Dagens solistiska framträdanden inom den klassiska musiken kan se olika ut, men det finns särskilda aspekter och kvalitéter som kännetecknar de mest framstående solisternas framföranden. Det kan handla om hur solisten kommunicerar med andra personer i rummet, vad kroppsspråket uttrycker, med mera. Den här skriftliga reflektionen inom ett konstnärligt examensarbete behandlar och redovisar en process rörande instudering av olika framförandepraxis och senare även tillämpning av dessa på Launy Grøndahls trombonkonsert. I inspiration av framstående solister som Christian Lindberg och Martin Fröst är studiens syfte att som solist utveckla en förmåga att ge en tilltalande helhetsbild för publiken, där inte bara det musikaliska spelar in, utan även det performativa runt omkring. Detta har resulterat i en klar och tydlig bild av viktiga punkter som bör ligga i fokus vid ett framträdande av trombonkonserten, och även andra stycken inom liknande genrer och sammanhang. Fördjupning i detta ämne är viktigt då dessa aspekter tenderar att utelämnas inom de flesta musikutbildningarna i Sverige, och särskilt vid utbildningar inriktade på klassisk musik. / <p>1. Blue Bells of Scotland - Dora Jordan (1761-1816), arr. Arthur Pryor (1889-1942)</p><p> </p><p>Jonas Brodin; trombon, Matilda Andersson; piano</p><p> </p><p>2. Three Swedish Songs (for SoloTrombone and Seven Trombones accompaniment) - arr. Lars Karlin (1983-)</p><p>II. Visa i Midsommartid, III. Gammal Fäbodpsalm</p><p> </p><p>Jonas Brodin, David Cox, Lars Egens Flemström, Hjalmar Ljungberg, Vilhelm Weréen, Carl Appelgren, Amelia Hjortenhammar, Håkan Björkman; tromboner</p><p> </p><p>3. Vallåt från Jämtland - som framförd av Nils Landgren och Esbjörn Svensson</p><p> </p><p>Jonas Brodin; trombon, Anton Brodin; elgitarr</p><p> </p><p>4. Paz Y Jazz - Andy Martin, arr. Tom Kubis</p><p> </p><p>Jonas Brodin; trombon, Emma Granstam; trumpet, Sebastian Jonsson; tenorsax, Anton Ericsson; elbas, Simon Landqvist; trummor, Matilda Andersson; piano, Anton Brodin; elgitarr</p><p> </p><p>5. Concert pour Trombon et Piano ou Orchestre - Launy Grøndahl (1886-1960)</p><p>I. Moderato assai ma molto maestoso, II. Quasi una leggenda, III. Finale. Maestoso </p><p> </p><p>Jonas Brodin; trombon, Erik Lanninger; piano</p><p> </p><p>6. Three Swedish Songs - arr. Lars Karlin</p><p>I. Koppången - Per-Erik Moraeus, (1950-)</p><p> </p><p>Jonas Brodin, David Cox, Lars Egenes Flemstrøm, Hjalmar Ljungberg, Vilhelm Weréen, Carl Appelgren, Amelia Hjortenhammar, Håkan Björkman; tromboner</p>

The most popular and fundamental portfolio optimization problem is Markowitz&#039 / s one period mean-variance portfolio selection problem. However, it is criticized because of its one period static nature. Further, the estimation of the stock price expected return is a particularly hard problem. For this purpose, there are a lot of studies solving the mean-variance portfolio optimization problem in continuous time. To solve the estimation problem of the stock price expected return, in 1992, Black and Litterman proposed the Bayesian asset allocation method in discrete time. Later on, Lindberg has introduced a new way of parameterizing the price dynamics in the standard Black-Scholes and solved the continuous time mean-variance portfolio optimization problem. In this thesis, firstly we take up the Lindberg&#039 / s approach, we generalize the results to a jump-diffusion market setting and we correct the proof of the main result. Further, we demonstrate the implications of the Lindberg parameterization for the stock price drift vector in different market settings, we analyze the dependence of the optimal portfolio from jump and diffusion risk, and we indicate how to use the method. Secondly, we present the Lagrangian function approach of Korn and Trautmann and we derive some new results for this approach, in particular explicit representations for the optimal portfolio process. In addition, we present the L2-projection approach of Schweizer for the continuous time mean-variance portfolio optimization problem and derive the optimal portfolio and the optimal wealth processes for this approach. While, deriving these results as the underlying model, the market parameterization of Lindberg is chosen. Lastly, we compare these three different optimization frameworks in detail and their attractive and not so attractive features are highlighted by numerical examples.

We model Normal Inverse Gaussian distributed log-returns with the assumption of stochastic volatility. We consider different methods of parametrization of returns and following the paper of Lindberg, [21] we assume that the volatility is a linear function of the number of trades. In addition to the Lindberg’s paper, we suggest daily stock volumes and amounts as alternative measures of the volatility. As an application of the models, we perform Value-at-Risk and Expected Tail Loss predictions by the Lindberg’s volatility model and by our own suggested model. These applications are new and not described in the literature. For better understanding of our caluclations, programmes and simulations, basic informations and properties about the Normal Inverse Gaussian and Inverse Gaussian distributions are provided. Practical applications of the models are implemented on the Nasdaq-OMX, where we have calculated Value-at-Risk and Expected Tail Loss for the Ericsson B stock data during the period 1999 to 2004.

