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  • 151.
    Larsson, Emma
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Hur övar jag?: En observationsstudie med fokus på det egna lärandet av ett solo av Niels-Henning Ørsted Pedersen2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this independent project my learning process of a solo by the jazz bass player Niels-Henning Ørsted Pedersen is described and explored. The solo is from the song Stella by Starlight from the Art of the Duo album with Philip Catherine from 1993. The purpose is to explore how my own learning process is designed when studying this solo. It is based on observations of myself in the form of a logbook and video recordings of 20 practicing sessions in the fall of 2014. The starting point is a multimodal and design theoretical perspective. The result show how I use different resources when learning this solo: Different bodily resources in terms of voice and movements, consideration and decomposition, the other strings of the bass, combinations of different resources, but also technical resources in terms of music apps. Finally I discuss, in relation to the design theoretical perspective and earlier research, the conditions for learning the solo, and the strategies of exercises. 

  • 152.
    Larsson, Emma
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Musiklärares motivationsnivåer: En enkätstudie om musiklärares motivation att undervisa och att arbeta som musiker2017Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Previous research has described what motivation can mean, how motivation can be characterized and described, and that there are different types of motivation, such as internal and external motivation. The background to this study is an interest in how motivation works and affects us people. The purpose of this study is to investigate two motivations of music teachers, the motivation to teach and the motivation to work as a musician. The study has a qualitative research design and has been conducted with surveys as a data collection method. The population in the survey consists of music teachers in the aesthetic program at high school in Sweden. 30 respondents answered questions about motivation to teach and motivation to work as a musician. Based on the questionnaire, the relationship between these two motivations is analyzed, as well as the relationship between the motivations and other selected variables such as age, gender and current family situation. The study shows an unrelated relationship between motivation to teach and motivation to work as a musician. Furthermore, the study also showed an unrelated relationship between the motivations and other selected variables. 

  • 153.
    Larsson, Erica
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Hänger motivation, KASAM och övning ihop?: Enkätstudie på elever i årskurs tre, gymnasiet, baserat på Aaron Antonovskys livsfrågeformulär; KASAM2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine if there is a correlation between sense of coherence (SOC) and motivation in practicing musical instruments. The study is based on a survey with students in upper secondary school within the art program. Research questions was; is there a correlation between the motivation to practice and SOC and if there are any differences in SOC concerning gender based on comprehensibility, manageability and meaningfulness. A quantitative study was made through a questionnaire with 29 participants from a secondary upper school in a midsize town in Sweden. The questionnaire made by Aaron Antonovsky was used (SOC13) and two questions were added; the degree of motivation to practice a musical instrument and what gender the participants belonged to. To conclude the result, a correlation between sense of coherence and motivation to practice musical instrument was found. However, the result shows that students have a low degree of comprehensibility and manageability but higher degree of meaningfulness. No significant differences are found between genders, which are in line with previous research. 

  • 154.
    Larsson, Karl
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Att lära sig på gehör: En observationsstudie i lärande på gehör2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to explore what semiotic modes I use while I’m learning tunes by ear and also how I use this modes and how they affect my learning. By using logbook and video recording as a method of documenting my learning process, I have been able to research this area. Design theoretic perspectiv was chosen as a perspective on learning that I used to analyse and to make the learning process by ear “visible”. In my result, I present semiotic modes like the music, structures in music, memory, Amazing Slow Downer, the voice, the instrument, the body and emotions. To learn I listen to the tune and imitate what I hear and as an example on how I support my learning I sometimes divide the tune and change the tempo. In the discussion the view on knowledge and preconditions is discussed based on the result, design theoretical perspectiv and also by using earlier research on learning and playing by ear. 

  • 155.
    Larsson, Karl
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Folklig sång i sångundervisning. Hur vanligt är det egentligen?: En kartläggning av svensk folkmusik i sångundervisning.2018Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of the present quantitative survey study is to investigate the prerequisites for learning folk songs in singing education today. This was done by examining singing educators' familiarity with teaching Swedish folk music, how common folk songs are, and a mapping of traditional folk music repertoire areas in singing education. Previous research shows that rock and pop dominate music education in elementary school. The result showed that folk songs rarely occur and that older traditional songs and ballads are the most common repertoire area. Nearly 80% of singing teachers say they lack, or have some familiarity with traditional singing. The remaining 20% of report that they largely or completely familiarize themselves with traditional singing. In the discussion, stylistic elements are discussed in relation to various areas of repertoire. Furthermore, the lack of prerequisites for meeting the traditional features in folk music is discussed in relation to the tendency of overemphasizing some repertoire areas. Finally, the result is discussed in relation to governing documents and previous research.

