Digitaliseringen har förändrat stora delar av musikbranschen med nya programvaror, tjänster och hjälpmedel för att skapa och släppa musik själv. Detta har fått mig att vilja undersöka hur och i vilken utsträckning gymnasieskolan tagit hänsyn till digitaliseringens utveckling och anpassar undervisningen efter dagens kunskapsläge kring musikbransch och det som kallas independent. Independent betyder i musiksammanhang att yrkesmusiker och upphovspersoner självständigt har ansvar över samtliga delar i sin musikkarriär. Tre verksamma gymnasielärare i Stockholms län har intervjuats och resultatet i detta arbete visar deras förhållningssätt till independent i gymnasieskolan. Arbetet har använt en kvalitativ metodologi och insamlat material har analyserats utifrån ett fenomenologiskt perspektiv. Resultatet redogör lärarnas åtskilda förhållningssätt till gymnasiets kursplaner och dess centrala innehåll med hänsyn till independent. I och med digitaliseringen och internets utveckling är independent redan förankrat hos gymnasieeleverna enligt intervjuade lärare. Resultatet visar även att det kollaborativa är essensen av independent där samarbetsmöjligheterna utgör det största syftet. Att verklighetsförankra undervisningen gör att elever begriper kontentan av musikbranschens krav och är förberedda när de väl ger sig ut i sina musikkarriärer. Med verklighetsbaserade uppgifter, samarbeten och det kollaborativa skapas verktyg för att vara independent. / Digitization has changed large parts of the music industry by enabling music creators to make and release music independently with new software, services, and tools. This has made me interested in how upper secondary schools have kept up with the digitization and knowledge of today’s music industry. Independent in a musical context means that you are responsible for all parts of your music career. Three working teachers in Stockholm County have been interviewed and the result shows their perspective on independent in upper secondary school. The work has used a qualitative methodology, and collected material has been analysed based on a phenomenological perspective. The result describes the teachers' divided approach to the high school curriculum and its central subject concerning independent. According to the interviewed teachers, the development of the internet and digitization independent already is embedded in high school students. The result also shows that collaboration is the essence of independent where the opportunity for collaboration is the purpose. Reality-based teaching means that the students understand the content of the music industry's demands and are prepared when they embark on their music careers. Reality-based tasks and collaboration creates tools to be independent.

This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.

This essay explores the way in which priests and church-musicians choose music for different ceremonies such as funerals, sunday service, baptism and weddings. The questions at issue regard how the clerks personal preferences, the Swedish Church’s cultural heritage and the attending community contributes to the musical choice at large. Other complementing questions explore how different rooms affect what is seen as suitable music, and also how the clerks value live music compared to pre-recorded music in the halls of ceremony. The exploration and answering of these questions were done through interviewing both priests and church-musicians. In the analysis of the produced material mainly Bourdieu's concepts of taste, fields, illusio, habitus, cultural-, and educational capital were applied. To further grasp the intricate inner workings of the church-musicians and the priests reasoning when selecting music, such as emphasizing openness, inclusion and musical width, the study also give valuable insights in the significance of how the fields of the clerks interact with the field of the assembly, the cultural heritage of the national church and societal norms as a whole, most notably in regards to the selective struggle between tradition and renewal. The findings in this essay contributes to the academic field with new knowledge of how music is used in religious contexts to mediate theological messages and aesthetics. As such, this essay is more focused on the horizontal, rather than the vertical, aspects of how music is interacted with, thus shaping peoples expectations and perceptions of different rooms and of the church services. These aspects play a pivotal part in keeping the identity of the given community alive, and is therefore an important phenomenon to understand in regards to the Swedish Church.

