This thesis lays out a business plan for Vocal Arts Studio, a new voice school for singers who are interested in studying voice in an English environment. This will enable students to not only study with a teacher whose technique is based on some of the world’s finest voice teachers’ own methods, but this will allow them to become accustomed to hearing and using vocal terminology in English. As many talented musicians go on to study at universities and conservatories abroad, this training will help them overcome common communication gaps non-native English speakers face as they pursue advanced degrees or attempt to audition and perform in an English setting. In addition to targeting young learners in high school and college, Vocal Arts Studio will also create choirs for two additional groups: one for young people in grades 4 through 8; and another for adult women. These will also be conducted in English, again combining the learning of music and the English language together.

Detta arbete behandlar ämnet trumsound i en studiomiljö och hur jag som trummis kan påverka soundet. Syftet med arbetet är att förstå och utveckla de olika faktorer som tillsammans skapar ett sound och berör bland annat speltekniska områden som timing och dynamik, materiella områden som val av instrument och dess konstruktion samt akustiska områden som mikrofonplacering och rumsakustik.  Efter att ha transkriberat och analyserat trumspelet på sex kända låtar spelade jag in mig själv i en studio där jag med hjälp av tidigare erfarenheter och nya idéer försökte återskapa trumspelet och trumsounden från dessa låtar så långt det bara var möjligt. Bifogat till arbetet finns transkriptioner samt två versioner på varje trumtagning där den ena är utan effekter och den andra är med effekter. Processen i studion dokumenterades i form av anteckningar och med en filmkamera som sedan tillsammans med det inspelade materialet blev underlag för min analys. Resultatet visar att ordentliga förberedelser och god kunskap om sitt instrument skapar förutsättningar för ett bra sound. Genom att välja instrument med passande ljudegenskaper samt ta tid till att stämma och micka upp trummorna noga krävs det mindre tid i efterediteringsarbetet. Eftersom uppfattningen av timing och dynamik är personlig så skapas också förutsättningar för unika sound genom musikerns sätt att tolka och spela musiken. / This study deals with the topic of drum sound in a studio environment and how I, as a drummer, can affect the sound. The purpose of the study is to understand and develop the various factors that together create a sound. The study involves technical areas such as timing and dynamics, material areas such as the choice of instruments and their design as well as the impact of microphone placement and the acoustics in a room. After transcribing and analyzing the drumming of six famous songs, I recorded myself in a studio and by way of previous experiences and new ideas I tried to recreate the drumming and the drum sound of these songs as far as possible. Attached to this study there are transcripts of the drums and two versions on each take where one is without effects and the other is with effects. The process in the studio was documented in the form of notes and a video camera which then became the basis for my analysis together with the recorded material. The result shows that accurate preparation and good knowledge of the instrument is a fundamental condition for a good sound. Choosing instruments with appropriate sound characteristics and taking time to tune and mic the drums makes the mixing phase shorter and easier. Because the perception of timing and dynamics is personal, the conditions for developing a unique sound are also created through the musician's way of interpreting and playing the music. / <p>Inspelningar finns att ladda ned som bilagor till det skriftliga arbetet.</p>

The base of this diploma thesis is a creation of the studio of graphic design Plus 420 728 528 648, its vissual style, introduction to the mean projects which we have recently solved and which, in my opinion, characterize well our design work which we have chosen.

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Thesis (MMUS)--Stellenbosch University, 2015 / ENGLISH ABSTRACT: This thesis investigates the role and implementation of the checklist in audio production studios. The goal of this study is to limit frequent human error by compiling and testing a checklist to be used in these studios. Procedures and checklists implemented in the life-critical elds of medicine and aviation have been studied and used as a framework, in order to shape this checklist to be relevant to a wide variety of audio production studios. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol en toepassings van die kontrolelys in klankateljees. Die doel van hierdie studie is om te ondersoek of die gebruik van kontrolelyste aangewend kan word om menslike foute te beperk, deur middel van die samestelling en toetsing van `n kontrolelys vir gebruik in hierdie ateljees. Werkswyses en kontrolelyste wat tans in die lewenskritiese sektore van lugvaart en die mediese wetenskappe benut word, is bestudeer en as raamwerk benut om te verseker dat hierdie kontrolelys toepaslik sal wees vir `n wye verskeidenheid klankproduksie-ateljees.

