Studien syftar till att få djupare insikt i hur professionella musikers övning i fri improvisation kan se ut. I bakgrundsavsnittet ges en överblick av begreppen ”improvisation” och ”fri improvisation” och därefter följer en presentation av tidigare litteratur och forskning inom ämnesområdet. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation. Studiens datamaterial består av kvalitativa intervjuer med fyra professionella musiker inom fri improvisation. I resultatavsnittet beskrivs informanternas syn på improvisation, fri improvisation och frihet, deras redskap för övning samt deras användande av tillägnade färdigheter. Det framkommer att de intervjuade musikerna ser det som viktigt att öva mycket, att ha en egen metodik, att kunna koppla bort intellektet när de improviserar och att samla erfarenheter i en metaforisk ryggsäck. I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att ryggsäcksmetaforen är i linje med det sociokulturella perspektivet på lärande, att lärande sker ständigt. En slutsats är att en improvisation aldrig kan vara helt fri. En musikers frihet i improvisation skulle kunna beskrivas som att denne är fri till något, inte från något. / This study aims to create deeper insight in how professional musicians practice free improvisation. The background chapter provides an overview of the concepts of “improvisation” and “free improvisation” and then followed by a presentation of previous research in the field. The theoretical basis for the study is the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with four professional improvising musicians. The results show the musician’s view of improvisation, free improvisation and freedom, their practicing tools and their use of acquired skills. It reveals that the interviewed musicians regard it important to practice a lot, to have a personal method, to be able to disconnect the intellect when improvising and to collect experiences in a “metaphorical backpack”. In the concluding discussion chapter the results is discussed in relation to the previous research and to the socio-cultural perspective on learning. A conclusion is that the backpack metaphor is in accordance with the socio-cultural perspective on learning and that learning happens constantly. Another conclusion is that an improvisation never can be completely free. A musician´s freedom in improvisation could be described as being free to something rather than from something.

Nurses are prone to occupational hazards while carrying out their professional duties. The HIV-related post exposure prophylaxis is recommended for health workers who prick themselves accidentally with needles that have been used on clients. The taking of antiretroviral drugs after encountering needle stick injury has been documented by medical scientists as relatively successful in preventing sero-conversion and decreasing the likelihood of contracting HIV infection. However, some of the nurses are reluctant to implement this programme and yet they have been exposed to needle stick prick. The purpose of this study was to investigate factors contributing to nurses’ poor utilization of HIV-related post exposure prophylaxis (PEP) at a selected region in Swaziland. The study was conducted in one hospital setting and one public health unit. A quantitative research design using an exploratory, descriptive cross sectional survey was used for this study. A census sample size of 200 participants was obtained from a group of nurses working in the government hospital and public health units. Using self-administered questionnaires, quantitative data was obtained and analysed using the Statistical package for social sciences (SPSS) version 23 software computer program. The study findings revealed that though majority of nurses (65%) are knowledgeable about PEP, its importance and operational policies and guidelines, this knowledge level was not transferred to influence the utilization of PEP as only 38% (n=75) reported utilizing PEP. Factors identified as causes of lower levels of PEP service utilization among respondents included fear of undergoing pre-prophylaxis procedures like HIV testing and counselling, and consequences thereof which include stigma, challenges of adherence and dealing with medication side effects. Based on these findings the researcher recommends strengthening of staff development programs offered to nurses with focus on preventive measures against occupational exposure to HIV and AIDS through use of PEP. Institutional responsibility to ensure that PEP policies and guidelines are available and known by all new health personnel during induction and practicing nurses throughout their employment. / Health Studies / M.A. (Nursing Science)

