Licentiatuppsatser / Högskolan för scen och musik

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    Programmert interpretasjon. Serinetten som kilde till 1700-tallets musikalske fremførelsespraksis
    (2014) Bratsberg, Bjørn A.; Högskolan för scen och musik
    In his famous treatise on organ-building, L'art du facteur d'orgues (1766-78), the French Bénédictine monk, organist and organ-builder Dom François Bédos de Celles devotes a chapter to the procedure of pinning cylinders for automatic organs. The chapter, based on the treatise La Tonotechnie by Dom Bédos' contemporary Joseph Engramelle, Dom Bédos contains detailed descriptions of basic practices of performance, including the precise nature of ornaments, articulation and notes inégales, with the aim of making possible the mechanical reproduction of a good human performance. The descriptions are presented in textual and diagrammatic form. The diagrams, which represent the surface of a pinned cylinder, are mathematically accurate and can be translated into ordinary notation. In describing the refinements of articulation, ornaments and "unequal notes" (inégales), Dom Bédos provides examples to serve as visual aids for the programmer or "pinner". The chapter is especially interesting as a testimony of historical performance practices since, in preparing it, the author collaborated with Claude Balbastre, a pupil of Rameau and an important organist in Paris. The study of pinned cylinders, seen as pictorial records of contemporary practices, may throw additional light on the teachings of eighteenth century theorists and composers, thus forming an important contribution to the search for a manner of performance suitable to the keyboard music of the period. To learn to understand the conditions of programming music on cylinders, and thereby also to be able to evaluate extant examples of music preserved in this form from a performance perspective, I have programmed examples described in Engramelle's Tonotechnie onto a cylinder of a small automatic organ, a serinette, built according to the engravings and descriptions in Dom Bédos' chapter. The aim of my study is to acquire a better understanding of the nature of a programmed performance, and especially to assess the extent to which music programmed on a cylinder can supply relevant information on late eighteenth century performance practices that cannot be found in other kinds of sources.
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    När musiken står på spel : en genusanalys av gymnasielevers musikaliska handlingsutrymme
    (2011-06-16) Borgström Källén, Carina; Högskolan för scen och musik, Göteborgs universitet
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    När musiken står på spel. En genusanalys av gymnasieelevers musikaliska handlingsutrymme
    (2011) Borgström Källén, Carina
    The specific aim of this licentiate thesis is to highlight and problematize the way gender is constructed in musical learning, and how these gender constructions contribute to, or restrict, students’ musical actions in a context where music is at stake for the participants. I will discuss gender issues in conjunction with music education based on the empirical findings conducted in two Swedish, upper secondary music schools. Methodologically the study has an ethnographical approach, and data from 54 participants, aged 16 to 19, was produced within a period of one year through observations and interviews. Data has been analyzed from a social constructionist, gender theoretical perspective, where gender is viewed as a continuously ongoing process (Connell). The theoretical framework is also inspired by the positioning theory (Harré & Davies). The results show that construction of gender in musical actions is salient in almost every situation where the participants make music together, but it is performed in different ways depending on the genre context. The results also indicate that the informants, who all had music as their main subject, put gender at stake when it comes to the distribution of tasks and instruments, when symbols in relation to musical actions were constructed, and when access to studios and computers were negotiated. Furthermore the students’ opportunity to choose content seems to contribute to a restricted acting space for both boys and girls since their choices are strictly gendered. The results also imply that gendered musical actions lead to a structure where norms for quality and competence are closely tied to construction of gender. Finally, the result suggests that informal learning in the aspect of intentionality seems to gender the conditions for musical learning, if it is directed towards playing and not towards learning how to play (Folkestad, 2006).
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    Musik och språk i samverkan – en aktionsforskningsstudie i åk 1
    (2011-10-20) Dahlbäck, Katharina
    The aim of the study is to gain and develop knowledge about how school children participate and learn in lessons where music and language interact. Common features of both music and language, such as sound elements, pitch, rhythm, melody, syntax and meaning, are investigated. Through action research, questions are asked about the ways children participate and interact in music and language activities and also about the mediating functions of music and language to enable the children to communicate in di.erent ways. A class teacher and a special education teacher participated in the action where, four days a week, 26 seven-year-old children began each day with a structured program. Four children were observed closely. The empirical data consists of videotapes, observation protocols, interviews, logs and meeting notes. The results show how, in accordance with sociocultural theory, pupils became more and more involved and how they engaged in multimodal learning where di.erent learning styles were encouraged. The songs provided a clear structure in which sounds, letters, words, rhyme, syllables, sentences, and content could be explored by all the pupils in the group, and where everyone had access to the same learning object. Linguistic concepts and symbols were used to help pupils understand musical aspects. The ability to listen for sounds and rhythm in both music and language was practised, repeated and varied by using songs and music. The pupils learnt to express language and music through participation, social interaction and transformations in the activities they took part in. Language and music activities in interaction contain a rich variety of communication and semiotic resources. Important aspects for participation were involvement, variation, authenticity, repetition and structure. Music and language in interaction may develop individual learning processes in a social community through educational differentiation.
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