Studien syftar till att få djupare insikt i vad elgitarrlärare på kommunala musik- och kulturskolor använder för undervisningsmaterial, hur de motiverar användandet och på vilka sätt materialet verkar inspirerande på eleverna. I bakgrundsavsnittet presenteras tidigare forskning och annan litteratur som berör studien samt de teoretiska utgångspunkterna. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation.  Studiens datamaterial består av kvalitativa intervjuer med tre elgitarrlärare som undervisar inom den kommunala musik- eller kulturskolan. I resultatavsnittet beskrivs informanternas syn på undervisningsmaterial i elgitarrundervisning samt hur de motiverar användandet av den och om den är inspirerande.  Deras undervisningsmaterial kan vara lika men ingångarna eller hur de använder dem, kan vara olika till sättet de används på.  Vad de menar är inspirerande motiverar också deras val av material men motiveringen kan också ha en annan bakgrund. Materialet i sig behöver inte vara motiverande eller inspirerande utan det som är viktigast är den inre motivationen och inspirationen till att vilja fördjupa sig i elgitarrspel: Att eleven har en egen drivkraft! I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att elgitarrlärarna har olika metoder för att lära ut att spela elgitarr. Trots att undervisningen handlar om att lära sig spela elgitarr visar lärarna på olika pedagogiker för att lära ut.  Ibland använder lärarna sig av samma redskap men trots detta så kan de använda dem på skilda sätt. / This study aims to create deeper insight in what kind of equipment electric guitar teachers use  in their teaching, how they motivate it and also if it is inspiring.  The background chapter presents previous research and other literature in the field and also the theoretical basis for the study, the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with three electric guitar teachers who teaches at the school of music and art.  The results chapter show the teacher’s view on the subject, - teaching material in electric guitar teaching and how they motivate it´s use and also if it is inspiring. Their teaching materials may be equal but how they utilize them is different What they mean is that an inspirational teaching material also motivates their choice of the same. But the opinion - what is inspiring may also be of a different view. The teaching material doesn´t need to be inspiring. Most important is the inner inspiration that motivates to immerse in electric guitar playing. In the concluding discussion the results are discussed in relation to the previous research and to the socio-cultural perspective on learning. It appears that in spite of the tuition of electric guitar playing the tuition shape depends on the teacher. Sometimes the teacher uses same tools, but they may use them differently.

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This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca

Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1338922 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.