Detta konstnärliga examensarbete är ett försök att som pianist nå en fördjupad förståelse för Franz Schuberts Drei Klavierstücke (D.946). Verket komponerades under Schuberts dödsår 1828 men var det i mars eller maj? Syftet är att framföra Drei Klavierstücke på bästa möjliga sätt. Det utförs genom kontextualisering av Schubert liv och en fördjupad analys av hans musik samt jämförelser av olika partiturutgåvor, finnandet och problematiseringen utav Schuberts huruvida verket skrivs i mars eller maj, samt att erhålla djuplodade kunskaper som underlag för att skapa minnesvärda associativa titlar. Därigenom kan jag bättre visualisera inom mig det som ska spelas. Med andra ord, den konstnärliga gestaltningen byggs därmed upp genom min visualisering av verket i min instudering. De första två styckena i Drei Klavierstücke hänger utan tvekan ihop med varandra (Leisinger, et al., 2015) och därför har jag valt att framföra dessa två på min examenskonsert. I studien vill jag ändå skapa associativa titlar till alla tre styckena. Med en konstnärlig metod samt litterära kunskaper på tyska, engelska och svenska skapade jag de associativa namnen. Dessa redovisas i studiens resultatkapitel, med originalspråk på tyska: Reise in Jenseits in Drei Teilen, 1. Lebensende, 2. Jenseits, 3. Himmelstür. Emellertid skapades även översättning på svenska: 1. Livetsslut, 2. Efterlivet, 3. Pärleporten. Gällande mars eller maj lämnar förlagens svar på detta öppet. Enligt dem stavades maj som M-A-Y. Schubert talade sannolikt engelska då han tidigare arbetat som hjälplärare. Det verkar ändå konstigt att ange månaden på engelska i ett dokument som i övrigt författades på tyska? / This artistic thesis is an attempt to reach a deeper understanding of the piano pieces Drei Klavierstücke (D.946) composed by Franz Schubert in 1828, but was it in March or May? The aim is for me as a pianist to perform Franz Schubert's Drei Klavierstücke in the best possible way. It is carried out through contextualization of Schubert's life and an in-depth analysis of his music as well as comparisons of different score editions, the finding and problematization of Schubert's writing of May or March, as well as obtaining deep knowledge as a basis for creating memorable associative titles. This way I can better visualize a representation of the work in my rehearsal. The first two pieces of Drei Klavierstücke are undoubtedly related to each other (Leisinger, et al., 2015) and therefore I have chosen to perform these two at my graduation concert. In the study, I still want to create associative titles for all three pieces. With a poetic method and literary knowledge in German, English and Swedish, I created the associative names. These are reported in the result chapter of the study, with original language in German: Reise in Jenseits in Drei Teilen, 1. Lebensende, 2. Jenseits, 3. Himmelstür. However, an English and a Swedish translation was also created: 1. End of Life, 2. Afterlife, 3. Heaven’s Gate. Regarding March or May, the publisher's answer to this is left open. According to them, May was spelled M-A-Y. Schubert, who was previously an assistant teacher, certainly spoke English. However, why would he do that in a document that was otherwise written in German? / <p>Repertoar:</p><p>Leoš Janáček (1854 – 1928)”På en övervuxen stig”, Serie I1. Våra kvällar (Naše večery)2. Ett bortblåst löv (Lístek odvanutý)4. Madonnan av Frydek (Frýdecká panna Maria)</p><p>Franz Schubert (1797 – 1828)Drei Klavierstücke, D.946 posth.I. Allegro assai, ”Lebensende, The End of Life, Livetsslut.”II. Allegretto, “Jenseits, Afterlife, Efterlivet.”</p><p>Wilhelm Stenhammar (1871 – 1927)Tre fantasier för piano, Op. 11.Nr. 1 Molto appassionato</p><p>Paus</p><p>Frédéric Chopin (1810 – 1849)Ballad Nr. 3, Ass dur, Op. 47  </p><p>Robert Schumann (1810 – 1856) arr. Franz Liszt (1811 – 1886)Liebeslied (Widmung), S. 566.Ur: Myrthen op. 25   </p><p>Ludwig van Beethoven (1770 – 1827)ur: Sonat Nr. 21 C-Dur Op.53II. Introduzione: Adagio moltoIII. Rondo. Allegretto moderato — Prestissimo</p><p>- - -</p><p>Medverkande: Daniel Chun, piano.</p><p>Georg Asplund, KMH lärarstudent inriktining musik och mediaproduktion,  uppgift: videofilm.</p><p>Axel Wokander, KMH klassisk musik pianostudent, uppgift: bild projektor keynote.</p><p>- - -</p><p>Keynote presentation som visades på storskärm, innehöll namn på repertoar för publikens skull.</p><p>- - - </p><p>Videofilm på konserten, togs från inifrån scenen och fångar även publiken förutom vänster sida av pianisten Daniel Chun och pianot.</p>

