Examensarbeten magister, Högskolan för scen och musik

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Klassisk pianoimprovisation som konsertform
(2014-11-05) Biörklund-Jullander, Staffan; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
The thesis contains mainly personal experiences relating to classical piano improvisation, based on the CD record Härlig är jorden, Piano improvisations in Various Classical Styles. Sex classics: Mozart, Stravinsky, Bartók, Chopin, Debussy and Liszt play the main roles in that record.The idea is (apart from aiming at stimulationg the styles as faithfully as possible) to look at the various classical styles as different musical rooms created by the composers for us to enter and use. It is also a personal pedagogical goal to structure my ideas, including formulating the strongest possible requirements on the quality of my improvisations. A leading theme manifesting itself in different quises (depending on the style used) is not only a means for improving quality further. The audience has shown a great interest in this form. Improvisation can easily become a pleasure only for the performer. With a familiar theme appearing now and then the listener will not become bored. For each composer serving as a modil I account for my thinking when planning the improvisation. Planning can here best be compared to the concept of sketching. But there are also very clear rules of conduct I have imposed on myself. Two other parts: 1) Why did classical piano improvisation cease? Some indications. This part discusses a possible interpretation of musical history starting from Mozart's and Beethoven's presumed objections to piano improvisation in spite of them being frequent improvisers, not least in public. 2) General thoughts on improvisation. Here I try to give a contribution to a treatment of the enigmatic phenomenon of improvisation. Based on personal experience and thinking I aim at finding means to get the sometimes elusive creative process going. Humour is here considered as a tool among others, and is something which I mean should be taken quite seriously.
Att undervisa i musik på mellanstadiet: Tre berättelser utifrån hur lärare som undervisar i musik på mellanstadiet talar om sin undervisning i förhållande till Lgr11
(2015-03-24) Olsson, David; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
My interest in the problem I have chosen has grown from my practise as a music teacher in Swedish compulsory schools. It springs from my own reflection, that the content pupils meet during music lessons in year 4-6 of compulsory school, seems to vary. My ontological and epistemological standpoints belong to a life-world-phenomenological way of thinkink. This kind of thinking implies that human beings are indissolubly connected to the world, which means that the only way to access the world is trough human beings lived experience. The aim of this study is to describe and analyse how music teachers, who work in years 4-6 of compulsory school, talk about the subject music and its content in relation to the new curriculum, Lgr11. A further aim is to acquire an understanding of the theachers’ views of the preconditions they have to fulfil the curriculum’s aims. The empirical data collection consists of data from semi-structured qualitative interviews with three teachers who work in the same municipality. The empirical analysis of the study is based on narrative analysis, which means that I have written out three constructed stories close to the stories of the interviewees. The results of the study indicate that the preconditions to fulfil the aim of the curriculum, when it comes to the subject music in year 4-6 of compulsory school, still is poor, like previous reports also have shown. There are signs, though, that the new curriculum, has affected the precondition in a positive way. The study also shows that the implementation of the new curriculum has affected the teachers’ views on the subject Music and its content. Furthermore the results indicates that teachers in year 4-6 in compulsory school need help and training when it comes to documentation, assessment and grading.
"Någonting annat" - estestiska musikämnen och körsång i gymnasieskolan 2014: förekomst och förutsättningar
(2015-03-24) Werner, Ann-Britt; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
The purpose of this paper is to study and describe the occurrence and conditions of aesthetic subjects and choral singing in Swedish upper secondary schools 2014. The paper is based on seven recorded individual interviews with three music teachers, four principals and one director of education in three upper secondary schools in Sweden. The study uses discursive psychology and the interviews were analysed with focus on music teachers and school leaders interpretative repertoires and rhetorical strategies and how they use the language to legitimate aesthetic subjects in an upper secondary school context. In the most recent upper secondary school reform of 2011 the aesthetic subjects are no longer mandatory. Today there are different ways to provide opportunities for the students to participate in music activities but since the government no longer decides how it shall be implemented it is up to the management of each school to determine the activities. The statement made by the informants are interesting in relation to the status of music subjects, but due to the limited scope of the paper, no general conclusions can be drawn. However, the status of the subjects appears to be low. The school leaders and the music teachers identify the competitive situation between school subjects as a part of the problem, since the educational system favour some subjects that are higher valued and give students extra credits, or courses that give admission to higher education. Time, financing and adoption are concepts used in rhetorical strategies in negotiations between the involved parties. Music teachers seem to be able to adapt to any circumstances in order to keep their educational activities since the subject is no longer mandatory in upper secondary schools. Music teachers and school leaders are thus positioning themselves to both be able to resolve situations and benefit from agreements.