Studien utforskar hur jag tolkar Prelude i d-moll ur Johan Sebastian Bachs andra svit för solocello. Syftet är att undersöka hur instuderingsprocessen sker, från okänd not till fri tolkning med avseende på att instrumentet ska ”sjunga”. Forskningsfrågorna berör en fungerande inlärningsmetod, hur jag påverkas av min lärares tolkning samt i vilken grad en publik upplever mitt sjungande instrument. Med hjälp av bland annat en barockcello, loggboksskrivande och videoinspelning under processen har jag, utifrån ett hermeneutiskt perspektiv, tolkat stycket på mitt sätt. Resultatet belyser hur jag gått tillväga för att studera in stycket, med hjälp av bland annat a-vistaläsning. Det berör också hur mottaglig jag är till att påverkas av min lärares tolkning av stycket, vilket inte visade sig vara i samma utsträckning som jag till en början trott. I resultatet beskrivs också hur min tolkningsprocess har gått tillväga och vilka mönster i musiken som uppenbarade sig med tiden. I resultatets senare del görs en sammanställning av enkätsvaren som bland annat visar på att jag och min cello, enligt publiken, frambringar en sjungande ton. Slutligen diskuteras resultatet i förhållande till tidigare litteratur och forskning inom det aktuella området. / The study explores how I interpret Prelude in D minor from Johan Sebastian Bach’s second suite for solo cello. The purpose is to examine how the rehearsal process is done, from the unknown note to free interpretation with respect to the instrument to “sing”. Research questions concern a workable method of learning, how I influenced by my teacher’s musical interpretation, and the degree to which an audience experiencing my singing instrument. With the help of including a baroque cello, logbook writing and recording during the process, I have, from a hermeneutic perspective, interpreted the paragraph in my direction. The result highlights how I proceeded to study the piece, with the help of sight-reading. It also affects how susceptible I am to be influenced by my teacher’s interpretation of the piece, which has not proved to be as much as I initially thought. The result also describes how my interpretation process has processed and the patterns in the music that appeared over time. In the later part of the result is a compilation of responses that shows that my cello and I, according to the audience, brings a singing tone. Finally, the results are discussed in relation to previous literature and research in the field.

For musicians of all kinds, practice is an essential component in establishing and refining their skills. How a musician learns the art of practicing, and at what point in their musical and cognitive development can vary drastically. The purpose of this research is to understand how two groups of musicians, undergraduate vocal performance majors and undergraduate piano performance majors, developed (or consequently failed to develop) their respective knowledge pertaining to effective practice prior to entering the university setting, and how their practice habits changed (or consequently failed to change) after beginning study with a university instructor. This is accomplished by comparing the practice habits of the two groups prior to entering the university setting, and, after gaining admission into the degree program. Findings are supplemented with recent research pertaining to the study of learning and various types of practice.

