Als ästhetisches und gestalterisches Element ist Musik längst zu einem wichtigen Bestandteil von Computerspielen geworden. Vielfach unbeachtet blieb bisher hingegen die Funktion der Musik als Bestandteil der Spielstruktur als solcher. Diese Beziehungen zwischen Musik und Spiel sollen im folgenden Text näher betrachtet werden. Es wird zu zeigen sein, dass die Musik und Spiel- bzw. Regelstruktur eng miteinander verknüpft sind und auseinander hervorgehen, indem die Musik einerseits die Gestaltung der Spielstruktur beeinflusst (wie beispielsweise in Rhythm- Action-Games) und/oder andererseits auf die Regel- und Spielstruktur (z. B. in First- Person-Shootern) zurückverweist. / Music as an aesthetic and artistic element has become an important part of computer games. However, so far the function of music as an integral part of the game structure remains unnoticed. In the following article these relationships between music and the game are elaborated. It will be demonstrated that the music and the game structure respectively the rules are closely interlinked as the music on the one hand influences the design of the game structure (for example in rhythm-action-games) and/or on the other hand points to the rule and game structure (e. g. in first-person-shooters).

Syftet med detta arbete är att undersöka min process av hur jag kan skriva musik somhjälper människor med stress och oro. Jag kommer att presentera forskning ochkonstnärliga arbeten som ligger till grund för en av mina undersökningsmetoder, att skrivaen arbetsbok med egna kompositioner. Boken är ett konstnärligt arbete med främst textkompositioner i form av instruktioner till läsaren. Syftet med boken är att öka närvaro hosläsaren. Jag kommer även presentera en studie där jag har intervjuat två personer somnyligen har upplevt trauma i form av Beirut explosionen hösten 2020. Även den studienligger till grund för mina kompositioner. / <p>Kompositör: Brenda El Rayes </p><p>Titel:  Sing In Motion. Partitur</p><p>Kompositör: Brenda El Rayes </p><p>Titel:  Sorg. Partitur och ljudfil </p><p>Kompositör: Brenda El Rayes </p><p>Titel:  Repetera</p>

This project deals with an alternative method of arranging music. The idea is to, with your instrument, play your way to an arrangement, without taking any notes, recording yourself or writing sheet music. This memory based technique will hopefully prevent you from getting stuck and, furthermore, make the process of creating music come more naturally. The goal with the project is to evaluate this way of arranging, and in addition to that, describe the process in such detail, that anyone could try it. / <p>Repertoar</p><p>Ack Värmeland du sköna - trad, 1822</p><p>Blame it on my youth - Oscar Levant, Edward Heyman, 1934</p><p>Ett glas öl - Originalmusik ”Round the Back of the Arches” av Desmond O’Connor och Kennedy Russell från 1941, Sv. text av Hasse Alfredsson och Tage Danielsson</p><p>Flickorna i Småland - Karl Williams, Fridolf Lundberg, 1912</p><p>En röd liten stuga - Sven Paddock, Eric Fryman, 1936</p><p>Så skimrande var aldrig havet - Evert Taube, 1948</p><p>Embraceable you - George &amp; Ira Gershwin, 1928</p><p>Slow boat to China - Frank Loesser, 1948</p><p></p><p>Medverkande</p><p>Sara Alexandersson - sång</p><p>Erik Tengholm - trumpet</p><p>Sebastian Jonsson - altsaxofon</p><p>Agnes Darelid - trombon</p><p>Björn Bäckström – tenorsaxofon</p><p>Daniel Gahrton – barytonsaxofon</p><p>Oscar Johansson Werre – trumset </p><p>Johan Tengholm – kontrabas </p><p>Martin Åklint – piano, sång, arrangering</p>

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Som låtskrivare är det vanligt att jag hamnar i gamla mönster i mitt komponerande. Jag använder mig ofta av ackord som jag vanligtvis har i mina låtar och går ofta tillbaka till den harmonik som jag tidigare haft i mina kompositioner. Detta examensarbete som jag har jobbat med under hösten 2020 och våren 2021 har som syfte att utforska hur låtskrivning med tonartsfrämmande ackord kan ge upphov till annorlunda melodiska och harmoniska strukturer. Jag har komponerat låtar som inkluderar ackord som inte finns i låtens tonart. Min teoretiska bakgrund har gett mig stor hjälp och jag har läst arbeten som går in på ämnet grungemusik och jag har även studerat videos som diskuterar tonartsfrämmandeackord. Jag har analyserat andra låtar som använder sig av ackord utanför tonarten och har även läst andra arbeten som gått in på just detta ämne. Arbetet har lett till att jag har utvecklats som låtskrivare och att jag har öppnat mina sinnen för ackordens alla möjligheter i mitt komponerande.