  • 156.
    Larsson, Sanna
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Kommunikation - vad är det?: En studie av musikalisk kommunikation i ensemblesammanhang2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The study focuses on how singers communicate with their fellow musicians in music ensembles considering the multimodal perspective of communication and learning conditions. With the help of video recordings of my own communication within an ensemble I have analysed which semiotic resources that are used and my underlying intentions with them. The result shows that the communication between the group members first are established after a while into the learning process and that the singing part shows to be the prime communicator for me in this case where dynamic, articulating and playfulness indicate security or insecurity about the form of the song and the melody. It also works as a guide to where I am at in the learning process. In the chapter on discussion I present, among other things, how the first ensemble lesson is created due to the multimodal perspective on favourable learning conditions and also the importance of body language for favourable communication in music ensembles.

  • 157.
    Larsson, Sanna
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    "Tjejer är ofta enklare att ha att göra med": En video- och intervjustudie om hur sångundervisning och sånglärares bemötande påverkas av elevens biologiska kön2016Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of the study is to, from a gender perspective, investigate how vocal teachers treatment of the student is affected by the student’s biological sex. With the help of video observations of the teachers vocal tutoring in combination with semi-structured interviews certain themes have emerged from the analysis of the teachers treatment of the students and stated views on sex and gender. The result shows that the most significant difference in the teacher’s attitude towards the students is the amount of teachers joke and laughter. The teachers approach towards the singers function is presented along with how that seems to affect the teachers approach towards vocal tutoring. The result also display how the social interaction appears between the teacher and students, how encouragement and praise is given and how the teachers perceptions on emotional distinctions between boys and girls are effecting the vocal tutoring and the teachers treatment of the students. In the chapter on discussion I present, among other things, how both teachers and students due to their attitude towards each other confirm the gender order and lastly how social structures and expectations affects their social interactions. 

  • 158.
    Leijon-Lind, Sandra
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Stabilt med FMT: Hur FMT kan öka stabiliteten hos personer med Down syndrom2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I detta examensarbete beskriver jag FMT – Funktionsinriktad Musikterapi. Arbetets fokus ligger på att undersöka hur man med hjälp av FMT kan stödja och utveckla balansen och stabiliteten hos personer med Down syndrom. I fallbeskrivningar beskriver jag hur jag har arbetat med FMT-metoden med två personer som båda har diagnosen Down syndrom. Mitt mål har varit att utveckla och stärka deras balans och stabilitet.

     

    Min slutsats är att arbete med FMT kan stärka och utveckla balansen och stabiliteten hos personer med Down syndrom.

  • 159.
    Lembring, Anna
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Svängrum: En observationsstudie av socialt och musikaliskt samspel ur ett genusperspektiv2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine, from a gender point of view, the social and musical interaction in ensemble groups during ensemble lessons at secondary levels. The study is based on a gender perspective where gender is seen as a social construction. The data consists of video observations of three separate music lessons where ensemble playing was on the curriculum. The result showed the pupils actively recreating gender stereotypical instrument allocations and, in doing so, consolidating the heteronormative hierarchy. Furthermore, the result showed a more dominant behaviour amongst certain of the boys in the groups, and amongst the girls a predominantly more supporting behavioural pattern. The discussion suggests the space for action for girls being narrower than that for the boys, and presents the set of rules accompanying the gender contract as possible key for understanding girls' and boys' different place-taking.

  • 160.
    Liepins, Daumants
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Brahms Piano Concerto no. 1: From practicing room to the stage2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The goal of this independent thesis is to follow through the process of learning Brahms concerto no. 1 from the very beginning until the performance. The goal is to provide an analysis of this process, thus understanding it better and also gaining new insights in what can be improved. 

    I used a diary of the practicing process to write down my experiences, videos from the practicing room and performance, analysis of the practicing methods, and also analysis of the performances as tools to investigate the topic. I hope that this thesis will be a work of interest for musicians who are interested in getting new insights into the practicing and performing process of a pianist.