Denne bacheloropgave undersøger værdien af indstuderingsmetoder for sangere, hvor stemmen ikke anvendes. Dette indebærer metoder som musikalsk analyse, visualisering og anvendelsen af klaveret. Projektet er baseret på idéen om, at kunne optimere sangerens øvning på trods af begrænset tid eller mulighed for dette. Derfor omhandler et af opgavens hovedpunkter også, hvordan man skaber et fokus i øvningen, som effektiverer den. Dette er baseret på en tankegang om sansefuld øvning, som bl.a. er beskrevet i bøgerne “Passionate Practice” af Margret Elson og “You are your instrument” af Julie Lyonn Lieberman. Det er vigtigt for sangere at tage vare på deres stemme, og sørge for at den ikke overanstrenges. Man kan f.eks. være plaget af sygdom eller stemmetekniske problemer, der gør det svært at øve. Derfor undersøger denne opgave, hvordan man kan komplementere sin fysiske sangøvning med andre metoder, så man stadig kan udnytte tiden bedst muligt. Da jeg selv studerer klassisk sang, er jeg min egen forsøgskanin i dette projekt, og jeg har over en periode på omkring 3 måneder implementeret øvemetoderne i min daglige øvning. Resultatet er derfor således en refleksion over, hvordan jeg har oplevet min øvning, og i diskussionen perspektiverer jeg til nogle af de refleksioner, som Lieberman har beskrevet i sit eget arbejde med øvning. Undervejs i projektet lærte jeg, hvordan den nok vigtigste faktor i min daglige øvning er fokus. Uden fokus – ingen effektiv øvning. Jeg opdagede også, hvor stor en hjælp det er at kunne spille klaver og anvende det til indstuderingsarbejdet af nyt materiale. I diskussionen beskriver jeg en af de interessante opdagelser, jeg gjorde mig i forbindelsen mellem mit analysearbejde og min fysiske sang. Et fænomen som Lieberman også beskriver i sin bog. Selvom man har gjort sig en grundigt stykke analysearbejde, og virkelig sat sig ind i sangen karakter og udtryk, så er det ikke nødvendigvis sådan, at en given følelse, som man prøver at udtrykke, gavner sangteknikken. Det er derfor altid vigtigt at man også arbejder ud fra et fysisk perspektiv i sit stemmeløse arbejde, således at man kan udtrykke sangens karakter og følelser, men samtidig være afspændt og grundet i sin teknik. / <p><strong>Program for hele eksamenskoncerten: </strong></p><p>Skal altid fæste mit hår under hue (Dyvekes Sange), Musik: Peter Heise, tekst: Holger Drachmann </p><p>Seit ich ihn gesehen (Frauenliebe und -leben), Musik: Robert Schumann, tekst: Adelbert von Chamisso </p><p>The Salley Gardens (Folk Song Arrangements), Arr.: Benjamin Britten </p><p>Galadriel's Song of Eldamar, Musik: Caspar Reiff, tekst: J.R.R. Tolkien, arr.: Anna Bæk Christensen </p><p>Blåbær-Li (Haugtussa), Musik Edvard Grieg, tekst: Arne Garborg </p><p>Ak, hvem der havde en hue (Dyvekes Sange) </p><p>Hvad vil den mand? (Dyvekes Sange) </p><p>Ich kann's nicht fassen, nicht glauben (Frauenliebe und -leben) </p><p>As I was goin' to Ballynure (Three Irish Country Songs), Arr.: Rebecca Clarke </p><p>Lord of the Rings Medley (arr. for klaver og sang), Musik: Howard Shore, arr.: Anna Bæk Christensen</p><p>Killingdans (Haugtussa) </p><p>Helft mir ihr Schwestern (Frauenliebe und -leben) </p><p>Vildt, vildt, vildt suser blæsten (Dyvekes Sange) </p><p>A Dream, Musik Rebecca Clarke, tekst: William B. Yeats </p><p>Det stiger (Dyvekes Sange) </p><p>Das verlassene Mägdlein (Mörike Lieder), Musik: Hugo Wolf, tekst: Eduard Mörike </p><p>Elven Hymn to Elbereth Gilthoniel, Musik: Caspar Reiff, tekst: J.R.R. Tolkien, arr.: Anna Bæk Christensen </p><p>Ved Gjætle-Bekken (Haugtussa) </p><p>Sleep, Musik: Eric Whitacre, tekst: Charles Anthony Silvestry </p><p>(Encore: Ein Traum (Op. 48 nr. 6), Musik: Edvard Grieg, tekst: Friedrich Martin von Bodenstedt)</p><p></p><p><strong>Solister:</strong> Anna Bæk Christensen, Ella Vahtras, Emmi Kauppinen, Karin Malm, Karolina Åsberg. </p><p><strong>Pianist:</strong> Octavian Andrei Leyva Dragomir </p><p><strong>Dirigent:</strong> Gustav Aske Sønksen </p><p><strong>Kor:</strong> Erica Leys, Sara Nyberg, Eveliina Ainsalo, Siri Anna Flensburg, Jessika Grape, Fanny Papay, Ellinor Bakhuizen, Annie Björkman, Viktor Olsson, Gino Almondo, Markus Hägg, Ahmed Can Kizilcan, David Edström, Jakob Lundvall, Johan Kullander, Martin Hillberg. </p><p></p><p><strong>Uddrag fra eksamenskoncerten er vedhæftet som MP3-fil under navnet "Uddrag af Dyvekes Sange". </strong></p><p><strong>Program for dette lyduddrag: </strong></p><p>Skal altid fæste mit hår under hue (Dyvekes Sange), Musik: Peter Heise, tekst: Holger Drachmann</p><p>Ak, hvem der havde en hue (Dyvekes Sange) </p><p>Hvad vil den mand? (Dyvekes Sange)</p><p>Vildt, vildt, vildt suser blæsten (Dyvekes Sange)</p><p>Det stiger (Dyvekes Sange) </p><p><strong>Derudover indgår følgende sange fra eksamenskoncerten også på MP3-filen: </strong></p><p>Ved Gjætle-Bekken (Haugtussa) </p><p>Ein Traum (Op. 48 nr. 6), Musik: Edvard Grieg, tekst: Friedrich Martin von Bodenstedt</p><p></p><p><strong>Sopran: </strong>Anna Bæk Christensen,<strong> Pianist: </strong>Octavian Andrei Leyva Dragomir</p><p></p>

Cécile Chaminade (1857-1944) was a remarkably successful French composer and pianist for a woman in the early part of her career, although her reputation waned rapidly after her death. Concertstück (1888), a single movement for piano and orchestra, was her only work in this medium. It requires many traditional piano skills and therefore can serve admirably as a comprehensive technical and artistic study. This dissertation includes a formal analysis of this piece, a discussion of each type of specific piano technique it requires, and practice suggestions.

