Syftet med den här kvalitativa intervjustudien är att undersöka vilken relation lärare inom den högre klassiska instrumentalundervisningen har till improvisation, såväl deras tankar kring konceptet som deras praktiska applicering av improvisation i undervisningen. De forskningsfrågor som studien har ämnat finna svar på är: Hur uppfattar lärarna inom den högre klassiska instrumentalundervisningen improvisationens roll i deras undervisning? Varför har lärarna dessa uppfattningar? Vad får dessa uppfattningar för konsekvenser för lärarnas undervisning? Studien tar sin utgångspunkt i det hermeneutiska perspektivet och genomfördes genom kvalitativa fallstudier då jag vill göra en djupare tolkning av de intervjuades livsvärldar. Jag använde mig av så kallade halvstrukturerade intervjuer vilka liknar vardagliga samtal men har ett tydligt syfte att ta reda på. Resultatet visar att respondenterna har väldigt olika syn på vad improvisation egentligen är vilket påverkar deras syn på hur mycket av undervisningen som ska läggas på improvisation. Samtliga ansåg dock att det fanns en plats i undervisningen för improvisation, även om två respondenter uttryckte oro för de negativa effekter som en mer fri improvisation kan ha på den tryckta musiken den interagerar med. En majoritet av dem har dessutom sett ett ökat intresse för improvisation bland sina studenter, men med så vitt skilda syner på improvisation från lärarnas håll blir konsekvensen att studenterna får vitt skilda kunskaper och erfarenheter kring improvisation beroende på vilken lärare de får och vilket instrument de spelar. / The purpose of this qualitative interview study is to investigate the relationship teachers in higher classical instrumental teaching have to improvisation, both their thoughts on the concept and their practical application of improvisation in their teaching. The research questions that the study has intended to find answers to are: How do teachers in higher classical instrumental teaching perceive the role of improvisation in their teaching? Why do teachers have these perceptions? What are the consequences of these perceptions for teachers' teaching? The study is based on the hermeneutic perspective and was carried out through qualitative case studies as I want to make a deeper interpretation of the interviewees' lifeworlds. I used so-called semi-structured interviews which are similar to everyday conversations but have a clear purpose to investigate. The results show that the respondents have very differing views on what improvisation actually is, and that affects their view of how much of the teaching should be spent on improvisation. However, all considered that there was a place for teaching improvisation, although two respondents expressed concern about the negative effects that more free-form improvisation can have on the printed music it interacts with. A majority of them have also seen an increased interest in improvisation among their students, but with such widely differing views on improvisation from the teachers' side, the consequence is that students gain widely differing knowledge and experience about improvisation depending on which teacher they get and which instrument they play.

In this project, a band’s possibilities to deepen its improvisational capabilities as a group has been studied. The goal has been to make it possible for a quartet to improvise arrangements of original compositions in terms of varying forms, dynamics, tempi and roles in the music. To achieve this, several interplay exercises have been created to practice these parameters. After the concert related to the project, an analysis has been conducted on which of these exercises that seem to have influenced the band the most, but also which characteristics that made some exercises seem influential and some redundant.   After acknowledging the difficulties of knowing what is a result of the exercises, and what is merely a display of the quartet’s natural interplay, a conclusion has been reached. The interplay exercises that seem to deepen a group’s capabilities for improvising arrangements are the ones that can be done very concrete, but also be varied and feed new ideas. This was audible in a concert situation, where exercises in looping, free improvisation and varying musical roles became prominent. On the contrary, exercises that are too narrow, making them difficult to evolve, do not seem to have the same effect on a group’s interplay. Examples of these are playing fast rubato, or changing instrumentation quickly. / <p><strong>Repertoar:</strong>"Ask Me Now" - Thelonious Monk</p><p>"Anti" - Olle Lannér Risenfors</p><p>"Allt Hör Ihop" - Olle Lannér Risenfors</p><p>"Preparations Are Important?" - Olle Lannér Risenfors</p><p>"Never Ending" - Olle Lannér Risenfors</p><p>(Extranummer) "Now's The Time" - Charlie Parker</p><p><strong>Medverkande:</strong></p><p>Marius Zeeberg - tenorsaxofon</p><p>David Stener - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Nils Agnas - trumset</p><p>Bifogat finns inspelning från examenskonserten.</p>

