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Denna studie täcker outforskade mark kring att komponera barnmusik och hur den kan användas i förskolansverksamhet. Syftet med studien är att ur ett musikdidaktiskt perspektiv undersöka och analysera barnmusikkompositörers tal om barnmusik och hur denna skulle kunna användas på förskolor. Vi använder Nielsens (1998) musikdidaktiska teori som en teoretisk grund. Elva kompositörer har intervjuats om skapandet av sin barnmusik, där bland annat deras syn på barnmusik lyfts fram. Resultatet av studien är att barnmusik är en mångfacetterad genre med många tankar och syften. De vetenskapliga, konstnärliga och hantverksaspekterna blir synliga i respondenternas uttalanden. Likaså de olika dimensionerna som musikundervisning kan grundas på. / This study covers unexplored land around composing children's music and how it can be used in the context of preschool. The purpose is to look in to and analyze, from a music didactic perspective, composers speak about children's music and how this could be adapted in preschools. We see Nielsen's (1998) didactic theory of music as a theoretical resource. Eleven composers have been interviewed about children's music where, among other things, their views on children's music are highlighted. The result of the study is that children's music is a multi-faceted genre with many thoughts and purposes. The scientific, artistic and craft-aspects become visible in the respondents' statements. Likewise the different dimensions on which music education can be founded.

As part of my doctoral research on Alfred Schnittke’s symphonies I analysed countless symphonies written not only by Schnittke ([Al’fred Šnitke] 1934–1998) himself, but also by a host of his Soviet contemporaries including Galina Ustvolskaya ([Galina Ustvol’skaâ] 1919–2006), Boris Chaikovsky ([Boris Cajkovskij] 1925–1996), Nikolai Karetnikov ([Nikolaj Karetnikov] 1930–1994), Sofia Gubaidulina ([Sofiâ Gubajdulina] born 1931), Valentin Silvestrov ([Valentin Silvestrov] born 1937), Boris Tishchenko ([Boris Tiˆsenko] 1939–2010) and many others. Among them, the symphonies by the Estonian composer Arvo Pärt (born 1935) really stood out, because each one of them is unique and quite different from the Shostakovichian symphonic model that was prevalent among this generation.

The profile of Poznan (in the region of Wielkopolska) as a musical city during the first half of the twentieth century was a quite exceptional one in the cultural history of Poland.

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Western art music is relatively new in Vietnam, with a colonial history that started in the late nineteenth century. Early European music exposure in Vietnam was part of French mission civilisatrice and was later taken over by the Vietnamese with the establishment of the Vietnam Academy of Music in 1956. The development and progress of classical music, however, was hindered by the Vietnam war and facility limitations throughout most of the country’s modern history. Despite the obstacles, Vietnamese musicians continued to operate the school and to train generations of musicians. Vietnamese composers also managed to produce a substantial amount of repertoire in various genres: orchestra, chamber, solo instrument, songs, and more. Within the relatively small solo instrumental output, piano music occupies a major part. These works, however, remain unknown due to lack of performance and information. Given the author’s main interest and focus as a pianist, the first chapter of this paper offers an overview of the development and dissemination of European classical music in Vietnam as context for the subsequent chapters, which focuses on compositions for piano. The next chapter provides some discussion about the general development of style and aesthetics of Vietnamese classical music. The final chapter provides a closer look at some representative composers and their piano works, with historical background, musical analysis, and performance commentary. / Music Performance

The purpose of this thesis is to give the prospective performer an insight into the content of the vocal solos of Charles Ives and to give the student and musicians in general an understanding of the musical devices employed by Ives and of his position as a song writer.

The purpose of this dissertation was to elucidate my lived experiences as an HBCU band director as I navigated through tensions within HBCU culture, between HBCU culture and the dominant culture, and issues of inequality, and access. I chronicle my early life and influences to bring clarity and meaning to the choices and decisions made as I transitioned to becoming an HBCU student and then band director at an early age. It was my intention to use autoethnographic self-examination and personal narrative to make transparent racial inequality as it: (a) impacts the academic and musical quality of HBCU band programs, (b) raises questions regarding access to resources, and (c) elicits larger and more complex questions related to race and culture. In addition to a thorough review of my personal recollections and historical artifacts, I also sought to interview as many people as possible that had impacted me, my life, and HBCU bands in order to check my memory and perspectives. As the word got out about my project, hundreds in the HBCU community reached out wanting to participate. Of the eighty-seven persons that agreed to an interview, I was able to interview fifty-two. I analyzed my story through the framework of "Double-Consciousness Theory" as articulated by W. E. B. Du Bois, specifically through the concepts of the veil, the color line, and twoness. The guiding question for my inquiry was: Why is the musicianship of HBCU bands praised by one culture and viewed in a mostly deficit view in another, and how did an HBCU band director navigate these tensions to lead two successful programs? The findings demonstrate that there are multiple and conflicting expectations and perceptions of HBCU band programs. By considering HBCU bands through my own experience of double-consciousness it was possible to amplify the voices of marginalized groups and provide more nuanced understandings to those who have a one-dimensional view of such band programs.

In this dissertation, I study four choral works by Dr. Zanaida Stewart Robles through musical, thematic, and theoretical analysis to synthesize her compositional style. In addition to analysis, I created supplemental educational guides for each piece. These guides are intended to facilitate an intentional teaching process that leads to meaningful performances that engage the community. I investigate Robles' intersectional approach to composition as it reflects her identity as a Black, female composer. This project contextualizes Robles' voice and her impact on 21st-century choral music. I selected four works for study—"Umoja," "No Fairy Tale Here," "Can You See?" and "Psalm 61"— to represent three overarching themes in her oeuvre: spirituality, mental health awareness, and social justice. This research provides greater insight into Robles' choral works and serves as a thought-provoking introduction to commissioning works from underrepresented communities.

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