This essay focuses on the compositional ability of Artificial Intelligence Visual Artist(AIVA) and how it performs compared to an amateur jazz musician, in this case I amthe musician. Through a survey published on several social media websites, anyonewho saw the link had the option to participate without the need of any previousexperience. The participants listened to two compositions, one composed by me and theother one composed by AIVA. They were given two options: Was this composed by ahuman or an AI? The last part of the survey the participants were asked to elaborate ontheir previous experience and thought process, to see if experience correlated with theresults. Further, they were also given the option to further explain why they thoughtpicked as they did, and lastly if they thought AI could be used as a tool and how.Ultimately, the majority of the participants could not differentiate between an amateurand AIVA and some argued that the both of the compositions were composed by an AI.Some participants thought both compositions felt harmonically stale, whilst some gavethorough explanations as to why why they could not tell the compositions apart. Inconclusion, elements of AIVA could definitely be improved but the majority agrees thatit can be used as a tool in composition.

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 describes ways a guitarist can apply a saxophone-like phrasing in their playing and also discusses the various differences and similarities which can be found between the two instruments.  The foundation of the work was made through transcription to find the aspects of saxophone playing that may be possible to apply on guitar. I made conclusions based on the transcriptions of a wide variety of saxophone players. This thesis also contains exercises which are specifically crafted for working on applying saxophone phrasing for guitarists. In this thesis I arrived at the conclusion that it is very possible to integrate various aspects of saxophone phrasing onto the guitar although some are less problematic than others. For instance, there are resources that the saxophone has, of which the guitar as an instrument does not have. Despite this, drawing inspiration from saxophone phrasing as a guitarist can be considerably applicable. / <p>Repertoar:</p><p>Oui - Anton Brodin</p><p>All of me - Marks/Simons</p><p>Yum - Brodin</p><p>Body and soul - Johnny Green</p><p>Ode - Brodin</p><p>Pop goes the leesel - Lee Konitz</p><p></p><p>Medverkande:</p><p>Anton Brodin - Gitarr</p><p>Anton Berndts - Kontrabas</p><p>Richard Andersson Rasheed - Trummor</p><p>Emmalisa Hallander - Sång</p><p>Eskil Larsson - Tenorsaxofon</p><p>David Stener - Piano</p>

In this case study, The King and Baxter Magolda (2005) Intercultural Maturity Model was utilized as the explanatory framework for the development of intercultural maturity in a globally networked learning environment (GNLE) with college students. Through ethnographic data collection strategies and qualitative analysis of interviews, observations, narrative inquiry, and student artifacts, I explored the developmental stages of the intercultural maturity of study participants in a GNLE with college students from three international universities in South Africa, Europe, and the United States. I sought to determine if any relationship existed between the development of intercultural maturity and the study of jazz. This research inquiry represented a distinct opportunity to examine if student activities in jazz subjects might ground new theories for the attainment of intercultural maturity. A globally networked classroom of jazz students presented a salient opportunity to observe if interactant traits could mature, instigated through jazz curricula, and whether such a model had explanatory potential in a web-based context. The findings were instructive for considerations comparative to traditional developmental models of intercultural maturity, with a particular focus on the efficacy of asynchronous and synchronous student interactions within the activities. The context of a GNLE, an interesting alternative to study abroad when considered as a teaching and learning paradigm instead of just a technology modality, facilitated rich descriptions and data to gauge students’ demonstration of the domains of the King and Baxter Magolda (2005) Intercultural Maturity Model. Adding jazz curricula and pedagogy to the GNLE environment, situated between cohorts geographically apart, allowed for a reimagining of the King and Baxter Magolda Intercultural Maturity Model to A Jazz Orientation of the Three-Dimensional Developmental Trajectory of the Intercultural Maturity Model.

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.

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>

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This bachelor’s thesis investigates the transformation of a musical composition when its lyrics are translated from the written original language into another. It examines how creating a new composition based on the translated lyrics, aspiring to maintain the language’s natural melodic flow, impacts the character of the composition.  Utilizing diverse composition methods and techniques revolving around lyrics, I have composed a series of six compositions. This collection consists of an equal distribution of lyrics in the Swedish and the English languages, allowing for a comparative analysis of how the choice of language influences the harmonic, melodic, and emotional dimensions of each piece, despite the lyrics having the same content. The culmination of this venture was presented at my Bachelor’s recital held at the University of North Texas. / <p>When Sunny Gets Blue (musik: Marvin Fisher text: Jack Segal)</p><p>När sol går i moln (Märta Dahlsytöm)</p><p>You’re A Ten (Märta Dahlström)</p><p>Du är en tia (Märta Dahlström)</p><p>Skynda långsamt (Märta Dahlström)</p><p>Hurry Slowly (Märta Dahlström)</p><p>Ellen (Märta Dahlström)</p><p>Medverkande musiker: Märta Dahlström, sång och komposition, Isaiah Nygard, Piano Paul Briggs, Bas, Michael Rodenkirch, trummor.</p><p></p><p>Märta Dahlström Senior Recital / Examenskonsert:</p><p>https://www.youtube.com/watch?v=KWgnq49MyIs</p>

This research serves two main purposes: to create an analyzed edition of Ray Brown's bass lines from the Oscar Peterson Trio's 1964 recording We Get Requests, and to better understand Brown's lines through the lens of Ray Brown's Bass Method. This comparative analysis identifies significant events in the recorded music that closely relate to or resemble exercises from the book. By analyzing the music from the lens of Ray Brown's Bass Method, performers, students, and educators will gain a stronger understanding of the application of select technical devices provided by Brown in his book. The most prominent techniques discussed include scales and intervals, major triads, minor triads, and chords, exercises in tenths, rhythm patterns with drops, and diminished patterns. These evidence-based conclusions have significant applications in jazz bass pedagogy by revealing potential relationships between technical ideals and practical use. Although these conclusions may seem of concern only to jazz bassists, it should in fact concern anyone who cares about the connection between pedagogy and performance.