Examensarbeten master, Högskolan för scen och musik

Permanent URI for this collectionhttps://gupea-staging.ub.gu.se/handle/2077/24950

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A CRITICAL WEDGE
(2016-06-27) Wahlöö, Annikki; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
A critical wedge – is an exploration of the in-betweens within performing arts and how they can become gaps for questioning, a place for exploring alternatives. How juxtaposition can be a political tool when composing a performance. It all started with the interspace between reality and fiction, the authentic and fictional self. The aesthetic field cannot present any given answers but rather a liminal space for reflection and thoughts. An in-between where multiplicity can grow and flourish. This is an exploration of both practice and theories in relation to gaps, cracks and in- betweens where art can flourish. This has also led to an exploration of the relation between spectators and performers and on if one can create a common and equal meeting ground within the boundaries of a performance.
A Journey in the Pathways of Maqam and arranging Muwashahat
(2018-07-31) Battah, Nemat; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
In this project, I explore the Arabic scalar system “Maqam” through studying, analysing and arranging one of the most traditional Arabic song forms “Muwashah”. I explore the different possibilities of arranging this song form in an untraditional way, by using western instruments and musicians who come from different musical backgrounds. In this project, I suggest some possibilities of dealing with harmonizing traditional Arabic music, and different individual techniques of arranging that are inspired by different genres. This project is a mixture of using my intuition and intellectual musical skills in arranging music. In this study, I am sharing my experience as an Arab singer who is arranging traditional Arabic music for an ensemble that consists of musicians from different musical backgrounds other than Arabic music. Later in the study, I share the analysis of my arrangements of six songs, that are composed using the Muwashah song form. For those who are not very familiar with the Maqam system, I demonstrate some basic principles of this system in the first chapters, as well as a small introduction about the Muwashah song form. This project is mainly written for readers who has a good knowledge Music and interested to explore and understand some principals of the Maqam System. This is a step in my journey as a singer, arranger and band leader.
A Microhistory of Congregational Music-Making in Överselö, Stallarholmen 1754
(2018-08-02) Drakengren, Hanna; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
In 1754 an organ was built in Överselö Church whose purpose was to accompany the congregational singing. My question in this project is to investigate how the accompaniment of the specific congregational singing in Överselö sounded. Sweden adopted its first common hymnal in 1695/97. However, it is not clear from the text of that book how it was used. To reach a higher level of knowledge and understanding of the subject, several components were needed; knowledge from written sources in the field, basic research in materials from the actual church and surrounding areas in Sweden, deepened knowledge about figured bass playing in eighteenth-century Sweden and a prepared experiment for the artistic research. Using artistic research one can make important contributions to the quite unexamined field of knowledge of hymn accompaniment in the eighteenth century. The art of hymn accompaniment is mostly an art of improvisation, which makes it hard to examine using only the tool of musicology. But by learning figured bass playing in the way it was taught in eighteenth-century Sweden and by conducting studies into the way in which hymns were sung one can prepare and evaluate hymn accompaniment using the kind of contextual experiments I have shown in this study. In my study I have deepened the knowledge about interludes, tempo, figured bass in hymn playing and asked questions about who was leading the congregational singing and the role of the organist in the service. The strength of the micro-historical method in this type of study is that you can trace real persons in a specific time and place and their connections to each other. One single micro historic examination does not give the whole picture but since the method “asks large questions in small places” it contributes with new knowledge to the whole: in this case, a clearer picture of how the influences from Germany reached central Sweden and affected the musical traditions here. The results that come out of this kind of project can contribute to the interpretation in several fields of music, such as hymn accompaniment, improvisation and also interpretation of eighteenth-century music.
A musician on stage
(2014-08-06) Bereijo López, Paula; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This work discusses issues around performance; mental training, some exercises for instrument practice, nerves and reactions after mistakes. It includes both my own experiences as well as that of others through interviews.