No description available.

Med utgångspunkt från boken Omforma : Nya strukturer för designbranschen, har jag undersökt arbetssituationen för en mönsterdesigner 2017 och hur det går att koppla till svensk mönsterhistoria. Ett exempel jag tittar närmare på är kollektionen Signerad textil som visades på NK 1954. Jag reflekterar också över samtidens besatthet av mönster från 50- och 60-talet och vad det kan skapa för konsekvenser för nu verksamma formgivare.  I det gestaltande arbetet har jag skapat en varierad mönsterkollektion där jag försöker reflektera och utmana min egen designprocess.

In the early-15th-century book Il libro dell’arte by Cennino Cennini, the author uses the word diadema about a dozen times. The most recent Swedish edition from 2011 interprets this not as an object but as a halo, a divine light. The earlier edition from 1947/2000 keeps the closest meaning, a diadem, and by that the physical item. Both a material diadem and an immaterial halo would be represented in gold in the paintings described, consequently the symbolism of this material is closely linked to the interpretation of the motives Cennini could be describing.        The time around 1400, in Florence, is an important period of transition, where a fashion that differs for men and women has just been born, the boundaries of the sumptuary laws concerning headdress and jewellery are constantly challenged by women, and the rise of a more secular world where an individual dignity developed may instead be an argument that the word diadema is an essential sign of a more materialistic lifestyle emerging. Several factors come together arguing that the golden headdress of the early renaissance played just as important a role in paintings as the divine light and therefore showing that not every item gilded is a symbol of divinity, it can also be earthly belongings such as insignia, jewellery and dress decoration.

This essay examines how family-related violence was depicted in art in Sweden during the 70s, 80s and 90s. A major shift in the views of violence within the family and in relationships occurs during this period, which becomes evident through a change in laws but is also visible in an ongoing social debate. Basing my research on a number of works by female artists, depicting violence, I have analysed ways of interpreting and understanding the violence in these images, in relation to the changed views on family, gender roles and violence. The female perspective on violence is often the same as the perspective of the violated, and I have chosen to study female artists, thus assuming that a changed attitude is most clearly reflected in this group.The artists included in the study are Marie-Louise Ekman, Marja Ruta, Kristina Abelli Elander, Maria Lindberg, Maria Friberg and Monica Larsen Dennis, Helene Billgren, Tuija Lindström, Charlotte Gyllenhammar, Anna-Maria Ekstrand and Annika von Hausswolff.The works are grouped into four categories based on a model created by Gregory H. Stanton, which he developed in the survey of genocide. His model depicts ten stages in which violence slowly increases. My division is in four stages and is named structural violence, embodied acts of violence or abuse, crime victims or traces of crime, and consequences of violence. Seen over the period covered by the study, one can observe an increase in the number of images with violent content. The depictions change from being political messages to becoming more provocative and questioning power structures. This is a development which is happening simultaneously with the breakthrough of postmodern art.The artists have in several works been influenced by or relate to images of violence shown in news media and popular culture, a genre that grows during the 1980s home video epoch. But the art not only interacts with other visual media, it also wants to involve the viewer by exploring and questioning values and hierarchies in society.The girl as a symbol of an innocent victim is represented in several of the works, and the girls are given a much greater freedom of action in the artworks than in reality. A concealed aggression is made visible and in several of the works the girls act violators.Depiction of violence has not been treated as a theme or categorized as a separate genre in the arts. To the extent that I have found analyses of works containing violence in the arts, there has been a hesitative attitude and the images have been perceived as simple in a communicative or interpretive aspect. In my study, I come to another conclusion, Seeing that the processing of violence in the artistic works creates a counter-image to stereotypical and simplified images in media and and so helps us to see the normative values, power imbalances, behaviours and expectations that are often the basis for acts of violence.

Indiana University-Purdue University Indianapolis (IUPUI) / Previous research on post-conflict elections has found several criteria important in determining if an area is ready to hold elections and whether or not it is likely to succeed. Although rarely ranked in any determination of importance, several concepts are present in most post-conflict election research. Additionally, there is not an agreed set of standard criteria upon which success can be assumed. When researching the post-conflict election literature two questions arise: (1) is there a set of criteria established to determine if an area is ready to conduct post-conflict elections, and (2) do all criteria need to be present in order to ensure successful post-conflict elections? Most research agrees on common criteria but highlights or researches one dominant criterion, to which is then often attributed to the success of an election. This is found in Krishna Kumar’s focus on international assistance (Kumar, 1998), Staffan Lindberg’s attribution of success to repetition of the election process (Lindberg, 2006), Paul Collier’s focus on per capita income (Collier, 2009), and Marie-Soleil Frere’s research on post-conflict elections and the media (Frere, 2011). When reviewing multiple research sources, it is likely several factors at various times and in various elections will be credited with being the single source criterion for success. This kind of past research is well supported and conclusively argued, but still fails to provide a scope of understanding outside of a single event. In other words, it is case specific and not comparatively applicable across cases. Although this thesis does not intend to “McDonaldize” (Ritzer, 2009) the process of democratization, it does propose to define a common set of criteria necessary, even if in varying degrees, to conduct successful elections in post-conflict environments.