Civic music from German cities in the early modern Holy Roman Empire have remained comparatively underrepresented in musicological research until recent reexaminations of records and use of alternative methodologies.This dissertation seeks to dispel dismissive understandings of civic musicians to demonstrate their significance and dominance in the cultural life of cities as equal to those employed by the church or court. As performers and composers, they worked with everyday people and dignitaries alike, providing music for weddings, public concerts, parades, processionals, and other city festivities. Through the quality and quantity of their performances, civic musicians were also prominent contributors to the positive perception of their city as a cultural center. One measure of early modern German cities' importance was their ability to employ musicians as salaried civil servants and to use civic music as an acoustical representation of power. Using the Free City of Augsburg as a case study, this dissertation assesses financial, aural, and sociological sources to establish how and why German civic musicians were a valued and culturally influential asset. Doing so recasts civic musicians as significant figures in the music of early modern Europe by examining the contractual obligations and salaries of the seventeenth-century Augsburg Stadtpfeifer alongside their sonic and social impacts as valued symbols of their community.

This research is the first known large-scale, instrument-specific, epidemiological study on the occupational health problems of violists. An online survey was developed based on a biopsychosocial framework to assess demographics, pain, musculoskeletal and non-musculoskeletal problems, music performance anxiety, and musician identity. Additionally, this is the first study known to investigate violists' perceptions and attitudes regarding viola jokes and negative stereotypes associated with viola players and their effects on violists' occupational health. Validated tools used to measure violists' health problems included the short-form McGill Pain Questionnaire (SF-MPQ) and the Musician's Identity Measurement Scale (MIMS). Results: This survey yielded a cohort N = 324 that was diverse in age, education, and professional involvement. The overall prevalence for violists that experienced musculoskeletal pain in the past year was 79%. For violists in pain, 51% reported being reluctant to inform others of their playing-related pain. In the past year, 89% of violists experienced music performance anxiety. 49% of violists reported having negative thoughts about viola jokes, with 23% indicating they experience music performance anxiety because of viola jokes. The prevalence rates for non-musculoskeletal problems, perceived factors that influence pain, and the influence of viola jokes suggest that high levels of biopsychosocial stressors are often associated with the classical music genre and playing the viola. The results from this research can be used to enhance music teacher-training programs, inform performance practice and viola pedagogy, and educate clinicians about the health risks of playing the viola.

The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux. The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale. / African Languages / M.A. (African Languages)

The poems of Mignon have inspired song writers for almost two centuries. They have served as the texts for more composers than almost any other single set of poetry. The Romantic composers were especially fond of the words. The poems are full of sadness and yearning and composers found they could be set in different moods. Some settings are in major tonalities while other settings of the same poem can be found in minor. Simple harmonies are used in some settings while others contain more complex harmonies. There are those composers who would have Mignon appear as a lost soul throughout all the poems with each song quietly sung, while others use a variety of dynamics adding drama to the setting and picturing Mignon as full of optimism at the end.