Övning med direkt resultat
(2015-06-24) Hammarsten, Isa; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
I den här uppsatsen har jag undersökt olika sätt att öva som ger mig ett mer direkt resultat. Jag letar efter handlingssätt som gör att jag spelar bättre på kortare tid än efter flera dagars övning. Utifrån min bakgrund redogör jag för mitt sätt att tänka kring övning och om mina nya övningsmetoder samt inspirationskällor. Metoderna handlar om hur jag arbetar för att nå ett direkt resultat och hur jag blir av med spänningar, rädsla och känslan av att det är svårt att spela. Jag är själv violinist och arbetet utgår från övning på fiol, men de flesta av mina metoder är möjliga att överföra till andra instrument.
Musikklass - som del av en livsberättelse
(2015-06-24) Wigert, Karin; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
My interest in examining what happens when you as a teenager are exposed to five or six times the amount of time as ordinary classes to music education derrives from my own experience as a music teacher at a school which has those kind of special music classes. During my career as a music teacher in grades 4 – 9 in Swedish compulsory school I have taught music classes as well as ordinary classes for 18 years. During this time I have often wondered what this exposure means in retrospect. Is it the conquering and mastering of music skills that students remember when they’ve grown up to young adults, or is it something else? The aim of this study is to find out what it means for teenagers to have music as a school subject every day of their years in Swedish high school. How will they remember their teens and their relationship to music when they are older? To find out I have used qualitative semi- structured interviews, and used a narrative standpoint when writing their life-stories. The result indicates that going to music class forms and shapes a musical identitiy that stays on even after the teenagers have left cumpulsory school. Their music class identity is spoken of with pride and surprisingly enough none of my informants spoke anything about acquired knowledge in the music subjects. But they all did speak of identity, sister- and brotherhood and the sense of belonging.
Ett större grepp - om lärares bild av vardagen i El Sistema Sverige
(2015-08-31) Nyman, Emma; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Aim: In 2010 the first El Sistema núcleo was formed in Sweden and several ES programmes have started since then in several cities in Sweden and can hence be regarded as a well-established music educational program. Previous research about the Swedish ES programs indicates that the discourse of ES is contradictory and that the context is significant for how every program is shaped locally and where the program main focus is centred. The purpose of this study is to study how teachers from different ES programmes legitimate their program. Theory: The theoretical frame of this study is social constructional since the ambition has been to study how the teachers, through their narrative of their everyday activities, construct ES different discourses. The narratives are used both for analysing discourses and for discourse analysis, to elucidate the preconceived and to study how knowledge is depicted rhetorically in speech interaction. Method: Thru discourse analysis and discourse psychology as method emphasizes with which variation the teachers describe their programmes both regarding the linguistic and the content aspects as well as contradictions in their narratives. With Potters (1996) rhetorical tools we have efficient tools to study how the teachers legitimate their programmes. The empirical base for this study is three focus group conversations with totally 14 teachers. Results: In the teacher narrative there are an amount of motives that legitimate the ES programmes and through the narratives these three discourses come into light; ES as a musical-, pedagogical-, and social programme. The argumentations in the three focus group conversations are similar and there seems to exist a national unity with some variation throughout the ES programmes. In the discussion in this essay the balance between ES social and musical aim is discussed as well as how the programmes account for result, the complexity of the teacher’s role and the cultural approach in ES. Within theses three programmes some variation exist and the results of the study is problematized in relation to previous research within music sociology, research about music- and cultural schools in Sweden.
Hur definierar och avgränsar några körledare sitt ledarskap ur ett professionsperspektiv?
