för utbildningar med konstarten musik. / This is the thesis about the usage of language around art and artistic actions in the area of music. It want to problematize the difficulty of sharing language around these concepts within different parts of academic learning in music; education for teachers in music, education for musicians and education for music therapists. How do teachers in musical disciplines at three Swedish academies of music talk and construct meaning around art in music, around the pedagogic implementa- tions of the subject art in artistic education and the governmental issue with this artistic education that they are supposed to work inside. The discussions between these teachers are analyzed through a discourse analyses or rather discourse psy- chology. The rhetoric themes and the positions that the different agents are sup- posed to take inside the discourse are here seen as the signs of the discourse. Two discourses are clearly found and in the last part discussed in matter of historical discourse and implications for music education.

Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum. Mitt resultat är bland annat att musikern blir mer medveten och analytisk till sitt eget och andras spel och att läraren blir en utövande mästare som håller hög spelnivå. Jag diskuterar vilka olika roller mina informanter kan ha, hur deras svar kan relateras till mästarläran kontra coachning samt förmedlad kontra konstruerad kunskap. Det jag kommit fram till är att mina informanter ser jobbkombinationen som värdefull och berikande för båda yrkena, men att tiden ofta inte räcker till. / This study focuses on orchestral musicians who also are instrumental teachers, and how they approach the interrelationship between the two professions. The study presents two views: how the teacher influences the musician, and how the musician influences the teacher. I have based the study on qualitative interviews with six interviewees, all of whom work as string players and pedagogues. They all have different backgrounds, with various experiences of teaching. As a theoretical background, I have used an approach where master teaching, or the teacher as a coach, is central. Among my findings, I have discovered that the musician becomes more conscious and analytic toward his/her own style of playing, but also towards others as well. The teachers are masters and they possess a high technical level in their playing. Further, I discuss what roles the interviewees may have, and how I can relate their answers to my theoretical background. The interviewees make clear that working as both a teacher and a musician is valuable, but the issue of time can be a problem.

Musculoskeletal disorders are common among musicians at all levels of performance. Since music teachers train our future musicians it is important to understand their work environment. By creating good examples of a healthy work environment, they can teach their students how to stay healthy and to prevent pain. The aim of this thesis was to study the work environment of music teachers at municipal music schools, with regard to physical and psychosocial factors and musculoskeletal disorders with the focus on neck and shoulder disorders. An additional aim was to investigate the variability of the playing technique in string players and to investigate if they could play with greater variation in the trapezius muscle activity pattern after a training intervention program. In a cross-sectional study at 23 municipal music schools, 171 out of the 208 (82%) music teachers reported that they had experienced work related musculoskeletal disorders (WMSDs) during the previous year. Women reported significantly more symptoms in the neck, the shoulders and the upper back compared to men. Both physical and psychosocial work factors were associated with neck and shoulder disorders. For women “high mental work demands” and “teaching at many schools” could be seen as risk factors and for men “lifting”, “playing the guitar” and “low social support at work” were risk factors. The occurrence of WMSDs was also investigated, over an eight-year period, in music teachers at one music school. The result showed that neck, shoulder and lower back disorders were common and tended to be of long duration and to increase over the years. In an interview study, nine music teachers focused on what they perceived to be important for their health and well-being. Replenishing and using up energy was found to be the core category. Creativity in the music and working with other musicians were perceived as sources of energy, while the goals of the organisation were experienced as stressful and used up energy. Whether the work was regarded as pedagogical or musical could affect the perception of health and the strategies for dealing with the strains of work. In two studies using electromyography, the variation in the trapezius muscle activity pattern in string musicians was investigated. The results suggested that each musician could repeat their muscular activity pattern in a similar way between two playing sessions. No difference was found in the trapezius muscle activity between five violinists who trained basic Body Awareness Therapy (BAT), a technique having its roots in Tai Chi Chuan tradition, compared to a reference group of nine violinists who did not take part in any training. However, the training group perceived positive changes in breathing, muscular tension, postural control and concentration during practice sessions. Neck and shoulder disorders were associated with physical and psychosocial factors at work. A process of replenishing and using up energy was important for music teachers’ health. The playing technique in string musicians seemed to be repeatable but difficult to affect over a short-term period. For future musicians it is crucial to learn good working technique at an early age. In the learning process the music teacher is a vital role model. / <p>Diss. (sammanfattning) Umeå : Univ., 2003, Härtill 5 uppsatser</p> / digitalisering@umu

Dans une société française d'Ancien Régime qui se pense essentiellement en termes d'étiquette sociale et qui aime à attribuer une place précise à chaque individu afin d'établir des hiérarchies, les musiciens apparaissent comme un groupe professionnel difficile à catégoriser. Ils vivent des réalités très diverses en fonction des profils, depuis l'organiste de la cathédrale jusqu'au violoniste qui anime une noce de quartier, en passant par le trompette municipal, le tambour militaire et le musicien de rue. L'incertitude qui entoure leur statut les rend idéals afin d'interroger le regard que porte la société moderne sur elle-même. La présente thèse se propose d'étudier ce groupe socio-professionnel dans une démarche prosopographique à l'intérieur d'une zone géographique large qui englobe la Provence et les États pontificaux rhodaniens au XVIIIe siècle. Trois axes principaux guident nos réflexions sur les musiciens : les pratiques professionnelles du groupe, l'identité sociale qui façonne et définit ses membres, et les mobilités qui les caractérisent, aussi bien sociales que spatiales. Interdépendants, ces trois thèmes se mêlent et s'influencent constamment. / In the french Ancien Régime society, characterized by social etiquette and assigning specific positions to individuals so that hierarchies are established, musicians appear to form a professional group difficult to categorize. They experience many realities according to their profiles : the organist from the cathedral, the violinist enlivening a district wedding, the town trumpet, the military drum or the street musician. The uncertainty regarding their status make them an ideal population to study in order to examine the way modern society views itself. This thesis offers to study this socio-professional group with a prosopographic approach inside a large geographic area that encompasses Provence and the pontifical states of the Rhône in the 18th century. Our reflection on musicians follow three main guidelines : the professional practices of the group, the social identity that shapes and defines its members, and the spatial and social movements characterizing their distribution across the territory. These three themes are mutually dependent as they constantly blend and influence each other.