M.Ing. (Engineering Management) / The current research investigated the inter-relationship between Steve Jobs and Apple Company. The study looked at Steve if he launched Apple with business orientation. The researcher used Yin’s (1994) single case, holistic design research method and looked at the data gathered from thirty-seven authors. Steve Jobs’ business orientation was measured using Snaddon (2008) business measures. Symbols were used to indicate whether the evidence found from different sources is direct, indirect, negative or if there was no evidence at all. A score that ranged from -1 for negative evidence to +2 for direct evidence was assigned to evidence from each author; then the total score that represented evidence from all thirty- seven authors on each business measure was presented in the results column (see table 4). Based on the total score of each measure, the strength of the relationship was established. The results showed that there was an inter-relationship between Steve Jobs’ business strategy and the Snaddon (2008) business measures. The evidence gathered did not support the hypothesis that Steve Jobs had little business orientation and the conclusion drawn was that Steve was business oriented when he (and his partners) launched Apple Company.

Maximal evenness was first introduced in the music theory domain by John Clough and Jack Douthett. Later, the concept was explored by others such as Dmitri Tymoczko and Richard Cohn. Although maximal evenness was first explored with respect to pitch-classes, the concept can be understood in the rhythmic domain. An explanation of voice-leading space can be found here to create a conceptual foundation before departing to the implications of maximal evenness on rhythm. This thesis will then explore the concept further by exploring music from Steve Reich and György Ligeti to demonstrate the applicability and deeper understanding of the concept.

This study contemplates the development of a South African critical race theory (CRT) with reference to the thought of Steve Biko. From a long view, the aim of this research is to bring the insights of the Black Radical Tradition to bear on the study of law and jurisprudence with particular focus on the problem of “post-­apartheid South Africa”. Working from the scene of the “afterlife” of colonial-­apartheid and situated at the intersection of critical race theory (CRT) and Black Consciousness (BC), this study aims to develop an alternative approach to law and jurisprudence that could respond to the persistence of race and racism as the deep and fundamental fault-­lines of post-­1994 South Africa. The transition to a “new” South Africa, undergirded by the discourses of human rights, nation-­building and reconciliation and underwritten by a liberal and Western constitution followed a path of change and transformation which has resulted in the reproduction of colonial-­apartheid power relations. Settler-­colonial white supremacy as both a structure of power and a symbolic order continues to determine, shape and organise the South African socio-­economic, cultural, political, psychic and juridical landscape. This foregoing problem has remained largely unthought in the South African legal academy and therefore this research takes up the task of recalling the thought, memory and politics of Steve Biko in search of a critical and liberatory perspective that could counter dominant theoretical and jurisprudential accounts of the past and present. The study therefore explores Biko’s historical interpretation of the South African reality and his theorisation of concepts such race, identity and liberation and retrieves these in order to critique and contest both post-­1994 law, society and jurisprudence as well as the faulty epistemological, historical, and ideological terms on which they are based. In the end, the study proposes to read Biko’s thought as standing in the guise of a jurisprudence of liberation or post-­conquest jurisprudence which unsettles the very foundations of “post”-­apartheid law and reason. / Thesis (DPhil)--University of Pretoria, 2017. / Jurisprudence / DPhil / Unrestricted

Syftet med detta konstnärliga examensarbete var att undersöka och utvärdera metoder för att, som musiker och trumpetare, hantera nervositet i samband med utmanande situationer, som exempelvis provspelningar och konserter. Det utfördes konkret genom instudering och analys av Oskar Böhmes trumpetkonsert i f-moll (Op. 18), ett verk som är musikpsykologiskt utmanande på grund av speltekniskt svåra passager. Studien genomfördes metodiskt genom instudering av verket i kombination med litteraturstudier och intervju med trumpetlärare. Genom identifikation av svårigheter i stycket (tonhöjd, tempo, andningssvårigheter, skalor och ackord, språng, flex, samt flera av dessa aspekter samtidigt) och sätt att lösa och hantera dem med hjälp av litteraturstudierna och intervjun, framkom ett resultat som indikerar att det finns effektiva metoder för att hantera nervositet för musiker och trumpetare. Utifrån resultaten kan följande slutsats dras: det är möjligt att med hjälp kognitiva metoder ändra sina tankebanor och på så sätt kunna hantera sin nervositet. / <p>Karl Jenkins (2000) Salm O Dewi Sant</p><p>Henri Tomasi (1948) Trumpetkonsert Allegro Nocturne: Andantino Finale: Allegro   </p><p>Peter Longworth (2019) Neko; Meowing, Pacing, Purring</p><p>Paus  </p><p>Stanley Friedman (1975) Solus Introduction, Furtively, Scherzando and Waltz Fanfare  </p><p>Oskar Böhme (1899) Trumpetkonsert Allegro moderato, Andante religioso, Rondo Scherzando  </p><p>Leonard Bernstein (1957) West Side Story arr. Jack Gale Maria, Somwhere, I feel pretty </p><p></p><p>Medverkande: Frida Lygner, Ingibjörg Linnet, Hilda Melin, Espen Hesthammer, Donath Rehm</p>