A tragic massacre in May 1921, commonly referred to as the Bulhoek Massacre, was associated with the ecclesiology of the Church of God and Saints of Christ, founded by Enoch Mgijima. If it were not for the theology of eschatology that this church adhered to, the so-called Bulhoek Massacre would not have happened. The theology of eschatology which Mgijima was focussing on caused the ecclesiology of the amaSirayeli to be the victims of the circumstances. Dulles defines ecclesiology as the church in the process of self actualisation. There is self understanding of worshippers. In the case of the Church of God and Saints of Christ, such self-understanding caused the Bulhoek Massacre. It is said that when people fervently believe in an Ultimate Being, whether such belief is a construction in their minds or a reality, then those people will be willing to defend their belief and die for, if it needs to be. For such a believer, it is because of the hope for a better life in the future that they are willing to even defy earthly authorities. When that believer follows a voice of the supernatural, which is revealed only to him and sounds much louder, much clearer and more authoritative than human voices, it is then that he cannot be void. Such an authoritative voice may be transmitted either through ancestors, known as the living dead, or directly from the Supreme Being. In the case of the said church, it is both. Secondly, an ecclesiology of the Church of God and Saints of Christ should be understood in the light of their mother church in America under the leadership of Crowdy the founder. Such ecclesiology should also be understood against the religious backdrop of the African Initiated Churches (AIC). These two factors, the mother church in America and the religion of the African Initiated Churches, will be the main components that drive this thesis, and thus illuminate the spark in the said church. Owing to the proliferation of the African Initiated Churches in the continent of Africa, there is a wide speculation that Africa, of the 21st century, will be the centre of World Christianity. Whether this is just a dream or a reality remains to be realized. But the fact remains that, these churches continue to be a religious force that forms part of the church history in Africa. While this thesis will constantly be referring to the 1921 events, an ecclesiology of the said church is a present phenomenon because the church survived the massacre and is still active today. The two researchers, Robert Edgar from Los Angeles University in the USA, and Martin Mandew from the University of Natal, completed their doctoral theses on the Bulhoek Massacre. Edgar was researching on, The Fifth Seal. Enoch Mgijima, The amaSirayeli Bulhoek Massacre, 1921. Mandew concentrated on, War, Memory and Salvation, The Bulhoek Massacre and the Construction of a Contextual Soteriology. Since both researchers come from a distance, and are unable to speak the language of the people they were researching, there were of obviously unfilled gaps in between. As mentioned about cultural differences, therefore, knowing the language of the worshippers makes a big difference. There needs some analysis of idiomatic expressions, enunciated and other formal and informal expressions that tend to be important during communication. However, I acknowledge their research programme but I will go further from their product. This thesis examines the ecclesiology of this church and then relates it to the massacre where they were killed for their own beliefs. It is also important to analyse, as this thesis does, the church-state relations in South Africa in the late 19th and early 20th centuries in order to establish how other religious bodies related to the governments of the said period. / Christian Spirituality, Church History and Missiology / D. Th. (Church History)

