In "Characteristics of key signatures" Katariina Holma describes and reflects upon her experiences of  transposing her operatic singing repertoire. Do the character and colour of the sung music change when we transpose it? According to Holma's experience, it is the storyteller in particular, the role character in an opera aria, who is most affected by transposition. Holma learned during her experiment that there are several positive qualities to be gained from transposition that not only help a singer learn more about their repertoire  but also assist them in exposing stumbling blocks to their singing technique.

To assess choir singing is a phenomenon that has been researched for several decades.What has been relevant in previous research is what to assess in choir singing and howit ́s done. This study explore upper secondary choral teachers ́perception of assessmentin choir singing. Through qualitative interviews, six choral teachers get to provide theirperception. Phenomenography constitutes astheoretical perspective, but also as a method,as the variation of different perceptions is analyzed. Three categories appears in theresults: the music teachers ́goal regarding choir singing and assessment, knowledge andabilities in choir singing, and assessment practices. The music teacher ́s goal with choirsinging vary depending on what the music teacher considers important. Perceptions aboutknowledge and abilities in choir singing differs slightly, however a joint perception is thatresponsibility and leadership is have a high impact on students ́ grade. Seven variousperceptions about assessment practices are prominent: digital recording, individual tests,choir singing tests, theoretical tests, assessment through experience, peer assessment and collective performance. In the discussion, two different natures emerge regardingteachers ́ goals with choral education: aesthetic goals and institutional goals. Findingspointed out that the nature of the goal affects the use of different assessment practices, tobenefit the objectives of the teacher.

In this thesis I share my journey of building my identity and confidence as a jazz vocalist. A transformational work that has served as a steppingstone for my continuous artistic work as both a vocal jazz soloist and ensemble singer. I started with a broad sense of wanting to examine the differences between solo singing and ensemble singing in jazz. This purpose was turned over, transformed, and changed several times to the very end, when I instead realized that what I truly needed to do, in this text, was to focus on myself and my own artistry. In the beginning of these studies, I had identified specific challenges and areas where I experienced difficulties in my singing and performing. During this work I summarized them in the following categories or areas: my voice, my musicianship, and my mind and mindset. I have been exploring these areas using feedback loops with performative documentation, as well as alternating between writing and reflecting, with the purpose of beginning to clarify my aesthetics and artistic choices and building my identity and self-assurance. This work resulted in my exam concert and the recording of two albums: “Unraveling” as a soloist, and “New Horizon” as an ensemble singer with Stockholm Voices. Besides these artistic results, I have reached a higher level of vocal freedom and control. I have made myself more aware of my aesthetic judgments both as a soloist an ensemble singer, and I feel I have reached a higher level of awareness, expression, and communication as a performer. Furthermore, I developed strategies for dealing with self-doubt and lack of confidence.

The Swedish singer Elisabeth Olin was the first star of Swedish opera, but very little is known about her today. The theoretical part of this study gives a historical background to her life and the music that she performed, music that is rarely performed today. Further, this study discusses the subject of Historically Informed Performance Practice (HIP) and the most common arguments for and against it, with examples connected to the repertoire in focus. The results of the study show that although HIP does not give clear answers or solutions, it offers tools for interpretation and performance, which help the musician to make artistic choices. The artistic part of this study is a performance about Olin based on music that she performed. The object of the artistic part is to present Olin and the music of her time, particularly the music of Gustavian opera, to a modern audience. / <p>G. B. Pergolesi (1710–1736) Salve Regina i c-moll</p><p>F. A. Uttini (1723–1795) ”Öde, dina dolda lagar” ur Thetis och Pelée (1773)</p><p>F. A. Uttini ”Min tunga känner intet tvång” ur Aline, drottning av Golconda (1775)</p><p>P-A Monsigny (1729­-1817) ”Il ne faut pas vous alarmer” ur La belle Arsène (1773, Stockholm 1779)</p><p>C. W. Gluck (1714-1787) “Armez-vous d’un noble courage” ur Iphigénie en Aulide (1774, Stockholm 1778)</p><p>J. G. Naumann (1741–1801) “Mitt minne fåfängt återför…I berg som krönen denna tract” ur Amphion (1777)</p><p>E. Olin (1740–1828) ”En liten sårland bäck” (ur diktsamlingen ”Gustaviade”, 1768)</p><p>Medverkande: Elisabeth Hellström, sopran; Karolina Weber Ekdahl, barockviolin; Sandra Marteleur, barockviolin; Boel Hillerud Nyman, barockviola; Johanna Niederbacher, barockcello; Sofia Winiarski, kistorgel och cembalo; Klara Hellström, blockflöjt; Alex Gullberg, blockflöjt</p><p>Ljudupptagning från examenskonsert i Kungasalen 2023-03-22 med ovanstående program och medverkande.</p>

Studiens syfte är att undersöka klassiska sångpedagogers upplevelser av distansundervisning i enskilda lektioner i klassisk sång. Fyra pedagoger som är verksamma vid gymnasieskolor i Stockholm har intervjuats. Den sociokulturella teorin har använts i studien som teoretiskt perspektiv. Studiens resultat visar att undervisningen på distans inte kan bedrivas på samma sätt som traditionell undervisning i klassrum. Musikaliskt samspel mellan pedagog och elev är svårt med de verktyg som används i dag vid distansundervisning. Den kontinuitet som undervisningen på distans har möjliggjort under Covid-19-pandemin har varit en positiv aspekt då pedagogerna utforskat andra sätt att arbeta med eleverna under distansundervisningen. Andra studier visar också på svårigheter med samspel mellan pedagog och elev och belyser vikten av fortsatt forskning inom området. Det behövs mer forskning inom området för att utveckla de arbetssätt och verktyg som används vid musikundervisning på distans. / The purpose of this study is to explore classical singing teacher’s experiences of remote teaching in one-to-one lessons in classical singing. Four singing teachers who are active pedagogues at high schools in Stockholm have been interviewed. The sociocultural theory has been applied to this study as the theoretic perspective. The result of the study shows that teaching classical singing in remote cannot be taught as it’s taught on location. This is due to the difficulty for musical interaction during distance teaching when using today’s technology. The continuity which remote teaching has allowed during the Covid-19 pandemic is seen as a positive aspect due to teachers exploring other ways of teaching their students remotely. More research on this subject is needed to develop the work procedure and the tools that are used in remote teaching. Other studies also highlight the difficulties of musical interaction between teachers and students during remote teaching and stress the need of further research within the field.

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