  • 161.
    Lilliestierna, Charlotte
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013).
    En komplett sångundervisning?: En intervjustudie av fyra sångpedagogers syn på hur fortbildning på ”Complete Vocal Institute” påverkar och bidrar till deras sätt att undervisa2013Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of the present study is to explore how training at Complete Vocal Institute, CVI, affects and contributes to singing teachers way of teaching. The background chapter gives a brief description of the training course at CVI, followed by a presentation of the founder of Complete Song Technique (CVT), Cathrine Sadolin, how the technique evolved and its described meaning and function. Previous research in related fields is presented and the chapter concludes with the socio-cultural perspective, which form the basic understanding of this study. The study consists of four interviews with four singing teachers who have participated in a three-year training course at CVI, to become certified CVT-teachers. The result presents the analysis of the teachers' stories about how this training has influenced and contributed to their teaching methods. It appears that they have gained several educational tools and approaches through CVI including the CVT's vocals technical terminology, different teaching methods and a pedagogical approach to always let the student's taste and motivation constitute the base for learning. The concluding discussion highlights selected aspects of the results, which is discussed in relation to the socio-cultural perspective on learning and previous research. Aspects discussed include the teachers' emphasis on the importance of using five described different techniques as pedagogical tools as well as the approach of giving students responsibility for their learning process. 

  • 162.
    Lind, Hanna
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    "Diktatorn!" ...eller?: En kvalitativ intervjustudie om orkestermusikers syn på vad som utmärker en skicklig dirigent2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to investigate what four orchestral musicians appreciate in a conductor, and as well as the musicians’ view of the conductor’s work, abilities and knowledge, in order to form an idea of what orchestral musicians want to see in a conductor to perceive him as skilled at his profession. This has been accomplished through qualitative interviews with musicians from the symphony orchestra’s four instrument groups: the string section, the woodwind section, the brass section and the percussion section. The analysis of the collected material has been done with a hermeneutical perspective, with the purpose of using information from the background chapters to analyse and interpret the interviewees’ answers based on their experience and opinions.

     

    The results show that the conductor’s leadership is very important to the interviewees, that clarity in beat patterns and the ability to mediate the conductor’s theoretical knowledge to the orchestra is appreciated, and that the conductor’s personal character plays a role in the interviewees’ view of the conductor’s qualities. As for the conductor’s rehearsal technique, views differs slightly among the interviewees; the first view advocates focus on rehearsal of details and the second view advocates focus on overall rehearsal to favour the music as a whole. Furthermore, the interviewees think that the conductor must be well-prepared and be able to convey the musical decisions he has taken while studying the score.

  • 163.
    Lindberg, Olov
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Metoder Mot Mer Melodier: En observationsstudie i komposition och inspiration inom jazzgenren2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This is a study about learning processes. The purpose of this study is to study various methodological and technical approaches to composition and how they can help to bring the inspiration and creativity of a composer and/or arranger. In this study I intended to compose and arrange 3-4 songs for a music ensemble, using this as a study of my composition process. I have analyzed my composing methods, and also attempted to determine if this might be a way to avoid an absence of inspiration and increase creativity for composers. This observation has mainly been documented using the logbook. This study is carried out with a phenomenological perspective, and the result of my observations is analyzed with phenomenology as the basis. The study demonstrates that I use various methods combined in my composing work, such as a principal focus for every piece, my experience in composing and music arranging, different tone-colours and intuition. 

  • 164.
    Lindberg, Olov
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Trumpet är coolt! Eller?: En kvantitativ studie i barns och ungdomars syn på frivillig musikundervisning i trumpet i musik- och kulturskolor2017Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to describe the relevance of the influence and possible correlations of selected factors on trumpet students choice of instrument and their continuous playing at community music schools. This is done by describing both what influenced the students in their choice of instruments, and what was important for their continued interest. Thereafter, any possible correlations between these important factors are examined. The study also examines parents estimated support and whether it has any connection with the students' practice rates. The study also examines students interest in instruments at community music schools by examining the relevance of the impact of certain factors on the interest, but also in comparison with other musical instruments. This is pursued by both uncovering where the interest came from and how they perceive their own interest at present compared to when they started playing. Previous research in this field has often been focused on the teacher's perspective or on a general view of teaching. In contrast, this study should be able to show trumpet students point of view. The study was conducted on the basis of a positivist quantitative approach and the selection consists of trumpet students and their parents. Results show that both the characteristics of the trumpet, for example the sound colour, as well as the teacher, are important factors for students to start playing this instrument. Testing days on music schools are also a contributing factor. Results also provides fact to that there are no idols that created the interest of any of the students, instead the interest has mostly come from teachers, family and friends. Having tried to play the trumpet in the past is also an important factor. A reflection that this study may suggest is that parents may underestimate their own influence on students, both in the choice of instruments, but also for the continued interest.

