I detta arbete har jag undersökt det förhållande jag upplever mellan en text och det musikaliska resultat som kommer av att bearbeta denna text. Detta kom sig av ett livslångt intresse för både text och musik, och en önskan att fördjupa mitt kunnande i ämnet. Arbetet gick till så att jag valde en text – ”The Waste Land” av T.S. Eliot – och skrev ett tjugo minuter långt, instrumentalt musikverk med texten som förlaga. Jag bearbetade texten från olika vinklar och med varierande grad av trogenhet, från att följa språkrytmen stavelse för stavelse till att försöka återge den övergripande känslan av ett parti text i min musik. På så sättfick jag ett flertal perspektiv på min kreativa process, vilket kom att vara mycket hjälpsamt i analysfasen. När jag var klar analyserade jag de fem olika kompositionsprinciper jag använt och försökte identifiera för- och nackdelar med dem. I diskussionsdelen drar jag slutsatser om min kreativa process, och den kreativa processen i stort. Jag talar mycket om begränsningar, och hur det kommer sig att begränsningar kan vara så inspirerande trots sina negativa associationer.

<p>This study examines how to translate digitally composed symphonic music to note script and how it gets readable and playable. With the help of professional musicians from the Norrköping Symphony Orchestra, teachers from Kulturskolan in Norrköping as well as other musicians, I have learned how I can improve each individual stem in my composition. I also learned how to write for a real musician. My score have been analyzed by composers and a conductor which have given me a more in depth insight into composing symphonic music.</p><p>The theory section describes important MIDI aspects, score preparation and note editing techniques. Thereafter is a section about the symphony orchestra and its instruments’ history and how the situation is today. Furthermore the work process of the conductor and the choral conductor are described as well as the interpretation of the musician. The theory section concludes with a survey on musical factors in relation to experienced emotions.</p><p>The execution section describes how I first worked with the composition to adjust MIDI values in the sequencer program Nuendo 3, then how to write correct note script in the note script program Finale 2009. Thereafter the adjustments I needed to make after interviewing musicians as well as composers and a conductor are described and eventual problems that occurred meanwhile.</p><p>The result section sums up the thoughts and suggestions made by the professional musicians, composers and conductor about the individual parts’ playability and readability. It turned out that the stems were written in the wrong time signature and had a few graphical flaws. The result of the survey on the digital composition experienced by the musicians as well as the composers is described. Most people experienced the piece as warlike.</p><p>The discussion section and conclusion discuss what could have been done differently, what compromises had to be made and what were most difficult to execute. MIDI related issues are discussed that take place in composing digital music and during the translation to note script. Then my opinion regarding how well this method works in translating MIDI to note script is discussed as well as what I would do different in an upcoming project. Lastly I speak about suggested topics for future research.</p>

This study examines how to translate digitally composed symphonic music to note script and how it gets readable and playable. With the help of professional musicians from the Norrköping Symphony Orchestra, teachers from Kulturskolan in Norrköping as well as other musicians, I have learned how I can improve each individual stem in my composition. I also learned how to write for a real musician. My score have been analyzed by composers and a conductor which have given me a more in depth insight into composing symphonic music. The theory section describes important MIDI aspects, score preparation and note editing techniques. Thereafter is a section about the symphony orchestra and its instruments’ history and how the situation is today. Furthermore the work process of the conductor and the choral conductor are described as well as the interpretation of the musician. The theory section concludes with a survey on musical factors in relation to experienced emotions. The execution section describes how I first worked with the composition to adjust MIDI values in the sequencer program Nuendo 3, then how to write correct note script in the note script program Finale 2009. Thereafter the adjustments I needed to make after interviewing musicians as well as composers and a conductor are described and eventual problems that occurred meanwhile. The result section sums up the thoughts and suggestions made by the professional musicians, composers and conductor about the individual parts’ playability and readability. It turned out that the stems were written in the wrong time signature and had a few graphical flaws. The result of the survey on the digital composition experienced by the musicians as well as the composers is described. Most people experienced the piece as warlike. The discussion section and conclusion discuss what could have been done differently, what compromises had to be made and what were most difficult to execute. MIDI related issues are discussed that take place in composing digital music and during the translation to note script. Then my opinion regarding how well this method works in translating MIDI to note script is discussed as well as what I would do different in an upcoming project. Lastly I speak about suggested topics for future research.