(2016-06-07) Bygdéus, Pia; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Uppsatsen har som syfte att genom intervjuer lyfta fram hur några körledare talar om sin egen profession; professionen att leda kör. Respondenterna står dels med ett ben på insidan av olika körutbildningar och är dels aktiva utanför, vilket gör att de har berättelser från olika arbetsfält och arbetar med att både utbilda och utöva, inom ett konstnärligt yrke. På vilket sätt de talar om den och vad de berättar om blir viktigt att få lyfta fram, för att synliggöra och verbalisera vad de besitter för kompetenser och vara ett viktigt led i ett ungt forskarämne. De tankar de ger uttryck för får antas vara det som helt eller delvis även förs vidare genom yrkesutövandet. Det talas om starka och svaga professioner inom olika yrken. Ett led i att förbättra en profession med en historiskt svag professionstillhörighet är att i grundforskning bidra för att kunna möta framtida utbildningsbehov. Respondenterna ger i intervjuerna olika bilder av sin profession och visar på ett mångsidigt ledarskap; administrativt, socialt och konstnärligt ledarskap. De definierar även ledaren som: pedagogen, ledaren, dirigenten. En komplex yrkesroll växer fram och de beskriver yrkets mångfald av kompetensområden, som Musikhögskolan kan möta. En annan del av slutsatsen genom intervjuerna är behovet av ett ökat kunnande inom ämnesområden som psykologi, individen/gruppen, gruppsykologi, något som inte är lika väl underbyggt inom konstnärliga utbildningar. Ett behov visar sig finns och skulle kunna få påverka innehållet redan under den konstnärliga grundutbildningen.
||: Att se. Att göra. :|| Att förstå?
(2016-09-29) Schönfeld, Stephan; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Which skills and competences within choir conducting can I derive from imitating other conductors' movements and body language? The conducting movements of two choir conductors have been investigated using video recordings. I have observed their motions carefully, described them in written language and recreated their motions with my body by imitation. The imitations have been captured on film and compared with the original video samples. I have thereafter analyzed the differences and reflected on reasons for these. Central research questions were directed towards what information the conductors convey to the choir by their conducting and how they achieve this communication technically . Furthermore I have investigated which elements of the conducting I have managed to imitate accurately and which not. Finally I am giving reflections about my process and document which new skills and knowledge I have gathered from this work.
BARTÓKOS VIOLAKONSERT - ett arbete om hur jag övar
(2016-09-29) Windorth, Erik; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Det här arbetet går ut på att försöka ta sig an de tekniska utmaningar som finns i första satsen ur Béla Bartóks violakonsert men också att gå från ett intuitivt och oreflekterat sätt att öva, till ett medvetet och genomtänkt övande som bygger på en analys av de tekniska svårigheterna stycket innehåller. I arbetet hittar jag och analyserar de tekniska utmaningar som jag finner svåra. Jag använder mig av en form då jag tar ut de passager jag har svårt med, radar upp problemen och hittar lösningar till dem. Under arbetets gång har jag utvecklat min övningsmetodik och kommit allt närmare det medvetna övandet som gett ett betydligt bättre resultat än tidigare. Med hjälp av ljudinspelningar har jag lättare kunnat nå mina slutresultat.
När och fjärran Köruppställningars inflytande på körklangen
(2016-09-30) Kristina, Nelson; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
The fact that a song can sound different when you change the choir formation is an experience shared by many choir conductors. What are the factors that influence the sound and why do we place the singers as we do? The aim of this study is to investigate different choir formations and explore how we can use them as a tool in the work with the choir. This study investigates how the choir formations affect the singer's ability to hear themselves as well as the others and how these factors influence the intonation, choral sound and balance. It also examines the rehearsal situation; how comfortable the singers are in each formation; the ability to follow the conductor and if the formations can serve different purposes. The church choir in Sävedalen has examined both sectional and mixed choir formations with two different spaces. Through recordings, the conducter ́s diary and the singers surveys we can see that the choir formation affects the factors that we wanted to investigate. The space seems to influence more on the intonation and choral sound than if they were placed in sectional or mixed formations and the balance seems to be more affected when you change from sectional to mixed formation, than if you change the space. One way to use the advantage of the formations for this type of choir is to use the sectional spread in the beginning of the reherarsal of a new song, then continue to mixed and spread to give the singers more ability to hear the rest of the choir better and the go back to sectional and spred, that promotes the communication and the comfort for the singers. Since the study seems to indicate that there is a connection between the choir formation and the sound from the choir, it is important that the conductor not disregard problem that is caused by the formation, and at the same time not see the formation as the solution for every problem that comes up.
