Denna studie fokuserar på inlärningsprocessen rörande böjningstoner på diatoniskt munspel. Studien är grundad i tidigare forskning om munspel och munspelares kunskapsutveckling och har genomförts med en fenomenografisk ansats. Det empiriska materialet består av intervjuer med tre munspelare: en lärare, en elev och en frilansmusiker. De frågor som ställdes till informanterna fokuserar på hur de lärde sig tekniken att böja toner, och hur specifika speltekniska framsteg samt andra erfarenheter påverkade dem i inlärningsprocessen. Undersökningens resultat visar att böjningstoner på diatoniskt munspel är en teknik som kan beskrivas, av till exempel lärare, men som fram för allt måste kännas fram av den som lär sig för att effekten ska uppkomma och utvecklas till en färdighet. I samband med att någon lär sig böjningstoner samverkar flera aspekter, som munspelarens förmåga att experimentera själv och att imitera andra. En annan aspekt som kan påverka är hur den lärande uppfattar och tolkar beskrivningar från andra. Dessutom har det betydelse i vilken position på ett diatoniskt munspel som en ton böjs då förutsättningarna för att böja toner skiljer sig mellan olika positioner. Undersökningen visar också att böjningstoner på diatoniskt munspel bidrar till att instrumentet får större möjligheter, inte bara tonmässigt och harmoniskt utan även konstnärligt uttrycksmässigt.

abstract: James Baldwin (1924-1987) was one of the most well-known African American fiction and nonfiction writers of the twentieth century. Throughout his life and career, he earned a worldwide reputation as a respected novelist, memoirist, and essayist who contributed to a wide array of artistic movements and intellectual discourses. Many scholars have noted the particular African American religious and cultural influences upon Baldwin’s work. More recently, scholars have additionally noted the importance of Baldwin’s globally-engaged thought and internationalist life. Throughout all of his work, Baldwin wrote extensively on the subject of religion. This dissertation posits the topics of religion, violence, and marginalization as integral to his nonfiction writings and speeches, particularly after 1967. As such, it argues that Baldwin in his early career established four distinct discourses on morality, evil, scapegoatism, and purity that he came to connect in his later writings on the intersection of religion, violence, and marginalization. Within these writings, Baldwin also displayed a rigorous engagement with multicultural and multireligious artistic and literary canons, along with the evolving academic study of religion. Therefore, not only should the intersection of religion, violence, and marginalization be a central consideration for Baldwin scholarship, but scholars of religion and violence in particular would benefit from engaging Baldwin’s addressment of this intersection. / Dissertation/Thesis / Doctoral Dissertation Religious Studies 2019

This article introduces the concept of badass femininity, a marginalized femininity captured in the performances of contemporary b-girls (women breakdancers) and blues women of the 1920s. The author uses the work of Hortense Spillers, Maria Lugones, Chela Sandoval, and Angela Davis to argue that non-normative gender performances from the fringes of society are necessary consequence of histories of enslavement, genocide, and exploitation. Badass femininity is a one version of a multiplicity of femininities. It re-signifies qualities typically associated with masculinity through women whose work in dance and music move these gender performances from the margins to center stage.

Bakgrund: Stora händelser som i regel innebär någonting positivt för personen i fråga kan komma med en negativ eftersläng av post symtom, som innefattar negativa effekter på det emetionella måendet. Det populärvetenskapliga fenomenet post race blues definieras som ett psykiskt tillstånd som kan likställas med mild depression och tomhetskänslor efter att ha genomfört någon form av uthållighetslopp. Motivationen ses som en drivkraft för människor att utvecklas framåt, men även denna kan påverkas antingen positivt eller negativt efter uthållighetslopp. Detta innebär att psykologiska faktorer kan påverkas negativt efter ett genomfört uthållighetskopp. Syfte: Syftet med studien var att beskriva hur motionärer upplever tiden efter genomfört uthållighetslopp och om dessa upplevelser kan vara kopplade till post race blues. Metod: I denna studie användes en kvalitativ studiedesign där datainsamlingen genomfördes med semistrukturerade intervjuer. 16 deltagare som inom 12 månader hade genomfört ett uthållighetslopp av kardiovaskulär karaktär som pågick i minst 180 minuter rekryterades till studien. Intervjuerna analyserades med en konventionella kvalitativ innehållsanalys. Resultat: Resultatet visade att deltagarnas upplevelser tiden efter loppet var ementionellt varierande. Somliga beskrev tydligt förstärkt positivt mående medan andra uppvisade symptom på post race blues. Motivationen var förstärkt hos vissa deltagare och minskad hos andra. Konklusion: De deltagare som lagt mycket tid på träning inför det aktuella loppet i denna studie, som heller inte satt upp nya mål för sin kommande träningsperiod, visade större tendenser att drabbas av symtom som svarar mot kriterierna för post race blues. Att forma nya målsättningar kan där med vara ett verktyg att minska risken för post race blues.

