In this thesis I share my journey of building my identity and confidence as a jazz vocalist. A transformational work that has served as a steppingstone for my continuous artistic work as both a vocal jazz soloist and ensemble singer. I started with a broad sense of wanting to examine the differences between solo singing and ensemble singing in jazz. This purpose was turned over, transformed, and changed several times to the very end, when I instead realized that what I truly needed to do, in this text, was to focus on myself and my own artistry. In the beginning of these studies, I had identified specific challenges and areas where I experienced difficulties in my singing and performing. During this work I summarized them in the following categories or areas: my voice, my musicianship, and my mind and mindset. I have been exploring these areas using feedback loops with performative documentation, as well as alternating between writing and reflecting, with the purpose of beginning to clarify my aesthetics and artistic choices and building my identity and self-assurance. This work resulted in my exam concert and the recording of two albums: “Unraveling” as a soloist, and “New Horizon” as an ensemble singer with Stockholm Voices. Besides these artistic results, I have reached a higher level of vocal freedom and control. I have made myself more aware of my aesthetic judgments both as a soloist an ensemble singer, and I feel I have reached a higher level of awareness, expression, and communication as a performer. Furthermore, I developed strategies for dealing with self-doubt and lack of confidence.

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Reperstoar:</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax </p><p>Agnus Dei </p><p>Benedictus </p><p>Samtliga kompositioner skrivna av Ella Cronberg</p><p>Extranummer: Blott en dag - Lina Sandell</p><p><strong>Medverkande musiker:</strong></p><p>Sång - Ella Cronberg</p><p>Gitarr - Jim Base</p><p>Piano - Isak Åberg</p><p>Kontrabas - Olle Lannér Risenfors</p><p>Trummor - Filip Öhman</p>

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Repertoar</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax</p><p>Agnus dei</p><p>Benedictus</p><p>Samtliga kompositioner skrivna av Ella Cronberg.</p><p>(Extranummer: Blott en dag - Lina Sandell)</p><p><strong>Medverkande</strong></p><p>Ella Cronberg - sång</p><p>Jim Base - gitarr</p><p>Isak Åberg - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Filip Öhman - trummor</p>

This bachelor thesis concerns an analysis of the concept of lyric improvisation, meaning improvising over the melody and lyrics of a jazz standard within the classic vocal jazz tradition. In order to explore this concept, I have studied the use of melody alteration in the song “Mean to Me” as performed by the renowned jazz vocalists; Sarah Vaughan, Betty Carter, and Ella Fitzgerald. After transcribing one chorus each from the three singers, where they improvised melodically and rhythmically while maintaining the lyric, I discovered specific vocal improvisational tools they all used, which I then formulated into a list. The list divided the tools into three categories; melodic, rhythmic, and lyric-related tools. Then I practiced applying these tools to my craft as a jazz vocalist and later presented my adaption of the concept of lyric improvisation in a concert at the Royal College of Music in Stockholm. In conclusion, studying vocal tools for lyrical improvisation made me discover that it’s not merely the selection of tools but how one uses and combines the tools that define a jazz vocalist’s individualistic, improvisational style. / <p>Repertoar:</p><p>Mean to Me (Fred E. Ahlert/Roy Turk)</p><p>Medley: I Love You/What is This Thing Called Love (Cole Porter)</p><p>The Month of May (Emmalisa Hallander)</p><p>Leaving or Arriving (Emmalisa Hallander)</p><p>But Not for Me (George Gershwin/Ira Gershwin)</p><p>Lush Life (Billy Strayhorn)</p><p></p><p>Medverkande musiker:</p><p>Emmalisa Hallander - sång</p><p>Milos Lindegren - piano</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>

Šio darbo tikslas – sukurti tyrimais bei autoritetingų teoretikų įžvalgomis paremtą džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinį modelį ir veiklos tyrimo metu patikrinti modelio efektyvumą. Pirmiausia buvo siekiama apžvelgti mokslinę literatūrą, susijusią su atlikimo interpretacija, išskirti atskirus interpretacijai reikalingus gebėjimus. Remiantis atlikta analize buvo sukurtas džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinis modelis bei parengtos juo grįstos praktinės užduotys. Galiausiai, buvo patikrintas modelio pagrįstumas bei praktinių užduočių efektyvumas. Veiklos tyrimas buvo atliekamas 2010 metų Sausio–kovo mėn. Džiazo ir bliuzo dainavimo studijoje pravesti 22 užsiėmimai. Tyrime dalyvavo 12 studijos narių. Modelio efektyvumas veiklos tyrimo metu ištirtas trianguliaciniu būdu: interviu (individualus giluminis interviu, grupinė diskusija ir nominalinės grupės metodas); stebėjimu (vedamas stebėjimo dienoraštis); mišraus tipo anketomis (atlikta studentų anketinė apklausa). Pagrindinė atlikto tyrimo išvada yra ta, jog modelio panaudojimas buvo naudingas, ugdant tiriamųjų interpretacinius gebėjimus: patobulėjo studentų gebėjimas susikoncentruoti ties dainos turiniu, psichotechnikos valdymas, pasitikėjimas savimi. Surinkti duomenys parodė, jog pačios naudingiausios buvo užduotys, skirtos dainos teksto analizei. Be to, paaiškėjo, jog itin svarbios ir reikalingos buvo praktinės užduotys, ugdančios pasitikėjimą savimi... [toliau žr. visą tekstą] / The purpose of this thesis was to create a research-based theoretical model for developing vocal jazz interpretation competencies and to examine its effectiveness through action research. The first aim was to write a literature review concerning music performance interpretation and its pedagogy. A subsequent aim was to define the specific competencies needed for vocal jazz interpretation. A practical application lesson was created for each of the determined competencies. Finally, the efficacy of the model and the effectiveness of the practical tasks were examined. The qualitative action research study was conducted from January to March, 2010 at The Jazz and Blues Vocal Studio in Kaunas during twenty-two group vocal sessions. The research data consisted of a triangulation of sources: interviews (in-depth interviews, collective discussions, nominal group technique); direct observation, during which a research diary was kept; and data gathered via a questionnaire. Twelve participants took part in the action research. The overall conclusion was that use of the model had a positive impact on the students’ vocal jazz interpretation competencies: the ability to concentrate on the content of the song, and the management of psycho-technique. Data analysis revealed that it is extremely important to boost students’ self-confidence, and improvisational theater games were judged to be the best way of achieving this goal. All respondents stated that... [to full text]

Since the creation of the first all-state vocal jazz ensemble in 1978, similar ensembles have been established in roughly half of the United States. This paper contains historical summaries of the creation of all-state vocal jazz ensembles in nineteen of those states, primarily as recounted via interviews with those ensembles' founders. Each semi-structured interview was conducted over video conference or phone and lasted approximately one hour; resulting interview data was analyzed using qualitative methods. During the creation of each ensemble the respective founders needed to secure the support of a host organization, determine where and when to convene, and decide how to address auditions, sound reinforcement, rhythm sections, and funding. The diversity of solutions to these shared challenges reflects the diverse priorities of each founder as well as the unique conditions in which each all-state vocal jazz ensemble was established. However, several elements were common across these stories, including the influence of existing festivals and all-state ensembles, and tensions within the choral education community regarding the value of the vocal jazz idiom relative to traditional choirs, show choirs, and other vocal ensembles. In a few cases, established all-state vocal jazz ensembles were discontinued; these stories further illustrate the challenges such ensembles face and the conditions that foster their perpetuation.

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Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.

This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.