Les recherches biomédicales se sont imposées comme une nécessité sociale et leur place n’a pas cessé de prendre de l’importance dans le domaine médical. Leur encadrement juridique commence en 1988 avec la loi « Huriet », qui vient de mettre en place un régime de responsabilité civile régissant cette activité.Ce régime renforce la protection des victimes (et de leurs ayants droit) de recherches biomédicales en simplifiant la procédure d’indemnisation. Seul le tribunal de grande instance est compétent pour connaître des litiges en la matière et ce même s’il s’agit d’un promoteur du secteur public qui relève normalement du juge administratif. Le délai de prescription est de dix ans car les dommages ne peuvent pas apparaître immédiatement après la fin de la recherche. La victime et ses ayants droit peuvent demander l’indemnisation des dommages matériels et moraux subis à l’occasion de la réalisation de la recherche. Dans les cas où la responsabilité du promoteur n’est pas engagée, la victime peut toujours demander une indemnisation à l’ONIAM, en déposant une demande auprès de la CRCI. La loi « Huriet » devrait concilier l’intérêt de la société avec ses valeurs fondamentales, et trouver le juste équilibre permettant d’assurer une protection parfaite aux individus se prêtant à ces recherches, sans entraver leur développement. / Biomedical research has emerged as a social necessity. Its importance has continued to grow in the medical field. Its legal framework began in 1988 with the law "Huriet", which established a civil liability governing this activity.Today’s legal system increases the protection of victims (and their dependents) of biomedical research by simplifying the procedures for plaintiffs to receive compensation. Only the High Court has the jurisdiction to hear disputes in this area and even if he is a proponent of the public sector is normally the administrative judge. The limitation period is ten years since the damage may not appear immediately at the end of the research. The victim and his/her dependents are entitled to compensation for material and moral damages incurred in connection with the conduct of research. In cases where the liability of the promoter is not involved, the victim can still claim compensation from the ONIAM by filing an application with the CRCI.The law "Huriet" should reconcile the interests of the society with its core values, and find the right balance to ensure a perfect protection to individuals suitable for this research, without hindering their development. / لقد فرضت الابحاث الطبية الحيوية كضرورة اجتماعية واتخذت أهمية لا يمكن الاستغناء عنها في المجال الطبي. وحيث ان تنفيذها على الكائن البشري أصبح مطردا، فان إحاطتها بقانون متكامل أصبح امرا لا مفر منه، وقد بدأ ذلك الأمر بتشريع قانون عام 1988 والذي اتى بالجديد عندما أحاط تنفيذ الابحاث الطبية على الكائن البشري بنظام مسؤولية مدنية. هذا النظام هدفه تدعيم حماية المشاركين بالبحث من خلال تعويض المتضرر منهم او خلفه العام من خلال تبسيط اجراءات التعويض. فحدد هذا القانون الاختصاص حصريا بالمحكمة البدائية في النظر بالخصومات المتعلقة بتنفيذ الابحاث الطبية على الكائن البشري، حتى لو كان القائم على تنفيذ البحث شخص من القانون العام. والذي من المفترض ان يكون الاختصاص حينها للقاضي الاداري. هذا وقد حدد قانون عام 1988 مدة التقادم بعشرة سنوات من وقت انتهاء تنفيذ البحث، لان الاضرار قد لا تظهر إلا بعد مدة من تنفيذ البحث. فالمتضرر أو خلفه العام يستطيعون المطالبة بالتعويض على الاضرار المادية والادبية التي نجمت عن تنفيذ البحث الطبي. لكن في حالة اثبات عدم وجود خطا من القائم بالبحث الطبي أي انه غير مسؤول عن الاضرار، فان المتضرر يحق له حينها بموجب هذا القانون اللجوء إلى المطالبة بالتعويض من خلال الهيئة الوطنية للتعويض عن الحوادث الطبية. خلاصة القول، إن قانون عام 1988 سعى لايجاد موازنة ما بين الفائدة التي تعود على المجتمع من تنفيذ البحث وبين ضمان حماية المشارك بالبحث بالشكل الذي يكفل حرمة الجسد البشري دون ان يؤدي ذلك إلى وضع العقبات أمام تنفيذ الابحاث الهامة للمجتمع

A tragic massacre in May 1921, commonly referred to as the Bulhoek Massacre, was associated with the ecclesiology of the Church of God and Saints of Christ, founded by Enoch Mgijima. If it were not for the theology of eschatology that this church adhered to, the so-called Bulhoek Massacre would not have happened. The theology of eschatology which Mgijima was focussing on caused the ecclesiology of the amaSirayeli to be the victims of the circumstances. Dulles defines ecclesiology as the church in the process of self actualisation. There is self understanding of worshippers. In the case of the Church of God and Saints of Christ, such self-understanding caused the Bulhoek Massacre. It is said that when people fervently believe in an Ultimate Being, whether such belief is a construction in their minds or a reality, then those