     

  • 165.
    Lindell, Sebastian
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Lära i komposition: En fenomenologiskt inriktad självstudie2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I this thesis I have explored my processes when composing and arranging for an ensemble consisting of electric guitar, electric bass, drums and four wind instruments. During two semesters I kept a log over the different events in which I’ve been working with this creative process, events such as composing, lessons with teachers and rehearsals with the ensemble. The result is reported in the themes The search of a compositional flow, Seeds that germinate and grow and The feeling of finding new ways. These themes are in the last chapter discussed in relation to previous research on the subject and a hermeneutic phenomenological perspective.

  • 166.
    Lindell, Sebastian
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Undervisning om undervisning: En studie om hur en lärare på musikhögskolan ser på undervisning i ämnet musikdidaktik2018Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to describe how a teacher in the subject of Music Didactics at a music college views his own subject. The scientific theory of the study is qualitative and the theoretical framework is based on a hermeneutic perspective. The data has been generated through unstructured and semistructured interviews with a teacher in the subject of Music Didactics at a music college. The interviews have been transcribed and processed using a narrative analysis method. The results present themes that tells about the road that lead to becoming a teacher in the subject, the view on the subject of general music didactics and the evolving of his teaching model. The results show how a number of committed individuals influenced the choices made by the teacher leading to the didactics teacher position. Furthermore, the result presents a view on the subject as a bridge between the practical, methodological courses and the theoretic, pedagogical courses. Lastly, the teacher's way of developing the subject of Music Didactics is presented through experience, literature and exchanges with colleagues and students. In the discussion, three summary themes are highlighted, which are the views on teaching the subject, a practical approach and the impression on students.

  • 167.
    Lindskog, Johanna
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Och bara... let go, liksom: En kvalitativ intervjustudie i hur klarinettpedagoger förbereder sina elever för ett framträdande2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study aims to gain a deeper insight into how some clarinet teachers prepare their students for musical performances. In the background chapter previous research on performance anxiety is presented, as well as various strategies for dealing with it. Furthermore, the study's theoretical perspective is presented constituted by a didactic perspective. The research method used in this study is qualitative research interview and there are four clarinet teachers who have been interviewed. The interviews were transcribed, processed and analyzed, and the answers from the teachers represent the study's results. The results show that the teachers prepare their students by working with concentration, concert habit, and technical instrumental skills such as breathing techniques. The teachers share a common perception that the quality of their teaching gives students a good instrumental technical basis, which can make it easier for the students to cope with the anxiety related to a musical performance. However, the results also show that two of the teachers experience a shortage of both time and skills, when it comes to helping students with their anxiousness.

  • 168.
    Ljung, Jesse
    Karlstad University.
    Svenska kulturarvet, andlig förflackning och postmodernism: En studie av ett svenskt spelmansförbund: 1958 till vår samtid2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this essay is to analyze how the ideas of the Swedish national romantic period have been expressed in the early years of Hälsinglands Spelmansförbund, how these may have changed over time, and whether national romantic ideas remain in today's Hälsinglands Spelmansförbund. The author uses qualitative analysis with content analysis to analyze statutes from 1958, the memorandum Folkmusiken i Hälsingland genom tiderna from 1967 and the 1995 statutes: The statutes of 1958 to indicate whether national romance has been expressed in any way in the Hälsinglands spelmansförbunds early years, Folkmusiken i Hälsingland genom tiderna from 1967 in relation to changes in the folk music field, to show changes in Hälsinglands spelmansförbund, and statutes from 1995 to highlight our time and if ideas from the national romance remain in Hälsinglands spelmansförbund. The main results are that national romantic ideas have existed and exists in Hälsingland Spelmansförbund. However, one can see a slight difference in our contemporary Hälsingland spelmansförbund, with more focus on our time than our past. The author concludes that this may be a result of the postmodern thoughts on the alienation of our history. Postmodernism is also a theory the author uses to prove change in the folk music field.

