In this thesis, I have studied other instrumentalists (not drummers) vocabulary and tonal language, to find out how it can be translated on the drum kit, and how it affects my improvisation. The purpose is to include these transcriptions in my improvisation and investigate whether they have any impact on my vocabulary. I transcribed solos that included stretched phrases, legato or other elements that I am not familiar with. The important aspect was that these phrases had a strong relation to a pulse. During the process I discovered that the transcriptions led to interesting drum exercises. These exercises were very helpful to work on elements like stretching which is not common for me on the drum kit. I worked with these transcriptions by myself in the practice room, and together with an ensemble. The transcribing did not have any major results to my improvisation. The biggest impact on my improvisation was the melodic influence. The transcriptions made me find new ways to explore orchestration and choose different sound sources on the drum kit. / <p>Jack Aprat – piano</p><p>Oskar Nilsson Bettinsoli – gitarr</p><p>Hampus Westin – elbas</p><p>Isabel Berglund – sång</p><p>Alexander Falkebring – vibrafon</p><p>Jonas Liljeberg – tenorsaxofon</p><p>Axel Nilsson - trummor </p>

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The 1690 expedition led by Alonso de León into present day Texas proved to be a pivotal journey that had lasting effects on the development of Spain's land north of the Rio Grande. This expedition established the first Catholic mission in the area. Also, La Salle's abandoned settlement was burned, and several Frenchmen living among the Indians were captured and returned with the expedition party to Mexico. The bartering for the release of some of these Frenchmen resulted in a skirmish in which four native Indians were killed. In addition, De León chronicled a great amount of information about the land through which he traveled, leaving a lasting diary recording his experiences as well as offering a glimpse into the then unsettled lands in present day eastern Texas. The 1690 expedition diary exists in the form of six manuscripts, and their analysis is the focus of this thesis. No scholar has ever taken into consideration all six manuscripts when conducting research regarding this expedition, and therefore research conducted thus far is not thorough. A comparative analysis of these six manuscripts is undertaken in this thesis, and the manuscripts are classified as revised or unrevised. Foster (1997) was the first scholar to classify manuscripts of the 1690 expedition as unrevised and revised. He classified only the Beinecke manuscript as revised, but this thesis also incorporates two other revised manuscripts unknown to Foster, the Gilcrease 67.1 and Gilcrease 67.2. The unrevised manuscripts included in this study are the AGI, AGN, and BNMex manuscripts. Three semi-paleographic transcriptions of manuscripts of Alonso de León's 1690 expedition diary are also presented. The AGI and Beinecke manuscripts are transcribed and an in-depth comparative analysis of the unrevised and revised manuscripts is completed. This analysis presents the numerous discrepancies that exist between the two families of manuscripts. Also, a transcription of the Gilcrease 67.1 manuscript is included to present a document previously unknown to scholars. The findings of this thesis should be of interest to scholars in many different fields of study who have interest in this time period and this region of the U.S. Southwest.

This thesis presents an intelligent system for tutoring phonetic transcription in introductory linguistics courses. It compares and contrasts this system with previous intelligent tutoring systems and presents an implementation of the present system. The problems and solutions encountered in implementing the system are described.Among the contributions and innovations are the fact that this system guides the student through several attempts at transcribing a word with increasingly specific feedback, and the fact that the system is organized in such a way that an instructor can add, modify or delete data at any time with no assistance required from a programmer.A significant contribution of this system lies in the fact that although there is only one correct answer for any given item to be transcribed, the possibilities for the student's responses and hence for incorrect answers must be open-ended. The student's answer will be a string that may not have the same length as the correct answer, may contain few or none of the same symbols as the correct answer, and those that it does contain may be in a different order. The student's answer is intended to correspond to the correct answer, but is known not to be an exact match. Arbitrary strings representing the student's answers must thus be matched up with the pattern of the correct answer in such a way that the system can give the student meaningful comments that will aid the student in identifying errors. The usual pattern recognition program is designed to identify instances where a match succeeds. This tutor must identify instances where the match fails as well as how it fails. / Department of Computer Science

Graduate / 0413

Graduate / 0413

The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.

In this thesis, the interplay between the soloist and drummer in a post-bop jazz setting is examined, studied, and implemented in my playing.    The basis for the work is six transcriptions of soloists and the accompaniment of the drummer, put side by side. Three of the transcriptions are from the 1960s, and the three are from the period 1998 to 2020. To further develop the interplay in this setting, exercises with emphasis on interplay and collective improvisation were done in a quartet featuring electric guitar and tenor saxophone. In this work, I write about the transcriptions, their implementation on the drum set, and the ensemble work to develop the concepts found in the material.   Concludingly, despite the sample size being small, I find that the drummer’s role has moved even further into a counterpoint state of mind since the 1960s. Together the soloist and the drummer create textures of sound, and they react to each other in a less immediate way, prolonging the scope and tension of the music. The vocabulary has moved further away from the idea of the ride cymbal as the centerpiece of timekeeping. Instead, drummers treat the drum kit even more as one voice whilst creating melodic structures that move the music forward.   This work could be of value to any jazz musician wanting to learn more about the drummer’s role in the jazz setting and especially to drummers and soloists wishing to develop their interplay within the band. / <p>På konserten framfört material:</p><p>"Blues to You" (J. Coltrane)</p><p>"I'll Be Seeing You" (S. Fain)</p><p>"Upper Manhattan Medical Group" (B. Strayhorn)</p><p>"Sandslott" &amp; "HJ7" (egna kompositioner)</p><p></p><p>Medverkande musiker:</p><p>Marius Zeeberg - tenorsaxofon</p><p>David Kontra - elgitarr</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>

In this thesis, I have examined, analyzed and studied the interplay between the soloist and drummer in a jazz context.To understand it better I have chosen to study some of the masters in the history of jazz on this very subject. By analyzing legendary jazz drummers such as Elvin Jones, Tony Williams and Ari Hoenig, I have transcribed excerpts from recordings on which they are comping the soloist, and with that analyzed the topic of communication and interplay. Doing that I have gained a clearer picture of what these drummer’s concepts were, regarding the subject. With the conclusion that the vocabulary has moved further away from the idea of timekeeping. Instead, drummers developed the vocabulary to a more melodic and interactive way of playing. It has also been important to choose the right music and musicians to explore different interaction techniques. Together we have questioned the drummer's role and his/her relationship to the role of accompaniment. Finally, I did a concert where these techniques were put to the test, to see if our learning method had evolved the way we interacted with each other. In conclusion, what you can clearly see is that the concept of tension and release, dramatic dynamics and an open approach are consistently techniques of communication that all the drummers I have chosen to study have mastered. It is something rebellious and innovative that I have really taken a liking to, and look forward to explore further myself in the future. This study could be interesting to the jazz musician wanting to learn more about the drummer’s role in a contemporary jazz context. Especially to the drummer wishing to develop their interplay. / <p>På konserten framfört material:</p><p>"Untitled Original 11383" (J. Coltrane)</p><p>"Gingerbread Boy" (J. Heath)</p><p>"In Walked Bud" (T. Monk)</p><p>"Chim Chim Cheree" (J. Coltrane)</p><p> "Song Of Praise" (J. Coltrane)</p><p></p><p>Medverkande musiker:</p><p>Isac Schillberg - altsaxofon</p><p>Milos Lindegren - piano</p><p>Anton Brodin - elgitarr</p><p>Anton Berndts - kontrabas</p><p>Richard Andersson Rasheed - trummor</p>

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