BALANSGÅNGEN MELLAN FRIHET OCH BEGRÄNSNING Att komponera musik till ungdomskör
(2016-10-04) Helena, Fornegård; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
How can one compose a song for a youth choir and make it relevant and interesting to its young members? This essay is dealing with the challenges you meet when composing a song for young voices, hearts and minds. The report describes the whole journey from finding a poem to a complete composition for SSA and piano. The composition was done with the support of a focus group, a youth choir, who tried singing the music in rehearsals and evaluated on the experience of singing it. The group was also part of interpreting the chosen poem. The challenges in the process was to find a relevant text for young people, make it singable and interesting, adding a piano part that would support, consider the possibilities and limits with young voices and also be true to yourself as a composer and artist. The reports also deals with the issue of popular music, the genre that young people mostly relate to, and if one can merge some of its core elements in to a choir piece. The conclusion states that the outer factors; the focus group, the text and the characteristics of popular music have inflected on the composing. They have provided both energy and frustration to the process, and also frame and focus in the composition. The most important things learned are staying true to the text and to your original idea.
Från skepsis till succé En diskussion kring processer i körinstudering
(2016-10-06) Lindberg, Sofia; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
I want to examine how choir singers describe the experience of the process of the rehearsal of a choir work which has been chosen to be a challenge vocally as well as musically. The questions I want to work with are: What happens in an emotional level with the choir singer during the work? What happens in the choir in a social level? How important is the choir leader as an inspirer? How can you change a choir singer’s negativism regarding to a difficult piece of music? I asked eight members of the choir to answer some questions in a notebook after every rehearsal. The focus group is a mixed church choir with twenty members. We have worked with the motet “Jesu meine Freude” written by Johann Sebastian Bach. The result was a concert that I analyzed by reading journals that was written by the choir members during the project. This thesis showed that a challenging piece of music developed the members confidence, the group construction became stronger and the choir leader had a great impact of the result of the project.
BARA FÖR SPELANDETS SKULL? En diskursanalytisk studie över ensemblelärares positionering och funktion på gymnasieskolans estetiska program
(2016-10-20) Larsson, Christer; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
This paper examines how ensemble teachers, in the Swedish upper secondary school, talk about their didactical positions and functions in the classroom, and how these conversations construct and authorize the teachers’ discursive room for manoeuvre. The study takes a social constructional perspective as its starting point, and assumes that every day interaction in a social context, produce a system of truths which determines what is possible or impossible to say or do. The empirical foundation of the study is three focus group discussions with ensemble teachers at different upper secondary schools. The produced data has been analysed through a discourse analytical approach, with one perspective focusing how rhetorical strategies are used to legitimize different didactical positions and functions in the ensemble room, and another perspective focusing on identifying local discourses which are being constructed and constituted throughout the focus group discussions, and how these discourses affect the teachers’ didactical abilities in the ensemble room. The result shows that ensemble teachers didactical positioning in many ways can be legitimized by interpretive repertoires with other interests than to follow the national curriculum or other governing school regulations. Four discourses are identified in the result: the school discourse, the feelgood discourse, the reality discourse and, as a subordinate discourse to the latter, the concert discourse. These discourses are to be regarded as small, or local, discourses which manifest themselves in different degrees and with variations in the three discussion groups.
KÖRSÅNGENS EFFEKT PÅ BARNS INLÄRNING
(2016-12-16) Lundh, Kerstin; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Jag har i detta arbete undersökt om man genom att bilda en kör av en klass kan underlätta inlärningen. Jag har valt att arbeta med mattetal, alfabetet och ett tema i klass 1.  Jag har intervjuat Anne Johansson. Barnen har fått svara på frågor om hur de upplevt att lära sig dessa ämnen på ett för dem nytt och annorlunda sätt.
God intonation i amatörkören – Några nycklar
(2018-07-30) Welander, Marie; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
I snart 13 år har jag lett vuxenkörer på varierande nivå och där ofta stött på intonationsproblem. Det har fått mig att fundera över hur man kan jobba med intonation för att uppnå bra resultat i en amatörkör utan antagningsprov. Jag ville fördjupa min kunskap kring intonation i denna typ av körer där kunskapsnivån ofta mycket varierad vad gäller både sångteknik och teori. Jag har undersökt vilka faktorer som är bra att jobba med för att förbättra intonationen i just denna typ av amatörkör. Det har visat sig att det finns många områden som påverkar intonationen. Naturligtvis spelar faktorer som okoncentration, trötthet och lokalens utformning och akustik stor roll. Dessa kan vi som körledare inte göra så mycket åt, däremot kan vi jobba med sångteknik så som andning, resonans, legato och vokaler. Ett annat område som det visat sig att vi bör fokusera på är att få korister att rent teoretiskt förstå hur det musikaliska förloppet ter sig. Det kan vara att bli uppmärksam på svårigheter kring nedåtgående rörelser, öva intervaller och förstå vikten av att skalans andra ton blir tillräckligt hög. Körledarens förmåga att höra och att kunna förebilda bra är också mycket viktigt i amatörkören.
