Syftet med denna studie var att försöka förstå hur elever som studerar på Singer/Songwriterprogrammet upplever att bedömning påverkar deras musikskapande. Genom fyra kvalitativa intervjuer med elever som studerar på Singer/Songwriter har jag sökt efter elevernas egna beskrivningar av deras upplevelser av skapande kopplat till bedömning. Materialet från intervjuerna analyserades sedan med hjälp av begrepp och teori från symbolisk interaktionism där fokus ligger på människan och dennes upplevelse. Deweys teorier om lärande har legat till grund för hela studien. Studien visar att eleverna som intervjuades upplevde att betyg inte är något viktigt i deras undervisning. Enligt eleverna är det inte betyg som motiverar dem trots att flera av dem har höga betyg i musikkurser. Motivationen kommer ifrån att det är roligt att musicera och att lära sig. Studien visar också att både kreativitet och betyg kan betyda olika saker för olika elever. Lärare kan ta till sig att elevers motivation gynnas av glädjen i musiken och att elever befinner sig i olika roller som påverkar deras sätt att se på sin undervisning.

102 17 Abstract The presented work deals with the strong personality of Czech folk music - Karel Kryl. It investigates the differences in the poetry of his lyrics and poems, and its development in the years 1968 - 1989. The first chapters outlines the situation since the sixties of the 20th century around the sung poetry and songsters to the present. Karel Kryl is compared with the Czech singer, he differed from them not only his work, but also his live, beliefs and appearance. His poetics is developed over twenty years, both in songs and in poems. This period is divided into four stages at the songs, according to which they are assigned to each of poetry collections. By 1971, one can speak only about the songs, because Karel Kryl has not paid poems in this period. At this time, the young author wrote a texts, in which disagreed with the occupation troops of the Warsaw Pact, the texts are uncompromising. Due to emigration in 1969, he began the songs express longing for home. Kryl speaks for all and all. The second stage of Kryl's production is between 1972 - 1975 - "happy period", especially the theme of love appears, the song (more than in poetry) the Bible theme here together in poems and songs. Primal screams took turns telling silence. After 1975, the author resorted for humor to in all his work, but it...

(in English) This thesis aims to present Porta Music Festival as a cultural and social phenomenon of the second half of the 1980s in Czechoslovakia on the basis of archival sources, secondary literature and our questionnaire survey.

This master dissertation is an attempt to find the best way for a young and aspiring music producer or songwriter to start a career within the pop music industry. The aim of the project is to gain knowledge from the process of pitching music to publishers, record labels and artists and to improve that process with the knowledge gained. As an additional method I also invited professionals from the music industry (A&R, artist and producers/writers) to share their views on the topic. The work resulted in several songs and song sketches, but it is important to point out that the audio is not part of the analysis and rather a biproduct of the project. The focus of this dissertation lies on the process of pitching music, building a network and the learning effect only. / I detta arbete ska jag försöka hitta ett bra sätt för en blivande musikproducent eller låtskrivare att starta en karriär inom popmusikindustrin. Syftet med projektet är att utveckla kunskap om hur man pitchar musik till förlag, skivbolag och artister och genom den processen ständigt förbättra arbetsmetoden. Som ytterligare en metod förde jag också samtal med yrkesverksamma från musikbranschen (A&R, artist och producenter/låtskrivare) för att på så sätt få ta del av andra åsikter om ämnet. Arbetet resulterade i flera låtar och sångskisser men det är viktigt att förtydliga att musiken inte är en del av analysen utan snarare en biprodukt av projektet. Uppsatsen fokuserar endast på arbetsprocessen och den kunskap som är kopplad till den.

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The main aim of this thesis is to provide the reader with the overview of the work of female authors of lyrics and show the topics they are mainly interested in. The partial aim is to find out if some specific female topics and specific female expression and language exist. The core of the work is commented antology of texts. There are included texts of authors who are authors of music and interprets concurrently, who have been working in ten last years and released at least one CD. I come to the conclusion that women are writing mostly about partner relationships, love as a special kind of emotion, family and maternity and also their own position in world, faith and sexuality. Typical of female authors is that they view at the things as if men could not understand the same topics. Specific is also language of female authors and motives they use as the means of expression: they are particulary delicate and tender images and metaphores, intuitive and playful puns. In some texts women try to oppose the stereotype of women putting the text into typicaly mens ambience and using "mens" dictionary.