  • 169.
    Lund, Mattias
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Från idé till musik: En observationsstudie om improvisationsövning2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to explore Jazz improvisation on the piano from a design-theoretical perspective. The research questions are: Which resources do I use when learning Jazz improvisation on the piano? How do I use the resources when learning improvisation? In a five week period, the exercise process has been documented using video and logbook. Two songs, My romanceand Moose the mooche, has been practiced to explore different methods of practice. The methods are: Creative improvisation, approaching notes and motor skills. The result show how the different resources are being used and co-work during the practice sessions. Resources that are being presented in the result are: body resources,instrumental and period of reflection as resource, the voice as a resource, exercises and motor skills as a resource as well as material resources. The result shows that different focus is put on different resources depending on the practice session. When practicing Creative Improvisation the resource period of reflection is in focus and influences the use of other resources as the body and material resources. The result is discussed from a Design theoretical perspective in relation to previous research in the field of Jazz piano Improvisation.

  • 170.
    Lund, Mattias
    et al.
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Mattsson, David
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    “Varje dag är man kreativ…”: En kvalitativ intervjustudie om kulturskolelärares uppfattningar om kreativitet2019Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    From a hermeneutic perspective, the present study aims to examine how cultural school teachers perceive creativity and how these perceptions have grown. The background chapter presents literature and research that concerns the area of ​​creativity. Seven informants were interviewed with semi-structured qualitative interviews. Interpretations of the transcriptions were made by applying the hermeneutic circle. The result shows common views of creativity. Creativity was perceived as breaking out of established thought patterns, creation and creating new ideas. Prerequisites for creativity were perceived to be safe environments and that the teacher is comfortable in his or her teaching profession. The view was that all pupils are creative, but the teacher needs to attract creativity. Some prerequisites for students were curiosity, interest and motivation. The result shows that the teachers' own education has been a source of how they perceive creativity. The most important factors were their teachers and to play music in ensembles with others. In turn this have influenced how teachers teach their students today.

  • 171.
    Lundén, Magnus
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Genus i ensemble: En intervjustudie om lärares syn på genusuppdraget och dess innebörd för ensembleämnet2016Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of the following study is to examine the approach of music teachers to the charge of countering traditional gender roles in the subject ensemble in secondary high school. To achieve this qualitative, semi-structured interviews have been implemented with teachers in the secondary high school subject of ensemble, followed by discourse analyses of the transcriptions of said interviews. The theoretical basis for this study is made up of gender theories and discourse theory. The result presents a number of discourses regarding gender and pupils. Amongst these discourses can be found thoughts on gender work as routine, as a side effect of other things and as a constant awareness. Regarding pupils, there are discourses on pupils as space takers, as norm breakers and the importance of every pupil feeling like an observed individual. The conclusions, as well as the discussion chapter, brings up the success of gender work, what may have caused it, and how the daily work has come to change due to these successes. Throughout the study, a focus on the individual has presented itself, where pupils are not seen as a group, but as separate individuals, who must be met on a personal plain. 

  • 172.
    Lundén, Magnus
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    När ensemblen satts på plats: Kompositionsmetodik för förbestämd sättning2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    For a long time, I have been interested in composing, possibly because I am an improvising musician. In this paper, I bring up the subject of my work in this field, what methods I use, what others I know of and which ones I could use to improve my results. The goal was to get an overview of my creative process, so that I may develop farther, whilst simultaneously help the reader to recognize his or her own methods and thusly see them in a new light.

     

    I have analysed video and logs of my work from a sociocultural perspective, which means I have focused on the tools I use as something both of the mind and of the physical world. I have also seen just how closely these two are bound to one another. They also influence the results, which makes choosing your tools important. The main focus is the process of learning, the creation of music and the sociocultural tool kit.