people will be willing to defend their belief and die for, if it needs to be. For such a believer, it is because of the hope for a better life in the future that they are willing to even defy earthly authorities. When that believer follows a voice of the supernatural, which is revealed only to him and sounds much louder, much clearer and more authoritative than human voices, it is then that he cannot be void. Such an authoritative voice may be transmitted either through ancestors, known as the living dead, or directly from the Supreme Being. In the case of the said church, it is both. Secondly, an ecclesiology of the Church of God and Saints of Christ should be understood in the light of their mother church in America under the leadership of Crowdy the founder. Such ecclesiology should also be understood against the religious backdrop of the African Initiated Churches (AIC). These two factors, the mother church in America and the religion of the African Initiated Churches, will be the main components that drive this thesis, and thus illuminate the spark in the said church. Owing to the proliferation of the African Initiated Churches in the continent of Africa, there is a wide speculation that Africa, of the 21st century, will be the centre of World Christianity. Whether this is just a dream or a reality remains to be realized. But the fact remains that, these churches continue to be a religious force that forms part of the church history in Africa. While this thesis will constantly be referring to the 1921 events, an ecclesiology of the said church is a present phenomenon because the church survived the massacre and is still active today. The two researchers, Robert Edgar from Los Angeles University in the USA, and Martin Mandew from the University of Natal, completed their doctoral theses on the Bulhoek Massacre. Edgar was researching on, The Fifth Seal. Enoch Mgijima, The amaSirayeli Bulhoek Massacre, 1921. Mandew concentrated on, War, Memory and Salvation, The Bulhoek Massacre and the Construction of a Contextual Soteriology. Since both researchers come from a distance, and are unable to speak the language of the people they were researching, there were of obviously unfilled gaps in between. As mentioned about cultural differences, therefore, knowing the language of the worshippers makes a big difference. There needs some analysis of idiomatic expressions, enunciated and other formal and informal expressions that tend to be important during communication. However, I acknowledge their research programme but I will go further from their product. This thesis examines the ecclesiology of this church and then relates it to the massacre where they were killed for their own beliefs. It is also important to analyse, as this thesis does, the church-state relations in South Africa in the late 19th and early 20th centuries in order to establish how other religious bodies related to the governments of the said period. / Christian Spirituality, Church History and Missiology / D. Th. (Church History)

The subject of the Masters thesis The Czech Kingdom in The Chronicle of Otakar of Styria is the history of Czech Kingdom in the Otokar of Styrias versified cronicle. The goal of this work is a comprehensive view of that cronicle as a historic source of cetral European history during the second half of the 13th and the beginning of the 14th century. The Masters thesis includes an evaluation the relationships between the central European sources of that time. It investigates both, the knetty question of the autor's live story and his motivation for writing a work around 100 000 verses. In particular chapters, various social groups, which the author focuses on, are examined (royal houses, aristocracy, burgher class, people). No particular social group can be considered in isolation. Thier interrelations are highlighted in the thesis. Following section introduces Otakar's description of certain central European regions (Austria, Styria, Carinthia, Hungary, Polen and the Holy Roman Empire), which is the foundation of my attempt to discover the cronicler's source and information base. Used method is based on the analysis of cronicle sources and the study of historical materials. The history of the Kingdom of Bohemia results from the above mentioned circumstances. Based on this approach, the thesis of...

No description available.

