<p>ENGLISH SUMMARY</p><p>Title:</p><p>The ambiguous score</p><p>Presenting romantic piano pieces from simplified scores</p><p>In this essay, I have investigated if different types of simplified scores – scores whose musical structure are clearer compared to the original – can stimulate a more artistic interpretation as well as a more linear understanding of the piece. My analysis also investigates what kind of impact these kinds of scores have on memorization.</p><p>The music is derived from the romantic piano repertoire and the subjects are six university-level music students. Half of them were placed in a reference group, and only received the original scores, while the others also received the altered versions. I used both reduced scores where notes were removed in order to emphasize the linear structure and scores where the pitch notation was the same as in the original , but the notes were grouped differently.</p><p>The result indicates that those having access to multiple versions had a positive impact on the musical interpretation. They also gained a more comprehensive understanding of the overall form.</p>

This thesis addresses three aspects of movement, performance and perception in music performance. First, the playing of an accent, a simple but much used and practiced element in drumming is studied, second, the perception of gradually changing tempo, and third, the perception and communication of specific emotional intentions through movements during music performance. Papers I and II investigated the execution and interpretation of an accent in drumming, performed under different playing conditions. Players' movements, striking velocities and timing patterns were studied for different tempi, dynamic levels and striking surfaces. It was found that the players used differing movement strategies and that interpreted the accent differently, reflected in their movement trajectories. Strokes at higher dynamic levels were played from a greater average height and with higher striking velocities. All players initiated the accented strokes from a greater height, and delivered the accent with increased striking velocity compared to the unaccented strokes. The interval beginning with the accented stroke was also prolonged, generally by delaying the following stroke. Recurrent cyclic patterns were found in the players' timing performances. In a listening test, listeners perceived grouping of the strokes according to the cyclic patterns. Paper III concerned the perception of gradual tempo changes in auditory sequences. Using an adaptive test procedure subjects judged stimuli consisting of click sequences with either increasing or decreasing tempo, respectively. Each experiment included three test sessions at different nominal tempi (80, 120, and 180~beats per minute). The results showed that ten of the eleven subjects showed an inherent bias in their perception of tempo drift. The direction and magnitude of the bias was consistent between test sessions but varied between individuals. The just noticeable differences for tempo drift agreed well with the estimated tempo drifts in production data, but were much smaller than earlier reported thresholds for tempo drift. Paper IV studied how emotional intent in music performances is conveyed to observers through the movements of the musicians. Three players of marimba, bassoon, and saxophone respectively, were filmed when playing with the expressive intentions Happiness, Sadness, Anger and Fear. Observers rated the emotional content and movement cues in the videos clips shown without sound. The results showed that the observers were able to identify the intentions Sadness, Anger, and Happiness, but not Fear. The rated movement cues showed that an Angry performance was characterized by jerky movements, Happy performances by large, and somewhat fast and jerky movements, and Sad performances by slow, and smooth movements. / QC 20101004

Abstract  Elisabeth Johansson: Musik vid Siljans programutbud. En undersökning av kammarmusik och folkmusik i ett musikhistoriskt och kulturpolitiskt perspektiv. - Uppsala universitet, Musikvetenskap 1997. C-uppsats 60 p. Uppsatsen handlar om sommarfestivalen Musik vid Siljan. Den beskriver kultursituationen i Sverige när Musik vid Siljan startades 1969 och försöker sätta festivalen i ett kulturpolitiskt och musikhistoriskt perspektiv. Undersökningen behandlar Musik vid Siljans programutbud, hur programkommittén arbetar, och en jämförelse är gjord mellan folkmusiken och kammarmusiken i programmet fram till 1995.

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Abstract  Hanna Fredholm: Nutida konstmusikens ljuddjur – En receptionsstudie av Sven-David Sandström och Anders Hillborgs musik. Uppsala Universitet: Institutionen för musikvetenskap, C-uppsats, 2011.  Studier om konstmusik är vanliga och genrens historia har bearbetats och diskuterats vid många tillfällen. I dagens samhälle så befinner sig genren i ett blomstringsläge. Men trots att antalet kompositörer och produktioner ökar kraftigt så kommer nutida konstmusik i skymundan så väl i media som i forskning. Denna uppsats har för avsikt att belysa hur modern konstmusik blir be- mött i samhället. För att studera detta genomförs en studie av recensioner av Anders Hillborg och Sven-David Sandströms musik. Studien visar på genomgående tendenser i hur tonsättarna bemöts, samt på hur musikkriti- kernas åsikter om musiken reflekteras i deras egna uppfattningar om hur nutida konstmusik bör låta. Det genomgående intrycket av Hillborgs musik var att denna anses vara smart och välstruk- turerad. Den absoluta musiken till trots bringar även visuella bilder till sina åhörare. Sandströms musik anses i sin tur att vara påfallande vacker dock med en stor religiös påverkan. Negativa in- tryck bringas också fram i studien där Hillborg klandras för sin orkestrala innovativitet och Sand- ström för hans underhållningsmusik. Sammanfattningsvis bringar denna uppsats en viss förståelse om varför dessa två komposi-törer är två av de mest uppskattade inom genren nutida svensk konstmusik.

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