Instudering av avancerad repertoar i en kör med varierad notkunskap
(2018-07-30) Lagerquist, Annika; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Detta arbete är en inventering av olika instuderingsmetoder och instuderingsnycklar för att hitta den arbetsgång som passar ens kör allra bäst från presentationen av stycket till framförandet. Författaren undersöker hur instuderingsarbetet blir inspirerande och intressant och hur når kören sitt gemensamma mål på bästa sätt.
Från A till Ö. Om vokalplaceringens inverkan på intonationen i en amatörkör och hur man kan arbeta med detta
(2018-07-30) Einarsson, Karin; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
I den här uppsatsen har författaren undersökt hur man kan arbeta med vokalplacering i en amatörkör, hur man kan knyta detta arbete till den repertoar som kören sjunger och hur detta arbete inverkar på intonationen i kören. Författaren har använt sig av flera olika metoder för att arbeta med vokalplacering och intonation. En av dem är unisona vokalplaceringsövningar. Körsången kören har jobbat med är Kärlekens tid av Benny Andersson. Ur den har körledaren plockat ut vissa ackord som kören fått träna på att stapla med fokus på att lyssna efter vokalfärg. Sången har också övats på endast de vokalljud som förekommer i texten. En stor del av arbetet har handlat om att göra sångarna medvetna om att lyssna efter vokalfärg och att öka deras förståelse för de olika vokalernas inneboende karaktärer. Arbetet med vokalplacering har gett stor utdelning angående intonationen i kören.
Man hör ju inte vad de sjunger - att arbeta med text vid instudering och interpretation
(2018-07-31) Ingemarsson Berg, Maria; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Why do we sing together and howcome the weekly rehearsal with the chorus is of such importance to singers? In every culture all over the world there is music, and music is a worldwide language that makes it possible to communicate even if we don’t speak the actual language. But what is the difference with instrumental and vocal music? Of course, in vocal music we have the text. The combination between text and music, even in a foreign language can make us deeply moved and give us a glance of the inner depths of another human being. But why, then, do we so seldom actually hear the text when it’s sung, both by the local church choir or the famous professional chorus? Are there any tools that a conductor needs to know of or is it just a matter of where the conductor and the singers place the text in their agenda while studying a piece? Could it make a significant difference for both conductor, chorists and audience if the text are well prepared, well interpreted and understood by the persons who are to perform it?
Kormästaren och körledaren. Några likheter och olikheter mellan olika typer av körer och körledare
(2018-07-31) Elvin, Amanda; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
The aim of this study is to examine the work of the chorus master and the choral conductor, with a main focus on the chorus master in an opera house. I show how they prepare for the first meeting with the singers, and give examples of similarities and differences between the two roles in both preparation and the rehearsals that follows. One part of the study is an auscultation at Göteborgsoperan in the fall of 2017. I followed their work with Norma, an opera by V Bellini, and got the possibility to study how different conductors and chorus masters work with a professional choir. In the second part of the paper I describe how I used the tools and methods observed at the opera in my own work with the madrigal Sestina by C Monteverdi, sung by Göteborgs Motettkör. Here I also examine one essential aspect of the work of the chorus master: singing in Italian.
Mandat att leda
(2018-07-31) Palmgren, Susanna; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/ Högskolan för scen och musik
Syftet med mitt examensarbete är att undersöka hur jag fungerar som dirigent. Arbetet går ut på att jag ska hitta metoder för hur jag kan förbereda mitt möte med kören och titta på hur jag kommunicerar med ensemblen under repetition. Jag vill utveckla min förmåga att möta kören i en anda av koncentration, med ett fokus som borgar för högkvalitativt arbete under den tiden vi repeterar tillsammans.

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