Am Ende des Ersten Weltkriegs lebte in Deutschösterreich und im Deutschen Reich mit dem Zerfall der Habsburgermonarchie und den Revolutionen im November 1918 die Erinnerung an die 48er-Revolution wieder auf. Die Revolutionserinnerung wurde insbesondere von den deutsch-österreichischen Sozialdemokraten zur Legitimierung der Forderung nach dem Anschluss an das Deutsche Reich herangezogen. Da die Vollziehung des Anschlusses jedoch am Einspruch der westlichen Siegermächte scheiterte, konnte im Deutschen Reich eine mit der Anschlussforderung eng verknüpfte Geschichtspolitik mit der 48er-Revolution von Sozialdemokraten und Demokraten wenig zur Legitimierung der Weimarer Republik beitragen (während die Anschlussforderung in Deutschösterreich gerade darauf zielte, die Eigenstaatlichkeit aufzuheben). Vielmehr wurde die Kritik am reichsdeutschen Rat der Volksbeauftragten, in Reaktion auf die deutschösterreichische Anschlusserklärung vom 12. November 1918 den Anschluss nicht vollzogen zu haben, zu einem politischen Allgemeinplatz. Träger der Geschichtspolitik mit der 48er-Revolution blieben in beiden Republiken ganz überwiegend die Arbeiterparteien, wobei im Reich Sozialdemokraten und Kommunisten dabei völlig entgegengesetzte Ziele verfolgten. Auch einen geschichtspolitischen Konsens zwischen reichsdeutschen Sozialdemokraten und Demokraten gab es nicht, wie sich schon in der Abstimmung über die Flaggenfrage am 3. Juli 1919 zeigte. / At the end of World War I, as the Habsburg Monarchy fell apart, the memory of the revolution of 1848 was revived in German-Austria and the German Empire by the new revolutions of November 1918. The revolution of 1848 was drawn on particularly by the German-Austrian social democrats to legitimize their demand to unite German-Austria with the German Empire (the so-called “Anschluss”). When the victorious Western powers prevented the realization of the Anschluss, the attempts by social democrats and democrats in the German Empire to use the memory of the revolution of 1848 to legitimize the new Weimar Republic had only little success because they were closely related to the demand for the Anschluss of Austria (whereas in Austria of course the demand for the “Anschluss” aimed at ending the existence of German-Austria as an independent state). Rather, it became common place in the Weimar Republic to criticize the “Rat der Volksbeauftragten” (the revolutionary government of 1918-1919) for not having realized the Anschluss in response to its declaration by the German-Austrian provisional national assembly on November 12, 1918. The workers’ parties were first and foremost those who continued to keep the memory of the revolution of 1848 in both republics alive. However, in doing so, social democrats and communists in the German Empire persued opposing political objectives. Moreover, there was neither a consensus between social democrats and democrats in the Weimar Republic in regards to the memory of the revolution of 1848. This lack of agreement was already apparent in the decision of the national assembly concerning the flag of the new republic on July 3, 1919.

Les intendants militaires constituent une catégorie particulière d’officiers qui s’occupent des besoins de la vie courante du soldat. Ils sont crées en 1815 et remplacent les commissaires des guerres et les inspecteurs aux revues. Leur étude comprend deux parties. La première est destinée à présenter leurs caractéristiques sociales et militaires générales et leur place dans les débats sur l’administration militaire et la communauté militaire. Elle comprend les domaines suivants : - l’origine géographique, - l’âge et le grade au mariage, - la profession des pères et des beaux-pères, - la composition et le montant des dots, - les dossiers de demande d’autorisation de mariage, - les demandes de bourses pour les écoles militaires, - la place de la vie privée dans les appréciations données par leurs supérieurs. - l’origine du recrutement (saint-cyriens, polytechniciens, soldats), - les causes des fins de carrières - les grands évènements de la carrière (entrée dans le corps de contrôle de l’administration, interruptions de service, mutations), - la remise en question de l’intendance militaire au cours des débats sur l’administration militaire après la défaite de1870, et notamment sa place vis-à-vis du commandement, - la place des officiers d’administration et des médecins militaires, - l’image des intendants parmi les autres officiers. La seconde partie expose les déroulements des carrières, elle comporte les points suivants : - les résultats de la scolarité dans les écoles militaires et leur influence sur les appréciations données par leurs supérieurs et l’avancement ; - les carrières dans l’arme d’origine (l’influence des appréciations, des félicitations et des punitions), - les conditions du passage dans l’intendance (le concours, la formation administrative), - les carrières dans l’intendance (l’influence de la carrière dans l’arme d’origine, les rôles de l’origine et des appréciations dans l’accès aux différents grades, les projections de carrières à partir du premier grade). / The intendants establish an officers’s particular body who deal with the support of the common life of the soldier. They are create in 1815 and replace captains of the wars and inspectors in reviews. Their study includes two parts. The first one intended to present their general social and military characteristics. It includes the following domains : - the geographical origine, - the age and the rank in the marriage, - the profession of the fathers and the fathers in law, - the composition and the amount of dowries, - files of wedding authorization request, - applications for a scholarship for military academies, - place of the private life in the appreciations given by their supériors, - the origin of the recruitment (graduests of St. Cyr, graduests of Polytechnique prestige engineering school, soldiers), - the causes of ends of carreer, - big events of the career (entered the body of control of the administration, interruptions of service, tranfers). - the questioning of the military estate management after the defeat of 1870, in particular its place face to face of the command ; - the place of the officers of administration et of the military medical officers, - the image of the bursars among the others officers. The second parts explains the progesses of careers, il contains the following domains : - the results of the schooling in military academies and their influence in the appreciations given by their superiors, and of the promotion ; - the careers in the element of the army of origin (influence of the appreciations, the congratulations and the punishments) ; - the conditions of the passage in the estate management (the competition, the administrative training), - the careers in the estate management (the influence of the career in the weapon origin, the roles of the origin and of the appreciations in the access of the various ranks, the progressions of the careers according to the passage in the second rank).