La montée en puissance des préoccupations sociales et environnementales depuis quatre décennies, a développé l’engouement des individus à s’engager dans des comportements de consommation « socialement responsables ». Bien que les pratiques de consommation socialement responsables aient évolué, de nombreux consommateurs restent sceptiques en termes d'engagement dans des achats socialement responsables. Il existe, ainsi, un fossé entre les attitudes et les comportements réels en termes de la consommation responsable. Afin de réduire cet écart, une des solutions possibles est de sensibiliser dès le plus jeune âge à des actions responsables. Une sensibilisation qui se base sur les valeurs de respect et de responsabilité que les enfants acquièrent au cours de la socialisation. Notre recherche propose de mettre en perspective l'influence de la pratique sportive au sein des clubs fédératifs sur la sensibilité des enfants, âgés de 7 à 12 ans, aux actions responsables. Cette sensibilité se définie comme étant la propension des individus à adopter des pratiques et des comportements reflétant de valeurs de respect et de responsabilité. De plus, il s'agit de l'étude du rôle éducatif de l'entraîneur sportif auprès des enfants. Au cours de cette recherche, la revue de la littérature et le travail empirique réalisés, une étude qualitative et trois collectes des données quantitatives auprès de 1384 enfants, nous ont permis d'atteindre deux principaux objectifs. Dans un premier temps, nous avons construit deux échelles de mesure : la Mission Éducative de l'Entraîneur Sportif (MEES) et la Sensibilité des enfants aux Actions Responsables (SAR). Dans un second temps, nous nous sommes attachés à répondre à la problématique et aux principales questions de la recherche. Les résultats de la comparaison, entre des enfants pratiquant un sport et des enfants qui n'en pratiquent pas, confirment l'influence de la pratique sportive au sein des clubs sur la sensibilisation des enfants aux actions responsables. Les conclusions permettent, en effet, de mettre en exergue sur le rôle éducatif des entraîneurs sportifs à travers leur contribution à la sensibilisation des enfants aux actions responsables. / The rise of social and environmental concerns over the past four decades has developed people's enthusiasm to engage in socially responsible consumption behavior. Although socially responsible consumption practices have evolved, many consumers remain skeptical about a real commitment to socially responsible purchasing. Thus, there is a gap between individuals' attitudes and actual behavior in terms of responsible consumption. In order to bridge this gap, one possible solution is to make children's aware of responsible actions. An awareness that is based on the values of respect and responsibility that children develop during socialization. Our research proposes to highlight the influence of sports participation within federal clubs on the awareness of children (7-12 years old) to responsible actions. The awareness that we define as the propensity of individuals to adopt practices and behaviors reflecting the values of respect and responsibility. In addition, we aim to highlight the educational role of the sports coach. In order to attempt our research's main objectives, a qualitative study and three data collections were carried out within 1,384 subjects. Firstly, we developed two scales in order to measure respectively the Educative Mission of Sports Coaches (EMSC) and the Awareness to Responsible Actions (ARA). In the second step, the third data collection allowed us to answer the main research problem and its principal questions. The results of the comparison between sport practicing and non-sport practicing subjects, confirm the influence of the sports participation within federal sports clubs on the awareness of children to responsible actions. Indeed, the conclusions highlight the educative role of sports coaches through their contribution to raising children’s awareness to responsible actions.

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This thesis addresses non-traditional angelic spirituality experienced outside of traditional churches. This spirituality is specific for its everyday communication and contact with angelic beings. The present research examines contemporary angelic spirituality using a lens of relational ontology and semiotic analysis, focusing on how recurrent communication acts allow the emergence of specific subjectivities and identifies the main processes behind this phenomenon - recognition, interpretation and reaction. Research documents specific techniques allowing the formation of angelic subjectivities and redefinition of human subjectivities; prayer, reading cards, guided meditation, different types of clairvoyance and interpretation of signs. Deliberately using these techniques leads to re/definition of subjectivity of a practitioner (through clairvoyant insights into the past lives) and transforms him into human/incarnated soul. These communication acts further form a subjectivity of deceased souls, with which practitioners of angelic spirituality are often in contact, together with the subjectivity of dark beings, which cannot interact with a person without invitation it first and a subjectivity of angelic beings, which are defined by their unconditional support of their charges. Emergent "ecology of...

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