A Palette of my Inner Universe – To Use Synesthesia in Artistic Processes
(2021-10-21) Palmqvist, Maria; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
In this thesis, the author investigates how the active use of synesthesia can be a tool for artistic work and creative processes, with the aim of finding new creative paths and to find a deeper understanding for inner synesthetic patterns. A method is created by using elements from the author’s synesthesia. The method is used on three experiments regarding lyrics, improvisations and graphic scores together with one final experiment that also encompasses composition. In the final experiment, the elements are used as a source of inspiration rather than definite directives with the intention to reach a more organic form of creating, closer to the author’s regular artistic process. This becomes a method of its own, called the synesthetic method. By adding painting throughout the investigation, the author aims to make something as abstract and subjective as synesthesia more visual and tangible, with the belief that it will help visualize and clarify, both for themselves and others, inner processes of inspiration.
About tricks, sensations and relationships- A collection of thoughts on performing, exhibiting skill and creating in contemporary circus.
(2020-06-02) Asklöf Prescott, Moa Julia; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This is a reflection and exploration of creation as a contemporary circus artist today, from the point of view of the same (I am a rope walker). To give myself a compass during the research I have worked with a few questions: What is the function of the trick? How do I and other artist relate to our creating selves and bodies? And how can we use knowledge from other fields such as marketing- and social psychology or service side jobs, to look at our creation from another angle? These questions are explored through looking into marketing- and social psychology, the words of other creators, doing interviews and looking at the way I interact with the practice myself. What my itch is. How working with the body can change the organism.
Acquiring the skills to pay the bills
(2013-06-17) Kramer, Eliazer; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This documents my attempts to become a better sight-reader and a faster learner. I proceed by examining literature and interviewing professional musicians and I discover that score- reading, transposing, sight-reading with other musicians, sight-reading frequently and increasing the difficulty of the material, improvising, and improving sense of rhythm are ways to improve sight-reading. I also discover that Karl Leimer’s visualization technique and mentally reviewing a score to solve irrational rhythms and organize practice are methods of mental practicing that can lead to faster learning. Among the techniques I use are rhythm exercises, work on transposition, and work on score-reading. In addition I sight- read the Mozart and Beethoven sonatas and sight-read with other musicians to increase the volume and difficulty of the material. My sight-reading improved somewhat but time constraints prevent me from giving substantial results.
ÅH, HERREGUD! En musikalisk FÖRställning från BB till Hospice!
(2016-10-14) Pettersson Lindgren, Martina; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
I denna uppsats behandlas en scenisk gestaltning där begreppen tro, tvivel, acceptans och trots står i centrum. Utgångspunkten för arbetet med den sceniska gestaltningen var en personlig upplevelse, en moders död i samband med en dotters födelse. I uppsatsen beskrivs processen kring hur denna existentiella upplevelse skulle kunna sublimeras till något allmängiltigt och sceniskt. Uppsatsen beskriver vidare hur man med hjälp av sång och humor kan närma sig ett komplext ämne. Utifrån ett antal konstnärliga verk, egna existentiella frågeställningar samt till viss del ett par teoretiska ansatser, beskriver uppsatsen processen med att ta fram olika sceniska uttryck. Sammanfattningsvis kan sägas att uppsatsen beskriver hur en polyfonisk metod, i Michael Bachtins betydelse, växte fram under processen fram mot färdig föreställning.
Aiming for orchestral career
(2013-05-06) Hirvonen, Iina; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This thesis describes how auditions to symphony orchestras are organized, based on the auditioning experiences of the writer and Richard Davis’s book Becoming an Orchestral Musician – A Guide for Aspiring Professionals. It also contains a diary about the writer’s preparation for an audition. The thesis discusses how to work in an orchestra, in order to help the reader to pass a trial engagement after winning an audition. A few of the most important factors of orchestral playing are being illustrated. The conclusions emphasize gathering information and experience of auditions and practising the audition pieces well, thus building self-confidence to the level required to win an audition.
