Thesis (MMus)(Comp)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript.

As a little boy, Dmitriĭ Dmitrievich Shostakovich pressed his ear against the wall to hear his neighbors play chamber music. He matured into one of the most prominent Soviet era composers. While the majority of academic interest Shostakovich centers on his symphonic works, his string quartets provide a window into a more intimate facet of Shostakovich’s life. This thesis explores first, why Shostakovich turned to the string quartet after some of the most fearful years of his life: his demise and rise after the scathing Pravda letter that all but threatened his life. Second, this thesis analyzes three of Shostakovich’s String Quartets: No. 1, No. 8, and No. 15. String Quartet No. 1, despite its simplicity, illuminates tender expressivity. Following years of intense artistic and personal scrutiny, Shostakovich sought an escape into an aural world of innocence. However, the quartet proves more complex than its surface suggests. Obscured harmonic complexities, intimate dialogue between instruments, and subtle recollection of prior movements lend the quartet a deeper meaning than its aural simplicity suggests. Decades later, amidst personal crisis, Shostakovich turned to the quartet, again. Composed in 1960, the year of his invocation into the communist party, String Quartet No. 8 demonstrates how Shostakovich utilized the string quartet as an avenue for personal self-expression. The intertwining of his musical signature with constant self-quotations and allusions confirms the deep, personal reflection the quartet provided Shostakovich. This study recounts the quotations previously uncovered by David Fanning, but goes beyond identification and relates the content of the quotations to Shostakovich’s emotional turmoil at the time of his party invocation. Finally, enduring anguishing physical pain and facing death, Shostakovich turned to the string quartet at the end of his life. String Quartet No. 15 provided Shostakovich an external outlet for his internal dialogue on death. Sentiments of meditation, fury, resistance, anguish, and resignation musically intertwine during Shostakovich’s longest and most painful string quartet. This study demonstrates how Shostakovich used the string quartet as a medium for deeper self-expression.

Detta arbete har sin utgångspunkt från en matematikdidaktiks delkurs för blivande grundskolelärare i F-3. Där möter studenterna flera olika skriftliga och muntliga examinationsformer, men ingen som inkluderar digitala medier. Den här studien utgår ifrån en examinationsuppgift som examineras på två olika sätt. En grupp examineras genom en filmuppgift och en grupp examineras genom en skriftlig inlämningsuppgift. Syftet med denna studie är att undersöka om variation av examinationsformer kan möjliggöra för studenterna att uttrycka sin kunskap på olika sätt, genom att använda de olika examinationsformerna.

The purpose of this project is to use different improvisational and compositional methods to compose music for a duo, trio, and a quartet. The goal is to explore the possibilities of each setting regarding the different improvisational methods and if it has an impact on decision making as an improviser. One of the factors of changing the setting is the possibilities of the various roles of each musician in each arrangement.   The combination of the ensembles:  Duo: Tenor saxophone and drums. Trio: Tenor saxophone, drums, and bass. Quartet: Tenor saxophone, drums, bass, and guitar.  Three improvisational methods will be compared to each other:  Improvisation through a melody, without written chords.  Improvisation over a traditional form: Melody – solos over written chords – melody.  Collective improvisation.  Compositional methods: Open arrangements. Using the main instrument to compose.  There will be a discussion about the different roles of the musicians in each setting and how the roles may affect the arrangements in various ways. One of the factors is to avoid the common roles as an accompanist and a melody instrumentalist in each setting. Two of the settings do not include a chord instrument and that will lead to a certain role for me as a saxophonist along with the different roles of the rhythm section. There were six rehearsals planned in total, followed by an examination concert in Nathan Milsteinsalen, Kungl. Musikhögskolan on February 23rd. / <p>Björgvin Ragnar Hjálmarsson - Tenorsaxofon</p><p>Bjarni Már Ingólfsson - Gitarr</p><p>Johan Tengholm - Kontrabas</p><p>Henrik Jäderberg - Trummor</p>

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This thesis, titled ”Exploration in Art Music”, was conceived based on my curiosity to explore and compose music which combines the styles of jazz and Western classical music. Inspired by the Third Stream movement led by Gunther Schuller, which evolved in parallel with the 50’s avant-garde jazz scene, I have composed three musical pieces for a twelve-piece orchestra consisting of woodwinds, strings, and a jazz quartet. I’ve examined this work from the following two perspectives: As a composer – exploring ways to fuse the genres, observing contrasting idioms, and finding ways of opening up for improvisation when the music is otherwise through-composed. As a musician and bandleader – noticing how musicians from each of the two musical cultures approach and interpret written and improvised music. Throughout the project I have gotten a deeper insight into the culture of Western classical music, and this thesis observes and analyzes some of the differences and similarities, musically and performance-wise, between that and the jazz culture which I am originating from. / <p><strong>Framförd musik:</strong></p><p><em>Antmarch</em> - Erik Hasselfeldt</p><p><em>Midnatt i 1C307</em> - Erik Hasselfeldt</p><p><em>Akta dig för scootrar</em> - Erik Hasselfeldt</p><p><em>Louange á l’éternité de Jésus</em> - Olivier Messiaen</p><p><em>I stormens öga</em> - Erik Hasselfeldt</p><p><strong>Medverkande:</strong></p><p>Tvärflöjt – Tiitta Moilanen</p><p>Oboe – Sabina Scott</p><p>Bb Klarinett – Filippa Hedberg</p><p>Bb Klarinett &amp; basklarinett – Eskil Larsson</p><p>Fagott – Ciarán Hayes</p><p></p><p>Fiol – Maria Ikonen</p><p>Fiol – Vidar Karlsvärd</p><p>Cello – Elis Hakola</p><p></p><p>Sopran &amp; altsaxofon – Erik Hasselfeldt</p><p>Piano – Milos Lindegren</p><p>Kontrabas – Amanda Karström</p><p>Trummor – Filip Bällstav Öhman</p><p>Trumpet – Tumi Torfason</p>

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published_or_final_version / Music / Master / Master of Philosophy