I went into the wilderness and I found Alec Baldwin. This is not a lie. It is also a title for a video installation and this thesis. In it, I investigate three separate adventure-performances, providing a theoretical context for their existence, meaning, and relationship as a form of artistic practice. I call this practice ‘adventure-art’, using the term to describe a performance-based action in which the artist publically explores his or her reality through some type of physical adventure, search, quest, or challenge. It is an attempt to engage oneself and others at both at the physical and mediated levels, reconciling, confusing, and merging the real with the simulated. In this thesis, I explore the confluence of consumption, creativity, the real, and the simulated within American popular culture from the perspective of a middle-class, suburban, white-male, art student – me, Steve Snell.

This text explores the process of composing three compositions using harmonic processes. The purpose is to see which characteristics the music will have due to this way of composing. Central questions are how the overall structure, and the composition process itself, are affected by process-based harmony. The harmonic process in the compositions is built on the principle of changing one note to another at a time between two harmonies, a progress governed from sequences following a constructed bassline. As a point of harmonic reference, I have used Steve Reich´s Music for 18 Musicians. Concerning rhythmic elements linked to the harmonic processes, I have partly used isorhythmic techniques. The investigation shows that harmonic processes facilitate the creation of overall structure and uniformity in the compositions. The overall form, especially of larger compositions, becomes more manageable. Furthermore, the composition process itself is shortened considerably. / Denna text undersöker kompositionsarbetet i tre av mina verk som bygger på harmoniska processer. Syftet är att undersöka hur dessa processer påverkar mitt komponerande. Centrala frågeställningar är hur övergripande strukturer, samt kompositionsarbetet i sig, påverkas av processtyrd harmonik.  Den harmoniska processen i de aktuella verken går ut på att byta ut en ton i taget i övergången mellan två harmonier, ett förlopp som styrs av sekvenser utifrån en konstruerad baslinje. I arbetet använder jag mig av Steve Reichs Music for 18 Musicians som harmonisk referenspunkt. Rörande rytmiska element kopplade till harmoniska processer utgår jag delvis ifrån isorytmiska tekniker. Undersökningen visar att de harmoniska processerna underlättar skapandet av övergripande strukturer och enhetlighet i verken. Formen på framför allt längre verk blir överblickbar och mer lätthanterlig. Vidare kortas kompositionsarbetet påtagligt. / <p>Flow (2021), Andreas Nilsson, Musica Vitae</p><p>Shards of Time (2022), Andreas Nilsson, KammarensembleN</p><p>Accordeonkonsert (2023), Andreas Nilsson, KTHs Akademiska Kapell och Andreas Nilsson accordeonsolist</p>

I detta arbete ville jag undersöka hur två gymnasielärare i svenska använde samtalsmetoden lösningsfokus i sina utvecklingssamtal. Jag observerade fem utvecklingssamtal vardera hos de båda lärarna, varpå jag intervjuade dem. Under observationerna såg jag att fokus överfördes till eleverna och de fick även huvudansvaret för sitt skolarbete. Intervjuerna kompletterade bilden och det blev tydligt vilka motiv lärarna hade för att använda lösningsfokus. Till exempel ansåg de att eleverna själva är experter på sitt eget skolarbete, samt på hur de kan arbeta för att nå sina mål. Efter mina undersökningar kunde jag dra slutsatsen att lärarna använder lösningsfokus i sina utvecklingssamtal, exempelvis genom att inte diskutera varför och hur problem har uppstått, utan istället fokusera på hur de kan lösas. Båda lärarna anser att det är ett bra verktyg som påverkar samtalen på ett positivt sätt, bland annat genom att eleven blir mer aktiv och formulerar sina egna lösningar. Lärarna känner också att det är skönt att ha en metod att utgå ifrån, då samtalsmetodik inte fått något nämnvärt utrymme i deras utbildning. / In this essay I wanted to look into how two teachers used solution focus in their development conversations. I observed five development conversations with each teacher, after which I interviewed the teachers. During the observations I saw that focus were transferred on to the students as well as the main responsibility for the students schoolwork. The interviews completed the picture and it became clear what motives the teachers had using solution focus. For example they believed that the students are experts in their own schoolwork and in how they can work to achieve their goals. After my surveys I came to the conclusion that the teachers use solution focus in their development conversations, by not discussing why, or how problems had occurred, but instead to focus on how they can be solved. Both teachers believe that solution focus is a commendable method that influences the conversations in a positive way. The students becomes more active and formulates their owns solutions for example. The teachers also feel that using a certain method provides a sense of security, as they didn’t study conversation methods during their teacher education.

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