This research covers collaborations in a studio recording environment and the interrelations between conflict and creativity. The aim was to find what the relationship between creativity and conflict is in a studio recording environment and what different ways there are of managing conflict and the purpose of this was to further the understanding of these concepts and their place, for engineers, producers and musicians to make better use of moments of conflict. A literary review was made to outline and present the key elements of collaborations in studio recording, previous research on creativity and definitions of conflict and creativity. Examining this literary review brought forward a few concepts that then came to be the base on which this study lies. An ethnographic study was conducted with the band Baron’s Court. The band was observed while recording an album and later interviewed to share their experience of the recording session and their thoughts about this topic. There were trends and patterns found in the footage from the observation and in the interviews that allowed for elaborations on how different creative approaches can impact the kind of conflict that might occur and the different ways of managing conflict. The trends and patterns were compared to the findings in the literary review.

Det här projektet handlar om att utveckla mitt låtskrivande och vikten av att få både input och output från mina medmusiker och därigenom inspiration till att komponera och arrangera. Jag skriver låtar i genren pop/singer-songwriter men då jag själv är violinist har jag valt att spela med bara stråkinstrument och sång. Bandet består av mig som sjunger och spelar fiol, en cellist och en violinist som även sjunger. I arbetet kan man läsa om processen genom komponerande, arrangerande och repeterande av de fyra låtarna jag har skrivit. Målet är att skriva låtar, arrangera dem, repetera dem, spela in dem i studio, mixa låtarna och sedan spela dem på en konsert. Dessutom finns det ett mål att utvecklas musikaliskt och personligt och våga stå för den musik jag skriver. Nu finns låtarna upplagda på internet (http:// soundcloud.com/violinne) och jag är mycket nöjd med resultatet. / This project is about developing my songwriting and the importance of getting both input and output from my fellow musicians and thereby inspired to compose and arrange. I write songs in the genre of pop / singer-songwriter but as I myself am a violinist, I have chosen to play with only stringed instruments and vocals. The band consists of me singing and playing the violin, a cello and a violin player who also sings. In this project, you can read about the process by composing, arranging and repeating the four songs I've written. The goal is to write songs, arrange them, repeat them, record them in the studio, mix songs and have a public play. There is also a personal goal to evolve musically and personally, and self courage of the music I write. Now there are songs uploaded on the Internet (http://soundcloud.com/ violinne) and I am very happy with the results. / <p>Bilaga: 1 CD</p>

Detta arbete behandlar ämnet trumsound i en studiomiljö och hur jag som trummis kan påverka soundet. Syftet med arbetet är att förstå och utveckla de olika faktorer som tillsammans skapar ett sound och berör bland annat speltekniska områden som timing och dynamik, materiella områden som val av instrument och dess konstruktion samt akustiska områden som mikrofonplacering och rumsakustik.  Efter att ha transkriberat och analyserat trumspelet på sex kända låtar spelade jag in mig själv i en studio där jag med hjälp av tidigare erfarenheter och nya idéer försökte återskapa trumspelet och trumsounden från dessa låtar så långt det bara var möjligt. Bifogat till arbetet finns transkriptioner samt två versioner på varje trumtagning där den ena är utan effekter och den andra är med effekter. Processen i studion dokumenterades i form av anteckningar och med en filmkamera som sedan tillsammans med det inspelade materialet blev underlag för min analys. Resultatet visar att ordentliga förberedelser och god kunskap om sitt instrument skapar förutsättningar för ett bra sound. Genom att välja instrument med passande ljudegenskaper samt ta tid till att stämma och micka upp trummorna noga krävs det mindre tid i efterediteringsarbetet. Eftersom uppfattningen av timing och dynamik är personlig så skapas också förutsättningar för unika sound genom musikerns sätt att tolka och spela musiken. / This study deals with the topic of drum sound in a studio environment and how I, as a drummer, can affect the sound. The purpose of the study is to understand and develop the various factors that together create a sound. The study involves technical areas such as timing and dynamics, material areas such as the choice of instruments and their design as well as the impact of microphone placement and the acoustics in a room. After transcribing and analyzing the drumming of six famous songs, I recorded myself in a studio and by way of previous experiences and new ideas I tried to recreate the drumming and the drum sound of these songs as far as possible. Attached to this study there are transcripts of the drums and two versions on each take where one is without effects and the other is with effects. The process in the studio was documented in the form of notes and a video camera which then became the basis for my analysis together with the recorded material. The result shows that accurate preparation and good knowledge of the instrument is a fundamental condition for a good sound. Choosing instruments with appropriate sound characteristics and taking time to tune and mic the drums makes the mixing phase shorter and easier. Because the perception of timing and dynamics is personal, the conditions for developing a unique sound are also created through the musician's way of interpreting and playing the music. / <p>Inspelningar finns att ladda ned som bilagor till det skriftliga arbetet.</p>