When I studied to become a musician on my instruments violin and nyckelharpa at the Department of Folk Music at the Royal College of Music (KMH) in Stockholm. Musikhögskolan (KMH) in Stockholm, I wrote an artistic bachelor thesis in music. In the thesis, I made a style analysis between the Näck-tuned melodies of Tyska klockorna performed by Pelle Björnlert, Gustaf Wetter and Pär Näsbom. The analysis included a comparison between these fiddlers and musicians with history and notation. I studied their melodies, rhythms, harmonies, tempos, moods, stringing, phrasing, dynamics and sound. I also studied and compared their emotions/values, contextual associations, expression, musical structure, performance/technique and general conditions in three different stylistic mappings between these fiddlers and musicians. At the oral presentation, I performed these three melodies of the Tyska klockorna on my violin, playing as close to Björnlert, Wetter and Näsbom's playing styles as possible. My twin sister Caroline Eriksson and I studied at KMH at the same time. When we started our degree projects, a graduation concert was included. We chose to have a joint “Sister Concert”, where two graduation concerts became one. The concert reflects the years before KMH, the years during KMH and the years after KMH. A varied concert with 24 fantastic fellow musicians and dancers, where we performed the music that is very close to us, both traditional and newly written, with a focus on interaction, play to dance and dance to play. / När jag studerade till musiker med mina instrument fiol och nyckelharpa på institutionen för folkmusik på Kungl. Musikhögskolan (KMH) i Stockholm, skrev jag ett konstnärligt kandidatexamensarbete i musik. I examensarbetet gjorde jag en stilanalys mellan de näckstämda melodierna Tyska klockorna framförda av Pelle Björnlert, Gustaf Wetter och Pär Näsbom. I analysen ingick en jämförelse mellan dessa spelmän och musiker med historia och notation. Jag studerade deras melodier, rytmer, harmonier, tempon, stämningar, stråkföringar, fraseringar, dynamik och klang. Jag studerade och jämförde även deras emotioner/värden, kontextuella associationer, uttryck, musikstruktur, utförande/teknik och generella förutsättningar i tre olika stilistiska mappningar mellan dessa spelmän och musiker. Vid den muntliga redovisningen framförde jag dessa tre melodier av Tyska klockorna på min fiol och spelande så nära Björnlert, Wetter och Näsboms spelsätt och spelstilar som möjligt. Min tvillingsyster Caroline Eriksson och jag studerade samtidigt på KMH. När vi påbörjade våra examensarbeten ingick en examenskonsert. Vi valde att ha en gemensam ”Systerkonsert”, där två examenskonserter blev en gemensam. Konserten speglar åren innan KMH, åren under KMH och åren efter KMH. En varierad konsert med 24 fantastiska medmusiker och dansare, där vi framförde den musik som ligger oss mycket nära. Både traditionell och nyskriven, med fokus på samspel, spel till dans och dans till spel. / <p><strong>Systerkonsert </strong></p><p><strong></strong></p><p><strong>Examenskonsert </strong></p><p><strong></strong></p><p><strong>Madliene Ahlström Eriksson &amp; Caroline Eriksson </strong></p><p><strong></strong></p><p>9 september 2023, kl. 16.00 Kungasalen, Kungl. Musikhögskolan i Stockholm  </p><p></p><p><strong>PROGRAMORDNING </strong></p><p><strong></strong></p><p><strong>Rulin &amp; Ericsson </strong></p><p><strong></strong></p><p>Musik: Polska efter Carl Viktor Rulin, Lerbäck, Närke &amp; Polska efter Pehr Ericsson, Helgarö, Södermanland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Eder bröllopsdag </strong></p><p><strong></strong></p><p>Musik: Brudmarsch till Markus och Rebecca Kviberg, komponerad av Madliene Ahlström Eriksson från Trosa, Södermanland. </p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Näckstämda - Tyska klockorna </strong></p><p><strong></strong></p><p>Text: Madliene, bearbetad av Carin.