Akvarell - I en levande musikalisk process
(2013-11-07) Östling, Johanna; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
Ett utforskande av interpretation utfört i musik, akvarell och ord. En närgången bild av en levande musikalisk process studerad från en inre kärna. Arbetet består utav denna text, tre konserter från våren och sommaren 2013 som dokumenterades i DVD-format, ljudupptagningar av improvisationer och akvareller skapade i tiden för arbetet. Arbetets kärna, ögonblicksbilder från insidan av själva processen, presenteras i en egen del av arbetet och omsluts av förklarande, reflektioner och tankar. Författaren spelar viola och upplever synestesi.
An approach to practising Bartok's viola concerto
(2013-06-19) Lee, Sebastian; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
A master’s project on the process of practice that went towards learning the Viola Concerto by Bèla Bartók, with a progressive breakdown of the work and a specific look at the technical difficulties that needed to be overcome in each section, how and why they were tackled in specific ways and what the positive result was that arose. The reflection on the learning process includes references to the tuition by violist Rivka Golani and pianist Michael Hampton, and the documented practice methods of the violist William Primrose.
An Exploration of Tone and Vibrato on the Flute in relation to the French Flute School of the Early Twentieth Century
(2017-09-22) Kendall, Eloise; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
Developing and improving sound quality on the flute is one of the fundamental areas of study for all flautists and vibrato is a key issue with regards to this. The flautists associated with the French Flute School mark a turning point in the history of flute playing and through studying historical recordings it is possible to hear the legacy they left behind. This thesis combines a study of these recordings with my own experimentations of vibrato and sound and results in three of my own recordings of the works discussed, (Gaubert’s Madrigal; “Entr’acte” to Act III of Bizet’s Carmen; and an excerpt from Brahms’ Symphony No. 4) with detailed considerations about both the process and the result.
Applying Epstein’s “Power Practicing” to violin orchestral excerpts
(2021-11-11) Cruz, Inez; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This thesis purpose was to find good strategies that would benefit the construction and preparation of orchestral excerpts. In practical terms, how to make an excerpt sound/work without spending hours studying those six or seven lines. This means not to have it ready in one or two sessions, but to create a good structure and foundation to build the excerpt through goals such as intonation, rhythm, sound, character, pulse but also in terms of what these excerpts represent themselves in the pieces they are inserted in (melody, accompaniment, relation with other instruments, among others). To support my research, I tested the material written by Eli Epstein in his article “Power Practising”, where the author points out various strategies for the practice of his instrument, the French horn. Since I believed a greater part of them could be used in the violin, I recorded my practice sessions, analysed and compared them and finally played them in real auditions, aiming to achieve a better knowledge about which ones work better for me. My investigation is based in action research, in which I studied myself through experiments and tested Epstein’s material and William Preucil’s violin principles. This work was supported by a scholarship from the GDA Foundation, Lisbon, Portugal.
Approaches to practising standard repertoire. In place of the main work, do piece specific exercises improve practice effectiveness and productivity, and prevent the piece from becoming overplayed and tired?
(2018-08-03) Buttler, Grace; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
Musicians preparing for auditions have to practice a limited repertoire of standard pieces, and it is very easy for the pieces to become stale. This thesis examines practice methodologies and established study books in order to produce a set of new studies aimed specifically at the Sibelius Violin Concerto. The aim was to create a method for practising the essential features of the piece without actually playing it, so that the concerto will sound fresh when the time comes to perform it in an audition. This process has led to an evaluation of my practice methods, and the studies are now an invaluable part of daily warm up.
Approaching Piazzolla's Music
(2012-06-18) Löfdahl, Marcus; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
The aim of this degree project is to enhance the understanding of Astor Piazzolla’s musical style. As a method, a comparative approach and pastiche preparation is chosen. Form analyses are mainly the basis of a style study, which is limited to five of Piazzolla’s compositions. Consequently, the study results in significant style elements that is realised and contextualised in new compositions. The final chapter discusses the importance of valuing a pastiche in relation to the style idiom. It points out that a good pastiche should present a balanced amount of style elements. Additionally, the chapter discusses the relation between analysis and composition, and it points out that an interaction between these two activities enables a deeper understanding of a certain style.