     

  • 173.
    Löfberg, Miriam
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Spetskompetens genom breddning?: En observationsstudie med fokus på att sjunga med fyllig klang i högre tonlägen utifrån sångmetoden komplett sångteknik.2018Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of the study is to gain a deepened insight in what the learning of the singing technique neutral without aircan mean. To study this I have practiced neutral without air20-30 minutes per day, three times a week over a five weeks’ period. During and after every practice session I have written a log to document new personal experiences of the learning process. In addition to this I have documented five practice sessions with a video camera. The theoretical perspective of this study is design theory with focus on the semiotic resources used during the learning process. The study’s research questions are: Which semiotic resources are used during learning the song technique known as neutral without air? How are these resources used? The results show that the most central resources that were used were the body and the vocal elements of the technique. These resources are used to achieve a steady and desirable result in an innocuously manner. In the discussion, I describe the necessary resources for the learning process of the song techniqueneutral without air.

  • 174.
    Maddock, Anne
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    FMT som en integrerad del av en Kulturskola i utveckling2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 175.
    Magnusson, Emma
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Att tillhöra en genre, vad innebär det?: En intervjustudie om klassiska musiker och jazzmusiker2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to get an insight into what kind of influence and meaning traditions and genres has on musicians. I have, during my period of study, developed an interest in finding out how genres and traditions affect musician´s musical performances. The study originates from a socio-cultural perspective, which means that playing music is considered as a social activity where a great deal of knowledge comes from communication with other people. The data consists of qualitative interviews with four musicians. The result shows that the distinction between genres is not necessarily great. The background literature however proves the opposite. In the literature, jazz musicians are described as having a good musical ear; they do not pay that close attention to the written note, whilst classical musicians do the opposite. My study shows that jazz musicians and classical musicians are both equally dependent upon tradition, but the way they interpret music is individual and depends upon the situation. Furthermore, the study shows that the term musical freedom has a different meaning for a jazz musician than it has for a classical musician, but it is still up to musicians to define it for themselves within his or her genre. When the interviewees were asked to define their genre, the classical musicians answered that classical music is supposed to be played strictly the way it appears on sheet music within a clear framework, but genre does not always automatically shape a musician nor how they think as individuals.  A classical musician can, according to the result, also experiment and with a good musical ear compose their own music and improvise in many different ways.

  • 176.
    Maja, Björklin
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Övningsstrategier: En fenomenologisk självstudie i övning med utgångspunkt i tre etyder för violin2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The self-study aims to explore a musician's practice to attain a deeper understanding of how exercise can be performed and experienced. The study was based on three etudes for violin by Kayser along with the logbook notes corresponding to each exercise session. A phenomenological perspective is the basis of this study, and it is presented in chapter two, along with previous research and literature in the topic of practicing. Patterns that emerged in the analysis of the logbook are presented in themes that are relevant to this study. These themes are: practice strategies and experiences, lessons and reflections. A chapter on discussion then follows, where the results are compared to previous research and literature.

  • 177.
    Malmquist, Carla
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013).
    Bedömning i musik, en omöjlig uppgift?: En intervjustudie av musiklärares syn på bedömning i ämnet musik i årskurs 62014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine music teachers' views on assessment in the subject of music in year 6, in relation to the goals of the curriculum. The background chapter presents the syllabus in music for the years 4-6 from the curriculum of 2011 (lgr11). The background chapter also presents different concepts, commonly occurring in the context of assessment and gives a presentation of previous literature and research related to the study's purpose. Furthermore, it also presents different perspectives on the concept of knowledge, which is the theoretical premises underlying the study.     The research method used in the study is the qualitative interview and four currently active music teachers in year 6 were interviewed.     The result chapter describes the interviewed teachers' view of knowledge in music and on the syllabus, and their views of assessment and grading. Generally, there is a negative view of assessment and grading in the subject of music in grade 6. All teachers' raises areas that they consider very difficult to assess, and they all think that the knowledge requirements in the syllabus for the different grade levels are difficult to interpret. The methods and assessment tools that emerge are primarily classroom observations, notes and written documentation, tests and presentations.     The discussion is about the music teachers’ views on the music subject in relation to the curriculum’s view on knowledge in music. The fact that the music teachers' perceptions of what are important qualities often are very different from what the syllabus expresses as important qualities. For example the majority of the music teachers' mention joy and lust as important qualities, which are not mentioned at all in the syllabus. The discussion also calls attention to whether everything in the subject of music really is possible to assess. The music teachers' stories of how they do their assessment work and about their views on assessment and grading are compared to the syllabus and previous research in the field.