This thesis will discuss my work incorporating improvisation and musical freedom in music theatre.  The work concerns my written musical, which premiered in Kungasalen at KMH on 06/03/23 with my band and three actors. I will talk about my compositions and arrangements and how I’ve tried to add improvisational elements relevant to the story and characters. A big part of the rehearsal process has been letting the musicians take liberties with the written music and act on their impulses to avoid letting the music become stagnant. / <p>Repertoar:</p><p>Drömmen om en vän</p><p>1. "Avbrottet" (Johannes Annfält)</p><p>2. "Jingel Ett"</p><p>3. "Jingel Två"</p><p>4. "Hedwig i Spanien" (Chick Corea, John Williams. Arrangör: Johannes Annfält)</p><p>5. "Jingel Tre" (Johannes Annfält)</p><p>6. "Vill Du Jamma?" (Johannes Annfält)</p><p>7. "Jingel Ett Repris" (Johannes Annfält)</p><p>8. "Sista Chansen" (Johannes Annfält)</p><p>9. "Konflikten" (Johannes Annfält)</p><p>10. "Ångern" (Johannes Annfält)</p><p>11. "Dundersmask" (Johannes Annfält) </p><p>12. "Applådtack" (Johannes Annfält)</p><p></p><p>Medverkande:</p><p>Johannes Annfält - Pianist, aktör och sångare</p><p>Maria Lindström - Aktör och sångerska</p><p>Niclas Welin - Aktör och sångare</p><p>Emmalisa Hallander - Aktör och sångerska</p><p>Benjamin Sällström - Trumpetare</p><p>Erik Hasselfeldt - Altsaxofonist</p><p>Emil Kjellqvist - Tenorsaxofonist</p><p>Tilde Schweitzer - Trombonist</p><p>Johannes Persson - Elgitarrist</p><p>Hampus Westin - Elbassist</p><p>Axel Nilsson - Trummis</p><p></p><p>Bifogat material: Ljudinspelning av examenskonserten med alla medverkande.</p>

Detta självständiga arbete grundar sig i en nyfikenhet kring praktiska övningar och komplement till den vanligtvis teoretiskt lagda undervisningen i musikteori. Den nutida forskningen uppmanar till en mer praktiskt inriktad undervisning då mycket av den musikteori som lärs ut idag saknar pedagogisk tanke. Musiker får lära sig mer om musikteori men väldigt lite om hur de kan utnyttja kunskaperna. Forskarnas lösning på problemet är att återinföra den s. k. partimento-traditionen, som är en gammal tradition där elever fick lära sig om- och utforska harmonik på ett praktiskt sätt genom spel och improvisation. Men denna lösning skulle kräva en genomgående revision av hela ämnet musikteori och kräva en omstrukturering på internationell nivå. Jag har därför valt att utforma och genomföra en samling praktiska övningar baserade på denna gamla tradition som kan fungera som ett komplement till dagens teoretiska undervisning. Dessa övningar genomförs tillsammans med informanter i studien och kombineras med olika intervjumoment för att ta reda på hur klassiska musiker förhåller sig till denna problematik. Resultatet visar på att det finns brister i gymnasiekursen Gehörs- och Musiklära, till exempel att undervisningen ofta saknar viktiga moment som gehör och mer praktisk undervisning. Det framkommer även att det saknas tydlig kommunikation mellan gymnasier och musikhögskolor och att många elever känner sig oförberedda införantagningsproven. Informanterna uttrycker sig även positivt till de förutnämnda övningarna och påstår att dessa kan fungera bra som komplement till undervisningen. / This degree project is based on a curiosity about practical exercises and supplements to the typically theory-oriented music theory education. Contemporary research encourages a more practical approach to teaching, as much of the music theory taught today lacks pedagogical meaning. Musicians often learn more about music theory, but very little about how to apply their knowledge. The researchers' solution to this problem is to reintroduce the so-called partimento tradition, which is an old tradition where students learn and explore harmony in a practical way through playing and improvisation. However, this solution would require a major revision of the entire curriculum and a restructuring at an international level. Therefore, I have chosen to design and conduct a collection of practical exercises based on this old tradition, which can serve as a supplement to today's theoretical education. These exercises are carried out together with participants in the study and combined with various interview elements to understand how classical musicians approach this issue. The results indicate that there are shortcomings in the high-school course in music theory, such as the teaching often lacking important elements like ear training and more practical exercises. It also appears that there is a lack of communication between high schools and music colleges and that many students feel unprepared for the entrance exams. The participants express a positive attitude towards the aforementioned practical exercises and claim that they can work well as a complement to the education.