Approaching Piazzolla's music
(2012-08-22) Löfdahl, Marcus; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
The aim of this degree project is to enhance the understanding of Astor Piazzolla’s musical style. As a method, a comparative approach and pastiche preparation is chosen. Form analyses are mainly the basis of a style study, which is limited to five of Piazzolla’s compositions. Consequently, the study results in significant style elements that is realised and contextualised in new compositions. The final chapter discusses the importance of valuing a pastiche in relation to the style idiom. It points out that a good pastiche should present a balanced amount of style elements. Additionally, the chapter discusses the relation between analysis and composition, and it points out that an interaction between these two activities enables a deeper understanding of a certain style.
Den ärliga tolkningen
(2014-08-05) Andersson, Joel; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
In this thesis I try to find ways to be more independent and conscious in my interpretation of the music which I am playing. To be able to be more sure of myself and my own decisions I try to find methods on how to achieve this. The methods includes reading articles about interpretation, interviewing musicians and interpret and perform music. The pieces I have chosen are a solosuite by Max Reger, a concerto by Georg Philipp Telemann and a clarinet sonata by Johannes Brahms. I made some concerts where I try to achieve my goals. In the end of the thesis I reflect and discuss the process and the new experiences which I have got during the work..
ARTivistic strategies
(2021-04-01) Britt Lewis, Annika; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This is a reflection on contemporary performance work and it’s various strategies and methods in the interdisciplinary field of theatre, dance and performance art. Researching performative art in public space I’m posing the question; how can one develop new artistic strategies and arenas for dialog in and with our current society? By mapping my own practice and selected works, I emphasise the position of working outside of the theatre institutions and venues. With a background in the laboratory theatre tradition, physical theatre and dance – I’m attracted to the blurry field where performative art intervenes in our society questioning norms, conventions and cultural political agendas. Were art meets activism. The main focus here is my multi-spatial performance work ‘OmniPresence’ and the performance lecture ‘The Performance HYDRA’. My artistic drive is to shine light on invisible mechanisms and challenge dominant narratives. By unveiling some ways of creation and devising, I want to share some essential and selected strategies. My intention is that this account will function as a source and inspiration for future works.
Att bli äkta i sitt sångliga uttryck
(2025-06-26) Wahlström, Helena; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
I den här studien undersöker författaren hur man kan bli äkta i sitt sånguttryck. Dels genom en lyssningsanalys där författaren lyssnar på sångare som hon anser är äkta. Sångarnas uttryck analyseras sedan för att komma fram till de kvaliteter och förmågor de besitter och, till stor del, har gemensamt för att upplevas autentiska. I den andra undersökningen jämförs en låt som författaren komponerat, och som spelats in i olika versioner och med olika musiker vid fem tillfällen under ett flerårigt tidsspann. De olika versionerna analyseras sedan utifrån olika komponenter som författaren anser är viktiga för ett autentiskt sånguttryck. I den tredje undersökningen utformar och utför författaren sångövningar som kan gynna ett sant sånguttryck. Viktiga delar av resultatet är bland annat att man, för att vara äkta i sitt sånguttryck, behöver uttrycka sångtexten utifrån sina egna autentiska känslor, att man behöver sjunga för sin egen skull och inte för att bli bekräftad av andra, att man behöver känna lust och passion till att uttrycka sig genom sången samt att man behöver lyssna till och inspireras av andra sångare som man själv anser är äkta.
Att imitera sig till musikaliska uttrycksmedel
(2020-09-22) Johansson, Anton; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
This essay explores imitation as a method for developing means of interpretative expression. The experiments made are based around the 1952 recording of Reinhold Gliéres Horn Concerto in B-flat Op.91 by Valeriy Polekh. By imitating chosen parts of Polekh´s playing valuable insights about interpretation were gained and new techniques were learned. Imitating a recording as a self-teaching method proved to be a very useful and efficient way to find new means of expression and hence develop musicality. This because of the small investment of time needed, and because of the resulting big gain of practical knowledge.

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