Syftet med arbetet var att genom analys av olika aspekter av César Francks Orgelkoral i E- dur fördjupa min instudering av verket för att på bästa sätt kunna framföra det på min examenskonsert och vidare framgent. Metoden som användes bestod av att undersöka Francks bakgrund och miljön han var verksam i, vilka som var de viktiga influenser som formade Franks tonspråk, vilka som var de stilistiska riktlinjerna som gällde när verket blev komponerat, vilka säregenheter hade orgeln Franck spelade på och på vilket sätt den influerade hans kompositioner samt vilka notutgåvor som är mest lämpliga för instudering av verket. Jag har gjort form- och harmonianalys, läst andras forskning och lyssnat på olika inspelningar av verket. Studiens konklusion är att nationalismen som svepte över det franska samhället efter fransk-preussiska kriget 1870–1871 var en viktig stimulans i Francks kreativitet. Han letade efter det franska uttrycket samtidigt som han var djupt influerad av tyska kompositörer som Bach, Beethoven och Wagner. Det resulterade i ett originellt tonspråk och nya experimentella grepp i behandlingen av kompositionsform. Koralen i E-dur är ett exempel på detta. Franck var känd som duktig orgelimprovisatör och han blev mer uppmärksammad som kompositör mot slutet av sitt liv. Han komponerade både profana och sakrala verk för många olika instrumentbesättningar. Orgeln i basilikan St. Clotilde där Franck arbetade större delen av sitt liv har färgat hans registreringsanvisningar och klangidealen. Orgeln har en ovanligt mjuk oboe och trumpet i svällverket som Franck ofta använder som grundklang i sina verk tillsammans med fonds. Detta problematiserar framförande av hans verk på andra orglar i och med att det är svårt att återskapa samma klangbild. Detta kan i vissa fall tvinga organisten till kompromisser i valet av registreringar. Det finns många notutgåvor av verket. Om man vill ha en urtextutgåva är det bra att vända sig till Dr. J. Butz utgåvan eller Wayne Leupold Editions som använder sig av kopian av verkets första tryckta utgåva. Att framföra E-dur koralen kräver att organisten har teknisk flexibilitet och bra fingersättningar och pedalapplikatur, god formell översikt av verket, översikt över kadenser och höjdpunkter, ett avvägt rubato och en nypa fantasi. / <p>Konsert: C. Franck: Oregelkoral E-Dur; Orgelkoral h-moll.</p><p>Medverkande: Majda Burstedt, orgel</p><p></p>

This essay will try to examine the breakthrough of symphonic game music by following my hypothesis of the actual breakthrough in late 90s through early 2000s. The method of the essay is a hermeneutic approach which will find different interpretations that in the later part of the essay will lead to an analysis and discussion. This approach is a way for later scholars to examine the subject further. A central part of the essay is to define the term symphonic game music which never before in broader terms have been defined, though the terms dynamic music and orchestral music has been used by scholars such as Collins. Central figures i write about are Nobuo Uematsu and Winifred Phillips, whose contributions to the field of game music are extraordinary, and they also bring forth their own theories. I write more about theories, among others Karen Collins and Koji Kondo, to broaden the discussions. The delimitations in this essay are very important to narrow the types of games studied, and they are for the most part video games and computer games. In the actual examination i refer to among others the scholars Donnelly, Phillips and Collins to map the time of breakthrough and how it actually happened. The games I examine in more detail are Final Fantasy and The Elder Scrolls because I argue in my hypothesis that these two game series are important for the actual breakthrough. Tables and notes from Final Fantasy are used to clarify the subject studied. In the end of the essay I conclude with different perspectives and evaluation of the subject.