The purpose of this phenomenological study was to explore the musical and inner human processes that emerged in the lived experience of solo and joint free improvisation from the viewpoint of the improviser, also exploring how those processes related to the improviser’s world. The study included eight adult participants, musicians and non-musicians (amateurs), who varied in their improvisational experience as well as in age, personal and professional background. Each participant was engaged in one solo and one joint improvisation (with the researcher) on their chosen musical instruments. Improvisations were followed by an in-depth semi-structured interviews involving immediate impressions of the experience as a whole, followed by listening to the recorded improvisations where participants identified significant musical moments The synthesis of verbal and musical data revealed five interconnected, non-linear phases of the improvisers’ movement toward the attainment of creative freedom. Those were: Acceptance and Trust (letting go of expectations and judgment), Adaptation (moving through uncertainty with self and with another), Emergence (taking individual and social risks toward discovery), Transcendence (experiencing flow and moments of sync) and Expansion (experiencing the joy of individual and mutual creation). These emerged phases portrayed various musical and extra musical dimensions of the improvisers’ way of thinking, searching, acting, being and feeling in and through sound making- from the very beginning to the ending phases of their solo and joint experiences.   Reflecting humanistic-existential thinking and other relevant literature, the findings of the study showed a direct link between individuals’ involvement in improvisation and the development of courage, intentionality, adaptability, vulnerability, and empathy within meaningful musical engagement as essential qualities toward authentic growth. Participants’ musical experiences also showed a link between improvisation and life meaning. They specifically discussed issues of letting go of judgment, developing flexibility, taking personal and interpersonal risks and practicing mindful ways of listening to self and others. Applications of improvisation were discussed in the context of psychotherapy, suggesting a protocol on the conditions, practices and emerging meanings within clinical improvisation work. / Music Therapy / Accompanied by one compressed .rar file.

Silence is inevitable. It's something we can't escape in our everyday lives, and it's something we can't escape in music as well. After listening to music by Morton Feldman, I realized that silence is a big but less unexplored part of music. This made me want to study how silence can be used in music.    The purpose of this essay is to investigate the roles silence can have in music, systemize different functions silence can have, improvise and compose music that in some way illuminates silence.    My research has led me to identify and categorize seven distinct functions of silence in music. This systematic approach has empowered me to compose and utilize silence in a structured manner. The culmination of this method was the creation of six unique compositions, which were then rehearsed and performed in a concert by a band comprising of me on Piano, Maja Svanteson on Voice, Hannes Arason on Trumpet, and Fredrik Ljungkvist on Saxophone and Clarinet.   Using one or two functions when composing and thereby being able to study the chosen function isolated has made me see how multifaceted silence is. The silence is and should be seen as nuanced in the same way as a sound or tone. Our band noticed a tendency to play softly during our initial rehearsals and felt a general unease when confronted with silence. This hesitancy not only restrained our music but also our potential for growth. However, as we overcame these habits, our use of silence became more varied, enriching our music and making it more intriguing. / <p><em>Tyst Koral (variation 1) - </em><strong>Musik:</strong> Rasmus Mannervik</p><p><em>Under stjärnorna - </em><strong>musik:</strong> Rasmus Mannervik, <strong>text:</strong> Pär Lagerkvist</p><p><em>Sextondelar (variation 1) - <strong>Musik: </strong></em>Rasmus Mannervik</p><p><em>En stilla ödmjuk själ - </em><strong>Musik: </strong>Rasmus Mannervik, <strong>Text:</strong> Francesco Petrarca</p><p><em>Tyst Koral (variation 2) - </em><strong>Musik: </strong>Rasmus Mannervik</p><p><em>Fri improvisation - </em><strong>Instruktion: </strong>Rasmus Mannervik</p><p><em>Sextondelar (variation 2) -</em> <strong>Musik:</strong> Rasmus Mannervik</p><p><em>Kärlekens visa -</em> <strong>Musik:</strong> Rasmus Mannervik, <strong>Text:</strong> Pär Lagerkvist</p><p><em>Tyst Koral (variation 3) - </em><strong>Musik:</strong> Rasmus Mannervik</p><p></p><p>Musiker:</p><p>Rasmus Mannervik - Piano</p><p>Hannes Arasson - Trumpet</p><p>Fredrik Ljungkvist - Saxofon och Klarinett</p><p>Maja Svantesson - Sång</p><p></p><p>Till detta bifogas en ljudupptagning från konserten 18/03-24</p>

<p>This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other.</p><p>The first section of the text focuses on preluding – that is, a <em>genre</em> <em>of improvisation</em>. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of <em>improvisation as practised by an important nineteenth century musician.</em> The instructional music literature written by Carl Czerny is the basic source of reference in both portions.</p><p>The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used.</p><p>Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg.</p>

This paper describes the development of a pre-school child, their relationship with their coevals and adults, acquire of social rules and gives a true picture of the main activity of a child of this age. It also deals with drama improvisation as a method of drama education. It deals with its goals, functions, sorting, models in detail and presents the needs of the pedagogue of drama education and their attitude to children. The text is completed with examples of games, plays and exercises focused on drama improvisation. A great part of the work deals with didactics of drama improvisation. It describes the sources of ideas, assignments of themes and topics, preparation, construction, leading, reflexion and evaluation of drama improvisation. It examines attitude, behaviour and action of a teacher during drama improvisation. It then describes the project and its kinds, project method and education, its advantages, problems and principles. The part of the work is a project focusing on drama improvisation which is carried out in praktice.

This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other. The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions. The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used. Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg.

This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.