This written portion of my thesis is aimed at documenting how I, the director, as both interpretive and generative artist, took William Shakespeare’s Twelfth Night from the page to the stage through ongoing collaboration with a team of artists including designers, a composer, and actors. My documentation includes the generation of my theatrical production concept and staging of Shakespeare’s play. In order to place my production of Twelfth Night in cultural, historical, and artistic contexts, I open my discussion to theoretical considerations and artistic practices, address my specific artistic decisions in the creation of this production, examine the particular problems encountered in the making of this work, and reconstruct the creative process itself.

This public history thesis project experimented with the application of new technology in creating an educational resource aimed at twenty-first century public audiences. The project presents the history, musicology, and historiography of Afro-American slave music in the United States. In doing so, the project utilizes two digital media tools: VuVox, to create interactive collages; and VisualEyes, to create digital visualizations. The purpose of this thesis is to assess how the project balances the goals of digital history, public history, and academic history. During the production of the Afro-American Slave Music Project, a number of the promises of digital history were highlighted, along with several of the potential challenges of digital history. In designing the project, compensations had to be made in order to minimize the challenges while maximizing the benefits. In effect, this thesis argues for the utility of digital history in a public setting as an alternative to traditional, prose-based academic history.

Jericho Brown's The Tradition (2019), which won the Pulitzer Prize for poetry, includes four duplexes, a poetic form of Brown's own invention that combines the sonnet and the blues. Made of fourteen lines separated into seven couplets, the duplex is a complex structure comprised of sets of indents and repeated lines. Brown's use of disparate source forms to create a new form altogether challenges the supremacy of a singular, white American literary tradition, putting it into conversation with other traditions in order to critique its historically racist and heterosexist boundaries. As he does so, Brown works not to abolish "the tradition" or canon, but to expand it beyond reductive ideas of who and what is allowed into this historically exclusive space. The complexity of Brown's formal project mirrors the nuanced and critical hope the duplex form expresses and evokes in readers; in contrast to queer theory's long focus on negativity, Brown's duplexes align themselves with the work of José Muñoz and Mari Ruti, who assert that hope is equally as important as negativity, as they hold the positive and negative together in both form and content. The duplex seeks to expand emotional experience as well as the canon, ultimately attempting to change the way readers feel and act.

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African American Music has always served to document the history of enslaved Africans in America. It takes its roots in African Spirituality and originally pervades all aspects of African life. That Music has been transformed as soon as it got on this side of the Atlantic Ocean in a context of slavery and oppression. As historical documents, African American Music has served African Americans to deal with their experience in America from slavery to freedom. This work studies how Black Spirituals and the Blues have played a tremendous role in building an African American identity and in raising race consciousness in an oppressed people in a perpetual quest for freedom and equal rights in America. / African American Studies

This bachelor thesis explores the use of blues language within the realm of jazz music. Through examination of solo excerpts from various jazz musicians spanning different eras, this study offers a comprehensive analysis of the tangible incorporation of melodic and technical elements inherent in the blues tradition within jazz. The primary objective of this research is to grasp the essence of the blues as a theoretical framework within music, with the ultimate aim of applying this understanding to enhance personal improvisational and guitar-playing abilities. To achieve this goal, a dual approach was adopted, encompassing both theoretical exploration and practical application. Theoretical concepts central to the blues sound were investigated, alongside a detailed study of technical nuances that define its characteristic resonance. Central to the methodology employed was the process of transcription and analysis, allowing for a nuanced examination of how jazz musicians adeptly infuse the blues language into their improvisations. By scrutinizing the intricate interplay between theory and practice, this study shed light on the dynamic evolution of the blues within the jazz idiom. The study resulted in a deeper understanding of the use of blues language as an improvisational device within traditional ways of playing jazz music such as bebop and swing. / <p>“Let The Cat Out” - John Scofield</p><p>“Hipsippy Blues” - Hank Mobley</p><p>“If Ever I Would Leave You” - Frederick Loewe</p><p>“That’s When We Thought About Love” - Harold Ousley</p><p>“Morningside Heights” - Dag Weibel</p><p>Medverkande var Jacob Sandberg på bas, Victor Nordmark på trummor och Malte Boqvist på hammondorgel och piano.</p>