In this thesis I have examined the benefits of working with a help of self-recording. I wanted to experiment self-monitoring with different working methods to improve my practicing skills as well my performing skills as I prepared for my examination concert. This process consisted of a lot of recording, listening and practicing and repeating this cycle numerous times. I wanted to implement different practice methods and reflect on different aspects of playing the viola. This thesis is written from a violist point of view. The main focus of this work is audio recording as a tool in self-monitoring practice. I have been using two main methods in reviewing the audio material gathered from practice sessions:  1) time between recording and reviewing the material and 2) recording, analyzing and practicing in line with the recordings within a practice session. I wanted to take self-recording process into more regular use because I see it as an essential part of the self-teaching process. A music student has to go through a lot of practicing hours and most of these are spent alone in a practice room. Some of this time is wasted and misused in learning unwanted habits. I wanted to learn to practice in the most deliberate way and use my practice hours as effectively as possible by structuring my practice in self-teaching phases and putting the emphasis on self-monitoring. / <p>CONCERT REPERTOAR</p><p><strong>C. Stamitz</strong>: Viola Concerto in D Major, Op. 1*</p><p>Allegro</p><p><strong>I. Stravinsky</strong>: Elegie</p><p><strong>R. Schumann</strong>: Märchenbilder, Op. 113**</p><p><em>I. Nicht Schnell</em></p><p><em>II. Lebhaft</em></p><p><em>III. Rasch</em></p><p><em>IV. Langsam, mit melancholischen Ausdrück</em></p><p><strong>B. Bartok</strong>: Concerto for Viola and Orchester, Sz. 120, BB 128*</p><p>I. Moderato</p><p>Pianist:</p><p>*= Erik Lanninger</p><p>**= Eeva Tapanen</p><p></p>

In this thesis, two different ways of music performing will be compared: • Music as recorded in a recording studio • Music performed on stage before an audience. My main focus was to compose music that was complex enough so that the band might face some problems when playing it live but rehearse it well enough to overcome those problems. I started by making “produced” versions of the songs in Ableton, where I recorded every single part with sampled instruments. These versions had the finished arrangements and sounded pretty close to what I wanted to achieve with the band. Then I wrote the sheet music carefully and sent it, along with the recordings, to the band. I made a rehearsing schedule and booked rooms well in advance to minimize the risk of problems later on. I also booked a studio to record the music after the rehearsals and before the concert. In the studio, we first recorded the jazz band and later recorded the string quartet as an overdub. After I had mixed those two recordings together, I listened very carefully to everything that could be improved. Some musicians wanted to overdub their solos afterwards and I overdubbed some solos myself as well. When listening back and going through all the details the days before the concert, I found out what could be improved and made a list of possible improvements for the dress rehearsal. I ended up being more satisfied with the studio recording though than the concert, sound and performance-wise. I had much more control over the sound, which made the end result better to my ears than the concert. Of course, the concert had its pros as well. The concert went very well according to plan thanks to good planning in advance as well as well written-out arrangements and problem-free parts. One of the research questions was if mistakes could possibly benefit the music at the concert.I think mistakes don’t necessarily benefit the music, but the live scenario might sometimes be more exciting since nothing is edited and the players have to find their way back home if they go out of the road. However, the profoundness of a well recorded recording can be very pleasing to listen to as well so both have their strengths and weaknesses. Those two recordings, the one from the studio and the one from the concert are obviously different and in this thesis, the difference between the two will be investigated furthermore. / <p>Locomotive - Baldvin Hlynsson</p><p>Lost in Translation - Baldvin Hlynsson</p><p>Lost but not Least - Baldvin Hlynsson</p><p>Milders Mailbox - Baldvin Hlynsson</p><p>Psalm - Baldvin Hlynsson</p><p>A lullaby for the possessed - Baldvin Hlynsson</p><p>Encore: Thank you Maestro - Baldvin Hlynsson</p><p></p><p>Jazz group:</p><p>Tumi Torfason – trumpet</p><p>Björgvin Ragnar Hjálmarsson - tenor saxophone</p><p>Bjarni Már Ingólfsson - jazz guitar   </p><p>Baldvin Hlynsson (myself) – piano and synthezisers</p><p>Olle Adell - electric bass</p><p>Sammy Hsia – drums </p><p>Classical group:Sara-Felicia Nyman Stjärnskog – violin I</p><p>Emma Alriksson – violin II</p><p>Ragnhild Kvist – viola</p><p>Hillevi Rasmusson Klingberg - cello</p>

I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF’s Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4) Directorship and choreography of Welcome to Broadway, an original jukebox musical; and (5) Assistant to the Program Director of Broadway Theatre Project. I evaluated parallels of my directing and choreography methodologies with those of noted directors and choreographers in the entertainment industry. These industry professionals include famed choreographer Ernest O. Flatt, Ron Field, Hermes Pan, Joe Layton, and Lee Theodore, acclaimed directors Harold Clurman, Dr. Louis E. Catron, and Jon Jory, and prolific director-choreographers Patricia Birch, Donald Saddler, Bob Avian, Bob Fosse, Tommy Tune, and Michael Bennett, as well as Professor Weaver. I have worked for people who believe that experience alone is enough to make one a successful director, choreographer, or director-choreographer. My experience working with and observations of professional directors, choreographers, and director-choreographers, however, has proven that it takes more than experience alone in order to succeed. I predicted the process of establishing my own directorial and choreographic proficiency will stem from a combination of inspiration, mentorship, trial and error, and experience.