Made available in DSpace on 2016-04-28T19:59:02Z (GMT). No. of bitstreams: 1 LCL - Margareth Ramos Teixeira Miyamoto.pdf: 338981 bytes, checksum: d93bee4f5323f9e5969e89b3e130d15e (MD5) Previous issue date: 2006-11-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study has the aim of investigating the opera's representation in D. Casmurro's speech, as an I mask, which unroll itself in three personas: Casmurro as an author, narrator and as a character, Bentinho. This expansion creates a correlation with the operistic tripartite structure, whose authorship is shared among the playwriter, the librettist and the musician, besides, it appears in the novel in chapters VIII - It's time , IX - The Opera and X Accepted the Theory , in which the narrator approches his life to an operistic spectacle. This operistic drama element in DC's structure, has been the target not only for the critics as we´ll see in chapter 2, but also for composers like João Gomes Jr., who had transformed DC in a theater show. The music score belongs to him, but the libretto was written by Antonio Picarollo, which could be found in the music section of Rio de janeiro's nacional library. To reach our goal and to be able of demonstrating the operistic scene built by the casmurro-author, we started with Machado de Assis' experience in the theater, trying to show to our reader how the author experienced his life that later he wrote in the novel. In chapter 2, we will recuperate the literary censorious' voice, because they analysed the opera that appears inside the novel, giving a special view of the methaphor and alegory that could be seen in DC. In chapter 3, the central focus will be the opera, its parts and relations with DC, showing how the overture, arias, intermezzos, preludes and leitmotifs are written in the narrative. Finally in chapter 4, our target will be to analyse the operistic mask inside the novel's speech through Casmurro's tripartite performance as long as a playwriter, librettist and musician / Este estudo tem por objetivo investigar a representação da ópera no discurso de D.Casmurro, como máscara de um eu , que se desdobra em três personas: a do autor-casmurro, a do narrador e a da personagem Bentinho. Tal desdobramento cria uma correlação com a estrutura tripartite do gênero operístico, cuja autoria, também se divide entre o dramaturgo, o libretista e o músico, além de surgir no romance nos capítulos VIII ( É tempo ), IX ( A Ópera ) e X ( Aceito a teoria ), nos quais o narrador aproxima sua vida de um espetáculo operístico. Esse elemento dramático-operístico na estrutura de DC tem sido alvo não só de posicionamentos críticos, como os que abordaremos no capítulo 2 desta dissertação, mas também de versões operísticas do romance para o palco, como ocorreu em 1922, quando o compositor paulista João Gomes Jr. elaborou a partitura da primeira montagem operística de DC com libreto em italiano de Antonio Piccarollo, que pode ser encontrado na secção de música da Biblioteca Nacional do Rio de Janeiro. Para atingirmos a meta de demonstrar o cenário operístico construído pelo autor-narrador Casmurro, partindo da experiência de Machado de Assis no teatro, procurando mostrar ao leitor como o autor vivenciou o que mais tarde passaria para o romance. No capítulo 2, recuperaremos a voz da crítica literária que analisou a inserção da ópera na narrativa do ponto de vista metafórico-alegórico. No capítulo 3, o foco central será a ópera, suas partes e correlações com DC, mostrando o modo como se inscrevem no romance a abertura, as árias, os intermezzos, os prelúdios e os motivos condutores da partitura. Finalmente, no capítulo 4, nos concentraremos na análise da máscara operística do discurso romanesco por meio da atuação tripartite do casmurro enquanto dramaturgo, libretista e músico

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Undersökningens syfte har varit att skina ljus på porträttering och urval. Närmare bestämt inom området för den samiska musikkulturen och via mediaframställningen av en samisk artist i Jills veranda. Genom ett utvalt program ur serien där den samiska artisten Maxida Märak medverkar genomförs detta. Sett utifrån sin omnämning som samisk artist i-och i anslutning till programmet står Märak och den förmedlade bilden av henne i fokus för undersökningen av hur det samiska framhävs. Genom att undersöka både det klingande och hur man pratar om musiken förs urvalen fram. Dessa utgör innehållet för hur den samiska artisten representeras. Undersökningen har vidare genomförts utifrån teorin om immateriella kulturarv. I den immateriella kulturarvsprocessens faser beskrivs hur uppmärksammade ”företeelser väljs ut och ges särskild status som symboler för en kultur”.[1] Teorin innehåller ett stort fokus på värdetillskrivning utifrån rådande sociala normer och vad som tillskrivs symboliskt värde värderas människor emellan. Undersökningen visade att Märak i Jills veranda porträtterades på ett sätt som till viss del bekräftade tidigare normbaserade stereotyper som framkom i undersökningen, så som jojkens stora roll och den etniska sammankopplingen till musiken. Därtill påverkade artisten både genom att bekräfta såväl som motarbeta normerna genom hur hon framställde sin musik i både utövande och i dialog. Motarbetandet av normer framgick som en röd tråd i artistens intention bakom musiken. Musiken framkom också ha ett funktionellt syfte, då musiken i avsnittet tycks användas för att motarbeta och i tillägg också återta makten över definitionen av vad som är samiskt. Utifrån detta framkom den politiska kampen som ett essentiellt innehåll i hur artisten i programmet framställer sin musik. Slutligen präglades hela produktionen av olika urfolksgrupper som sammanlänkades genom sin musik vilket ytterligare framhöll musiken som en gemensam symbol över landsgränser.