Cette thèse, référée à une approche psychodynamique, se propose d’explorer etd’interroger les processus psychiques impliqués dans la création de chanson(s), parl’association de deux volets différents et complémentaires : d’une part, par le biais de rencontres avec des auteur(e)s-compositeur(rice)s-interprètes s’exprimant à propos de leur travail de création artistique de chanson(s) (étude théorico-clinique) ; et, d’autre part, à travers l’initiation d’un atelier thérapeutique hebdomadaire de création de chanson(s), l’atelier « créachan(t)son(s) », avec des personnes âgées valides vivant en institution (recherche-action). Elle s’inscrit ainsi dans une démarche oeuvrant pour une application pratique des recherches dansles domaines de la psychologie clinique et des psychothérapies à médiation(s) artistique(s). En référence aux écrits de Grimbert (1996, 2002) et à l’aune du modèle théorico-clinique du Moi-Peau développé par Anzieu (1985), cette recherche met en lumière la mobilisation des différentes fonctions du Moi-Peau à travers la création artistique comme la création artthérapeutique de chanson(s). Tout en soulignant la multidimensionnalité intrinsèque et singulière du médiateur qu’est la chanson. Il en résulte de multiples perspectives d’avenir : autant dans le domaine de la recherche, par les nécessaires enrichissements d’un corpus théorique afférent à la création artistique de chanson(s) qui reste à découvrir et à construire ; que dans le champ de la pratique clinique, par l’initiation de propositions alternatives originales et pertinentes quant à l’accompagnement psychothérapeutique des sujets âgés résidant en EHPAD, la création artthérapeutique de chanson(s) en constituant résolument une.Des considérations donc d’importance, pour le présent comme pour l’avenir. / This thesis, based on a psychodynamic approach, will explore and ask the psychicprocesses involved in songwriting, through two different but complementary sections. On the one hand, through the exploration of the very act of creating by means of meeting singerssongwriters while trying to explain the creative process (theoretical-clinical research) ; on the other hand through the practice of weekly songwriting music therapy sessions with elderly people living in nursing home (practice research). This thesis is part of a global approach which works for a practical application of the researches in clinical psychology and art-psychotherapy domains. In reference to Grimbert (1996, 2002) and to the Skin-Ego theoretical-clinical model developed by Anzieu (1985), this research highlights the different uses of the Skin-Ego functions through artistic creation and art-therapeutic creation, and emphases the singular and intrinsic multidimensionality aspects of the song media. It brings also future prospects. In the research domain, it shows the needs to complement the dedicated songwriting theoretical corpus and in the clinical practical domain, it opens original and alternative possibilities of therapeutic way to care for the elderly people living in nursing home ; therapeutic songwriting being definitively one of them.

The main topic of this document is singer Jaromir Nohavica. I would like to describe the evolution of his poetics. The primary goal is to establish, that the year of revolution - 1989 is the critical impulse to his production. Reader is briefly introduced to Jaromir Nohavica's life, but also acquaint with concepts like popular culture and kitsch. Basically I focuse on Jaromir Nohavica's song poetics interpretation. The specific examples show that Nohavica shift towards the mainstream of popular literature, in thematic level, in level of production and presentation himself in the way of rendering Jaromir Nohavica, compared to songwriters of his time, does not lose the audience, he can beraised according to the new conditions and new age.

Thesis Czech folk scene and political persecution after 1977, deals with the events in Czechoslovakia folk music scene after the release of Charter 77. Thesis is focused on members of the folk group Šafrán (Saffron). Studied period of time is placed between 1977 and the first half of the 80s in Czechoslovakia. Thesis is divided into two parts. Introduction of the thesis and its first part is dedicated to the political and cultural situation of the 70s of the 20th century. The second part of the thesis describes the origin and development of folk music as an independent musical genre in Czechoslovakia. The main aim of the thesis is a partial depiction of life situation of folk singer-songwriters in the specified time period. Thesis is based on chosen musician's personal memories of political persecution, which was directed against their work as well. The final part of the thesis is dedicated to the development and course of the secret police Action Asanace (Redevelopment). The event had an impact not only on the personal lives of these artists, but also on the further development of folk music in the late 20th century in Czechoslovakia.

The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media.   The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.