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Genre né de la rencontre (imposée par l’exil) au XIXe siècle entre les Garinagu et des populations hispaniques centraméricaines, la paranda connaît aujourd’hui un regain d’intérêt chez les acteurs de la production discographique garifuna. Depuis son apparition dans les studios d’enregistrement, elle a évolué vers une forme modernisée, faisant appel à des instruments électriques et des procédés de traitement du son caractéristiques des musiques « populaires ». Devenue en 2000 (avec la compilation Paranda; Africa in Central America, produite par Ivan Duran et distribuée par Warner/Elektra) une « musique du monde » sur le marché discographique international, cette nouvelle forme de paranda connaît un succès conséquent dans les palmarès de world music – popularité qui se déploie après coup chez les Garinagu centraméricains, qui redécouvrent un genre jusqu’alors quasiment disparu dans sa version villageoise. À partir de l’exemple de la « récupération », à des fins commerciales, d’un genre musical « traditionnel » par un label indépendant centraméricain, cette thèse montre comment un producteur de world music a su se servir du studio d’enregistrement comme d’un outil créatif susceptible de lui ouvrir les portes de l’internationalisation. Utilisant le studio comme laboratoire expérimental, Ivan Duran est ainsi parvenu à réaliser des disques qui – tout en atteignant un succès critique international – allaient lui permettre d’établir son label, Stonetree Records, en tant que standard pour l’ensemble de l’industrie musicale régionale. Afin de comprendre quels mécanismes sont activés (et selon quelles modalités) dans le cadre spatio-temporel spécifique au studio d’enregistrement, cette recherche doctorale prend pour principale étude de cas la réalisation de Laru Beya – dernier album du parandero Aurelio Martinez, réalisé par Ivan Duran et distribué internationalement. Les trois chapitres centraux sont donc consacrés à l’analyse sémiologique de ce disque, avec d’abord une étude 1) des stratégies créatrices en présence (à travers une ethnographie de sessions d’enregistrement, sur une plage du Honduras), puis 2) de l’objet musical tel qu’il a été commercialisé (l’« œuvre » en elle-même) et enfin 3) de différentes conduites d’écoute d’auditeurs-consommateurs garinagu ou non. Tandis que le premier chapitre de cette thèse propose une contextualisation de notre objet de recherche (allant « du village au studio »), le cinquième et dernier chapitre s’attache – après avoir élargi les résultats de notre étude de cas à d’autres phénomènes similaires – à évaluer l’impact des processus d’internationalisation sur la production musicale locale (opérant un retour « du studio au village »). / Born from a critical encounter (imposed in exile) between Garifuna people and Spanish-speaking Central American populations, Paranda is currently experiencing a resurgence of interest among stakeholders of the garifuna record production. Since its arrival in the recording studios, it has evolved into a modernized form, using electric instruments and sound treatment techniques taken from popular music. In 2000 (with the release of Paranda; Africa in Central America, produced by Ivan Duran and distributed by Warner/Elektra), Paranda became a world music, thus experiencing a substantial success in world music charts – popularity that unfolds afterwards in Garifuna communities, rediscovering a musical genre that had virtually disappeared in the village. From the example of a “recuperation”, for commercial purposes, of a traditional musical genre by an independent Central American label, this dissertation shows how a world music producer has been able to use the recording studio as a creative tool that opened the doors of internationalization. Using the studio as an experimental lab, Ivan Duran succeeded in making records that, while reaching an international critical success, would also allow him to establish his own label, Stonetree Records, as a standard within the whole regional music industry. To understand which mechanisms are activated (and how) within the spatio-temporal framework defined by the recording studio, this doctoral research will focus on the production of Laru Beya – parandero Aurelio Martinez’s latest album, produced by Ivan Duran and internationally distributed. The three central chapters are devoted to the semiotic analysis of this record, with a study of 1) creative strategies developed in the studio (through an ethnography of recording sessions, which took place on a beach in Honduras), then 2) the musical object as it was marketed (the "work" itself) and finally 3) different listeners’ (Garifuna or not) reactions. While the first chapter of this dissertation provides a contextualization of our research object (from "the studio to the village"), the fifth and final chapter – after extending the results of our case study to other phenomena – focuses on assessing the impact of Paranda’s internationalization on local music production (going back from “the studio to the village”).

This diploma theses deals with the issues of music in movies. However, it is mainly focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.

The master‘s thesis deals with creating of a business plan for building up a department which will provide services of a recording studio and services of sound system installation and lighting of small musical events of different types. The department will come into existence by spreading of the core business of building and accounting company Aksamit s. r.o., which has been working in the region of south Moravia since 1991. In the thesis, market research, analysis of internal and external sourroundings, 7S analysis, SWOT analysis, financial analysis and risk analysis are made and on this basis feasibility of the project is evaluated.

This diploma theses deals with the issues of music in movies. However, it is also focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer and demonstrated the use of film music in educational practice. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.