</p><p>Musik: Pelle Björnlert från Vråka, Kalmar. Björnlerts variant av <em>Tyska klockorna</em> har han från boken <em>Svenska låtar </em>20, Östergötland, med Arvid Bergvall och Pelle Fors, de båda från Rönö socken, Östergötland.</p><p>Gustaf Wetter från Katrineholm, Södermanland. Gustaf har sin variant av <em>”Tiska klocko” / Tyska klocko</em> efter Anders Petter Andersson och August Widmark, de båda från Vingåker socken, Södermanland. Ur A.P. Anderssons bok <em>Låtar och visor från Södermanland och Närke</em>. </p><p>Pär Näsboms född i Tierps kyrkby, Uppland, men nu boende i Winterthur, Schweiz. Proveniens Uppland. Näsboms variant av <em>Tyska klockorna</em> har han efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Madliene</p><p>Koreografi &amp; dansare: Carin &amp; Jan-Olof </p><p></p><p><strong>Hornlåt efter Liss-Mats Anna </strong></p><p><strong></strong></p><p>Musik: Hornlåt efter Liss-Mats Anna Ersson från Dalbyn, Ore. </p><p>Arr: Madliene </p><p>Musiker: Caroline, Ida Maria, Leif &amp; Madliene </p><p></p><p><strong>Lästringe storpolska </strong></p><p><strong></strong></p><p>Musik: Lästringe storpolska efter Anders Andersson, Lästringe, Södermanland.</p><p>Arr. &amp; musiker: Caroline, Leif &amp; Madliene </p><p></p><p><strong>Dans till Fryksdalsmelodi </strong></p><p><strong></strong></p><p>Dansen: Dans till Fryksdalsmelodi finns i sex stycken olika Fryksdalsmelodier och som har använts genom historien. Här får ni höra en av dem som vi tycker om att spela.</p><p>Musik: Dans till Fryksdalsmelodi</p><p>Arr: Troligt komponerad inom folkdansrörelsen och L. Johansson </p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Åttamanengel </strong></p><p><strong></strong></p><p>Dansen: Österbotten har- och är ett svenskt kulturområde och i dansen får ni se danserna; engelska, kadrilj, galopp och polska som flätas samman i två låtmelodier. Första låten går i 2-takt och andra låten går i 3-takt. 3-takts polskan är väldigt lik “Skräddarepolskan” från Sörmland upptecknad efter K.P. Leffler. C.M. Bellman använde Skräddarepolskan-melodin i utbildningssyfte om sexdondelspolskans stil, för att kunna konstruera fram en grundmelodi på åttondelar i åttondelspolskestil av samma polska. Melodin passar lika bra som både åttondelspolska och sexdondelspolska. Bellman namngav därför melodin till “Fackeldansen” som ingick i hans utbildning om “Balen på Gröna Lund” och utlärningen om åttondels- och sexdondelspolskans likheter och olikheter.</p><p>Musik: Åttamanengel från Korsholm i ÖsterbottenArr: Folkdansrörelsen och L. Johansson</p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Lilla Barn </strong></p><p><strong></strong></p><p>Text: Stina Engelbrecht</p><p>Musik: Jens Engelbrecht</p><p>Arr: S &amp; T. Engelbrecht, Caroline, Daniel &amp; Madliene</p><p>Musiker: Caroline, Daniel, Josephine &amp; Madliene </p><p></p><p><strong>När musiken spelar </strong></p><p><strong></strong></p><p>Text &amp; musik: Trad.</p><p>Arr: Madliene </p><p>Musiker: Josephine &amp; Madliene </p><p></p><p><strong>Vågsveparn  </strong></p><p><strong></strong></p><p>Musik: John McSherry, originaltitel “The Wave Sweeper”, Irland.</p><p>Arr: Caroline, Daniel &amp; Magnus</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>Konstant </strong></p><p><strong></strong></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland. </p><p>Arr: Caroline</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>T-korsning &amp; Kärl-eken </strong></p><p></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross. </p><p></p><p><strong>Slängpolska efter Anders Larsson från Sexdrega </strong></p><p><strong></strong></p><p>Musik: Slängpolska efter Anders Larsson från Sexdrega, Västergötland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross.</p><p>Dansare: Marita &amp; Thomas    </p><p></p><p><strong>Slängpolska i östra Södermanland <em>- en jämförelse mellan fyra spelmän </em></strong></p><p><strong><em></em></strong></p><p>Musik: Slängpolska efter Axel Axelsson, Östtorp &amp; Anders Andersson, Lästringe, Södermanland. Caroline har den efter Leif, Ulf och Christina.</p><p>Musiker: Caroline </p><p></p><p><strong>Blekingepolskan </strong></p><p><strong></strong></p><p>Musik:Caroline och Madliene har den efter Bo “Bosse” Larsson, Björklinge, Uppland. Som i sin tur har den efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Lilla Lasse  </strong></p><p><strong></strong></p><p>Musik: Slängpolskor från Mörkö, Södermanland. Nummer 659 och 649 från Sörmländska Låtar. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva.</p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Vi ska dansa med Sara </strong></p><p><strong></strong></p><p>Text &amp; musik: Vispolska från Mörkö, Södermanland. Nummer 662 från <em>Sörmländska Låtar</em>. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Ragatan </strong></p><p><strong></strong></p><p>Musik: Ragatan komponerad av Caroline Eriksson från Trosa, Södermanland. Samt<em> Korta Rosenberg</em>, slängpolska efter Anders Gustaf Rosenberg från Mellösa socken, Södermanland.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Skärborgarvisan </strong></p><p><strong></strong></p><p>Text &amp; musik: Skärborgarvisan från Trosa efter Claes Hagström, som har den efter sin far Gotthard Hagström Stensund/Trosa, Södermanland. Samt låt nummer 661 från Anders Gustav Andersson från Mörkö, i samlingen <em>Sörmländska låtar</em>.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Äh, jag tror ja’ ska ta å’ gå hem ja’ </strong></p><p><strong></strong></p><p>Musik: Schottis av Madliene Ahlström Eriksson från Trosa, Södermanland och Sofia Svahn från Ore, Dalarna.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Burr i magen </strong></p><p><strong></strong></p><p>Musik: Burr i magen av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Caroline</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p><strong>No poker face </strong></p><p><strong></strong></p><p>Musik: No poker face av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Carin &amp; Jan-Olof</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p>______________________ </p><p></p><p><strong>Alla medmusiker och dansare: </strong></p><p><strong></strong></p><p>Carin Alnebratt - Dans</p><p>Caroline Eriksson - Fioler, nyckelharpa, oktavnyckelharpa och sång</p><p>Cecilia Etterlin - Fiol</p><p>Daniel Fredriksson - Mandora och mandola</p><p>Elsa Örde - Fiol</p><p>Gustav Stavbom - Fiol</p><p>Hanna Areskoug - Fiol</p><p>Hannes Ahlinder - Nyckelharpa</p><p>Ida Maria Schwahn - Fiol</p><p>Jakob Grunditz - Nyckelharpa</p><p>Jan-Olof Johansson - Dans</p><p>Josephine Betschart - Sång och rytminstrument</p><p>Leif Johansson - Fiol</p><p>Madliene Ahlström Eriksson - Fioler, nyckelharpa, oktavnyckelharpa, sång och gitarr</p><p>Magnus Lundmark - Slagverk</p><p>Marita Lagergren Lindberg - Dans</p><p>Mattias Lindberg - Dans</p><p>Mikael Lindberg - Dans</p><p>Mira Loringer - Dans</p><p>Nora Lilja - Fiol</p><p>Olle Hovmark - Dans</p><p>Sunniva Abelli - Nyckelharpa, oktavnyckelharpa och sång</p><p>Thommas Andersen - Dans</p><p>Torunn Thurfjell - Nyckelharpa</p><p>Wendi Löffler - Dans</p><p>Åsa Hannegård - Dans <strong></strong></p><p></p>