This paper was an exploration of the history of portraiture and how that history related to the Senior Thesis show of studio art major Rachel Dahl. The focus of the paper is on the nostalgic and commemorative tendencies of portrait art throughout its history--namely the Italian Uomino Famosi of the fifteenth century, paintings commissioned of favorite horses and dogs, the portraits of recently deceased people, and the miniature eye portrait fad in Europe in the eighteenth and nineteenth centuries--and how these historic examples of portraiture influenced her work.

Through an analysis of my adaptation of Shakespeare’s “Troilus and Cressida”, I will deconstruct the artist’s studio within an institution as a paradoxical heterotopic space.

Though an installation, the exhibition Four Corners Gateway, examines how history and memory construct us as individuals and construct our national and personal identities and worldviews. All such constructions are ultimately fragmented and fictional. This body of work points at how ideologically formed, subjective narratives are made into ‘truths’. Connecting the personal with the public is my way of playing with history and its paradoxes. The resulting landscapes that I construct can be read as archives of fragments.

The central goal of this thesis is to resituate the development of film noir within the context of the Hollywood studio system that created it. I argue that under the ‘factory’ conditions of the studio’s working environment, a distaste fermented from the screenwriter class that burrowed in the pulp fiction, particularly hard-boiled mystery fiction, of the era. This strain of literature was eventually coupled with the panache of Hollywood style to form a filmic style which was noteworthy for its ability to use Hollywood stylistics to screen a vision of life that was antithetical to that which the studio system wanted to offer to the mass public. I have also attempted to situate the original and most crystallized noir moment in the mid-1940s as part of the continuum of American cinema where the stylistic traces of noir were present prior to that period, and certainly after, but never more coherently than at that moment in the 1940s. I have assembled sources ranging from published interview collections, memoirs, biographies, film criticism and archival collections to develop my argument about the literary, filmic and cultural evolution of film noir in Hollywood.

This research study posits that an altered educational approach to design studio can produce future professionals who apply Building Information Modeling (BIM) in the context of Integrated Project Delivery (IPD) to execute designs faster and produce designs that have demonstrably higher performance. The combination of new technologies and social/contractual constructs represents an alternative to the established order for how to design and how to teach designers. BIM emerges as the key technology for facilitating IPD by providing consistent, computable and interoperable information essential to all AEC teams. The increasing trend of BIM adoption is an opportunity for the profession to dramatically change its processes and may potentially impact patterns of responsibility and the paradigms of design. This study showcases a repeatable framework and a theoretical model for the integrated studio using BIM and provides answers to the pedagogical questions raised by BIM, integration, and performance-based design. Using a formative and exploratory action research design, the study proposes a comprehensive pedagogical framework using the established theories of design studio education, building integration, and BIM. The framework was refined and triangulated in a set of focus group studies that include academics, design firms and AEC industry representatives, as well as students. Instrumental case studies implementing the pedagogical framework were conducted as courses in a graduate architecture program. Students' design processes and collaboration schemes were observed using systematic methods that included a broad range of data in conformance with a multi-method research approach. Content analysis of the data provides qualitative evidence for the effectiveness and encountered challenges of BIM methods that is related to proposed studio framework. These findings are corroborated by descriptive statistics and numerical data from the surveys, simulations, reports, and BIM models. Findings of the study illustrate that a carefully designed set of course exercises that incorporate BIM can enhance design processes, increase the depth and the number of alternatives studied, catalyze an interoperable and integrated educational environment, and expand the scope of design learning. Case studies presented here suggest common patterns of collaboration between designers and consultants during the integrated design process using shared BIM models. The findings from the study are synthesized in two theoretical models for the BIM enabled integrated studio and collaborative processes.