Med detta masterprojekt har jag siktat på att göra ett album bestående av tolv låtar med syftet att skapa ett sammanhängande sound för mitt bandprojekt ”isolate”. Processen har varit en metod för att få djupare kunskaper om hur man skapar en sonisk signatur genom begränsning av konstnärliga och tekniska möjligheter. Detta examensarbete är en dokumentation av skrivprocessen, förproduktion, inspelning och ljuddesign, som undersöker min viktigaste fråga: Hur kommer jag till ljudet? Forskningen har genomförts som en autoetnografisk studie. Genom att fokusera de viktigaste instrumentrollerna på albumet har jag utforskat hur deras sound definierar albumets signatur och skapar ett soniskt narrativ. Inspelningen av albumet har genomförts både digitalt och analogt och jag har fokuserat mig på hur de tekniska verktygen främjar känslor i låtarna. I det här arbetet diskuterar jag även mitt ledarskap som musikproducent och musiker i bandsammanhang. / With this master’s project, I have been aiming for a record consisting of twelve tracks with the purpose of creating a coherent sound for my band project ”isolate”. The process of making this record has been a method to gain deeper knowledge on how to create a signature sound, limit myself in possibilities to gather inspiration and capture creativity. This thesis is a documentation of the writing process, pre-production, recording, and sound design, which investigates the main question: What brings me to the sound? The research has been done through an auto-ethnographic observation. By emphasising the main instrument roles on the record, I have been exploring how their sound defines the signature of the album and creates a sonic narrative. Both digital and analogue sound-shaping has been utilised during the recording stage and I have been focusing on how the technical tools facilitate emotions in the songs. This thesis also brings my leadership as a music producer, as well as musician in the band context, to the table.

Previous research has demonstrated the effectiveness of programs that include a videotaped self-observation component. The self-observation protocols, however, have not been clearly specified within programs that teach and report parents’ use of general teaching strategies. The current study investigates the effects of a training package with a self-observation component to teach parents to improve teaching interactions with their children at-risk for a developmental delay using an AB design replicated across participants. Data were collected across play interactions to assess the number of parent teaching episodes, child target responses, and various parent and child relationship qualities. Relationship quality measures included parent and child affect and engagement, parent directives, parent confidence and stress, and parent and child interest. The results of this study suggest that the training package was effective in that parents engaged in higher rates of teaching, their children engaged in more desired responding, and certain aspects of the parent-child interaction were enhanced. These results are discussed in terms of the effects on the parent-child teaching interaction and implications for future use of parent self-observation techniques.

This Master of Arts by research was comprised of two components: creative practice (60%) and a written thesis (40%). The creative practice was partially represented in an exhibition of paintings, drawings, photographs and artist books entitled Traces, held at WiseART Gallery, 166 Ann St, Brisbane, March 2005. The written component is represented in this manuscript. This case study illustrates the creative process of an individual artistic practice through intuitive inquiry, which utilized self-observation methods such as painting, drawing, photographing, bookmaking, exhibitions, journaling, questioning and mindfulness. Intuitive inquiry is outlined as the predominant method of both the phenomenon of art making in this case, as well as the method used to study the creative process. The concept of intuitive inquiry as a research method, by its similarity to this particular creative process, was well suited to studying its delicate, preconscious, internally reflective and reflexive activities. Intuitive inquiry also underpins the exceptional, transformative experiences of the artist, which are often excluded from conventional empirical research. The results of this study demonstrate that it is through the hermeneutic interpretations of process, product and dialogue that a deeper understanding of the creative process is gained. The hermeneutic model of creative process that emerged (Fig 4.14) will assist others in a deeper understanding of how creative process can be utilized in generating new knowledge. More importantly, it is this creative interpretive process that can lead to transformative experiences, which encourage both the artist and the audience to search for a deeper engagement with each other and the world.

Syftet med arbetet är att jämföra två olika metoder för inlärning av fotteknik för spel vid trumset och hur de två olika metoderna påverkar trumspel. För att undersöka detta användes videoobservation samt loggbokförande under de sex veckor som undersökningsperioden varade. Varje vecka filmades tre olika övningstillfällen med varierande fokus. Studien grundar sig i det designteoretiska perspektivet. Resultatet av studien visade att olika metoder kan ge varierande resultat och att utforskandet av nya metoder kan ge positiva och oväntade resultat. Resultatet pekar även på att strategier och struktur ger positiva effekter vid övning. I diskussionsdelen diskuteras vilka resurser som varit mest givande för min utveckling samt hur en trummis måste vara medveten om sina begränsningar för att strategiskt kunna forma övning. / The purpose of this study is to compare two different methods of learning foot-technique and how the two methods affect playing of the drums. To examine this video-observation filled an important role with complement of a journal during the six weeks of practice that were recorded. Each week there were three videos recorded with variating focus each video. The study is based on design theory which is described in the background chapter. The result of this study showed that different methods can result in variating outcome and it also showed that exploring new methods can give positive effects on your practice. The discussion revolves around what resources have been the most impactful for my own personal development and how one must be conscious of one’s own limitations to be able to create a successful plan of practice.

La ricerca mette a fuoco le attività formative messe in atto in Italia per dotare con urgenza le scuole secondarie di secondo grado italiane di docenti competenti in ambito CLIL e intende dimostrare l’impatto che questa metodologia ha sulla formazione e lo sviluppo professionale. Dal 2014 il CLIL è obbligatorio nelle classi terminali dei licei e degli istituti tecnici. Ciò ha generato una forte domanda di formazione da parte di istituzioni e docenti chiamati a insegnare discipline in lingua straniera. Questo lavoro esplora la possibilità di sfruttare la video-formazione per fronteggiare le preoccupazioni di quei docenti che, senza essere formati alla glottodidattica, sono chiamati ad integrare obiettivi linguistici al curriculum disciplinare. Il nostro lavoro parte dall’esame di un corpus di video-lezioni da noi raccolte ai fini di una ricerca-azione commissionata dal MIUR volta ad indagare il grado di innovazione implicata dal CLIL, per poi giungere a dimostrare l’importanza dell’auto-osservazione e dell’auto-riflessione sulla prassi didattica, fino a proporre l’introduzione dell’esercizio di microteaching nella formazione dei docenti CLIL. Una ricca riflessione sull’organizzazione concettuale della propria disciplina e sulla sua trasposizione didattica conduce i docenti a un interessate lavoro sulla mediazione della conoscenza che sviluppa le loro competenze professionali. / Focusing on teaching and training activities implemented in Italy to provide secondary schools with teachers able to teach in the CLIL context, our research aims at demonstrating the impact of this methodology in teacher training and professional development. Since 2014 this methodology has become compulsory for the Italian secondary terminal classes (except vocational high schools). A strong demand for training prompted from institutions and teachers, urgently required to teach disciplines in a foreign language. The MIUR has therefore set up university courses aimed at integrating languages and disciplines. Here we explore the possibility of exploiting video-training to face Italian teachers’ concerns, who are asked, without being trained in language teaching, to integrate linguistic objectives into their curriculum. We examine a corpus of video-lessons collected for a research set on behalf of the Italian Ministry of Education to investigate at what extent CLIL brought an innovation into the Italian Education. Once highlighted the importance of (self)observation and (self)reflection upon classroom practices, we propose the introduction of micro-teaching practice in CLIL teacher training. A fruitful reflection on the conceptual organization and the didactic transposition of their discipline leads teachers work on the linguistic mediation of knowledge which improves their professional skills.