Syftet med studien är att undersöka hur tio elever i årskurs 9 uppfattar musikämnet och relationen till musik och musikskapande på fritiden. Studien söker även svar på vilka möjligheter det finns att föra in musikerfarenheterna från fritiden i skolan. Frågor som besvaras är: vilka elevernas uppfattningar är om ämnet musik i grundskolans årskurs 9, vilken funktion musiken har på fritiden och vilka elevernas uppfattningar är om att föra in musikerfarenheter från fritiden i skolan. Kvalitativ forskningsmetod används med semistrukturerade fokusgruppsintervjuer. Det sociokulturella perspektivet tillämpas på studien. Resultatet visar på en variation av uppfattningar. Eleverna visar medvetenhet inför musikämnets innehåll och läroplan. Eleverna beskriver att de lär sig i skolan för att omsätta sina kunskaper på fritiden. Eleverna beskriver den skapande och kreativa processen som friare på fritiden, då det dels finns hinder runt att prestera i skolan, dels en känslighet för att bedömas av kamrater och samhällets normer.

Der italienische Faschismus bestand aus einer vielschichtigen Struktur, die sich allen zeitgenössischen Musikströmungen näherte. Diese Arbeit befasst sich mit den für den italienischen Faschismus spezifischen Voraussetzungen. Das Jahr 1938 markiert in der italienischen Musikentwicklung eine Zäsur. Die erste musica impegnata Italiens, die zur musikalischen Begriffserneuerung in der Nachkriegszeit entscheidend beitrug, wurde anlässlich der antisemitischen Gesetzgebungen in Italien von Luigi Dallapiccola komponiert. Durch Dallapiccolas Komposition bekam die Reihentechnik in der italienischen Kompositionspraxis immer mehr Bedeutung und etablierte sich im Laufe der Zeit als Stimme des Antifaschismus. In dieser Arbeit wird der Verbreitungsprozess der Reihentechnik in Italien nicht nur aus ästhetischer Perspektive, sondern auch aus gesellschaftspolitischer betrachtet. / Italian fascism was consisted of a multilayer structure which conduced to connect all the music currents with the fascism. This paper deals with the particular premises of the Italian fascism. The year 1938 marks a caesura in the Italian music development. The first musica impegnata of Italy, which decisively contributed to renovating the musical concepts in the post-war period, was composed by Luigi Dallapiccola on the occasion of the anti-Semitism legislations in Italy. The twelve-tone technique more and more received a meaning in the Italian composing practise and established as voice against the fascism in the course of time. In this paper the diffusion process of the twelve-tone technique in Italy is considered not only from the aesthetical but also from the socio-political perspective.

This topic for the present thesis arose from the very reason I came to study at the KMH Royal College of Music of Stockholm where I have the opportunity to approach orchestral life in a direct manner, playing and collaborating with the great orchestras of the city and also to focus on orchestral repertoire, especially those excerpts which are required for auditions.   In the last year I have spent a lot of time trying to understand how an orchestral musician can manage time better and prepare for any kind of situation, precisely because I have had so many chances to participate in major projects that the university has offered and also in long tours around Europe, Canada and Central America. The theme of the present thesis, therefore, is what how I find the life in the orchestras I’ve worked with.  Tours show directly that playing and travelling for long periods of time can interfere with what we call the "physical form of the instrumentalist". The same thing happens when working for weeks on different productions, especially when you still must study and learn what may be a huge orchestral repertoire.   An orchestra can be a place for meeting and learning, but in the long run you need to carve out a personal study space to better prepare for the sometimes-frenetic life of a musician. My own experience and the reports of other musicians have shown how complicated it is to make all the commitments coincide; in fact, thanks to this unusual research on a subject rarely discussed formally I have learned directly and indirectly how to organize successful the personal way of practice.   In the research carried out, questions were asked to understand how orchestral musicians prepare some orchestral passages. I wanted to put attention to specific details, for example, sound control, the articulation of the various technical passages. I’ve chosen where possible regarding excerpts that not only have advanced my own experience but are also very important in the clarinet repertoire. In addition, I also wanted to talk about how important (and often essential) it is to have a flexible way of playing both in rehearsals and in concert.   In presenting this research, my intention is also to discuss some facts from my personal experience as an orchestral musician and answers to many questions I have prepared for my teachers and perhaps future orchestral colleagues.  The aim of this research is produce a report that is of use for any musician: one who already has worked in an orchestra or is still doing auditions, but also for teachers and students entering this environment, so as to allow everyone to explore and better understand this aspect of a musician's life. This has been a very interesting undertaking for me, and I believe an important one as it follows one of many paths, we musicians all take to reach the same goal.

In this project, Edvin Fridolfsson has explored how to integrate the drums as a tool for composing - unlike before, when he mainly has composed by the piano. He has been interested in how the process of composing can affect his compositions, but foremost how it can affect his playing when performing his own music. A main goal for the whole project has been to make his compositions and his playing feel like one strong unit together. Fridolfsson describes how he has found a strategy for composing, which brings the drums into the process, but also makes external influences into new songs. Further, his way of putting a group together, rehearsing and the results of the final concert are described.  In the end, Fridolfsson concludes that his new ways of composing have made him more aware of what he wants to bring into the music as a drummer. He finds that the compositions in themselves sound in a similar way to his earlier works, but that the concert, as a whole, feels more variated and organic.

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre (Siedenburg &amp; McAdams, 2017). I argue that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. (Stecker, 2019) Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. / <p>Ventilering via Zoom</p>