  • 178.
    Manisalis, Achilleas
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Att undervisa synskadade elever i klassisk gitarr: En intervjustudie av gitarrlärares syn på hur musikundervisning kan bedrivas med synskadade elever2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of the study is to investigate how guitar teacher works with visually impaired students in classical guitar teaching, the goal is to facilitate the work of teachers when it comes to teaching visually impaired students in classical guitar. The study's research questions are: What kind of work do guitar teachers do teaching classic guitar with visually impaired students? How do they work with visually impaired students? Why do they work as they do? The study's methodology consists of interviews with teachers and students and observations of guitar lessons with visually impaired students. The background chapter describes how blind and visually impaired students in general, have a great potential to educate themselves in music and learning playing the guitar. The result presents a series of techniques such as: taping the back of the fingerboard, showing how to play by letting students feel the teacher's hands, left hand orientation, positioning in light, practice on the development of exciting sounds of the guitar, limiting left hand motions, using recorded lessons and Braille scores, serenity in the room and overall things to consider when practicing. One conclusion is that the classical guitar can stimulate blind children's fascination of sound. The discussion consists of a reflection of the study, with the results linked to background literature.

  • 179.
    Mateos-Moreno, Daniel
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Contributions from Neuroscience and Philosophy for Music Education [Evidencias desde la neurociencia y la filosofía para la educación musical]2014In: Música y educación: Revista trimestral de pedagogía musical, ISSN 0214-4786, Vol. 27, no 98, p. 20-31Article in journal (Refereed)
    Abstract [en]

    The place of music in the general education of individuals is addressed from a renovated paradigm.Through a rereading of certain ideas of Rousseau, Freud, Hegel, Malinowski and Leibniz, a thesis is grounded on what is permanent in human nature and what the aims should be foreducating that nature. Later, recent advances in neuroscience are discussed in relation tothe biological and functional nature of any individual facing music. Finally, a convergence of both paradigms is discussed within the Spanish education system, concludingthat the necessary presence of music as a key pillar in education is supportedby two mainstays: for the intrinsic value of music towards the developmentof human potentiality (music “for the sake of music”); and for theextrinsic values of music given its cross-disciplinary effectson different human potentialities.

  • 180.
    Mateos-Moreno, Daniel
    University of Malaga, Spain.
    Familiarity of the future music teachers in Primary Education with the nowadays classical music2011In: Revista electrónica de LEEME, ISSN 1575-9563, no 28, p. 88-114Article in journal (Refereed)
    Abstract [en]

    Given the high-value of its resources for teaching music, as posed in the 70s by the works of John Paynter, Peter Aston, Robert Murray Schafer, Gertrud Meyer-Denkmann, Brian Dennis and others, it is easy to find literature that places Contemporary Classical Western Music as one of the top dominant trends in the field of Music Education. Our research aimed to detect the present familiarity towards this music on the part of students in their last stage for the awarding of the Primary-school Music-teacher degree in Andalusia. Also it aimed to reveal keys for possible actions to improve this familiarity. The proposed research was pursued following paradigms of the quantitative statistical methodology, with the aid of the computer program SPSS. An instrument was built, piloted, validated and concurrently-validated on a related population. Results were disappointing, putting on the table the real dimensions of a problem, together with a variety of starting-points where a plan could be built to effectively resolve the encountered situation.

  • 181.
    Mateos-Moreno, Daniel
    University of Malaga, Spain.
    Is it possible to teach music composition today?: A search for the challenges of teaching music composition to student composers in a tertiary context2011In: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 13, no 4, p. 407-429Article in journal (Refereed)
    Abstract [en]

    Our aim is to identify the challenges of teaching music composition to today’s students of composition at a tertiary or professional level. We undertake this by two different approaches: on one level, by establishing a context through reviewing literature on the teaching practices of three renowned teachers from the twentieth century; on a second level, by considering current practice in the UK through a qualitative case study of six distinguished composers involved in the professional and academic world: George Benjamin, Robert Saxton, Michael Finnissy, Judith Weir, Michael Zev Gordon and Nicola LeFanu. Together these two complementary approaches will provide our first look at an insufficiently researched area. Â

  • 182.
    Mateos-Moreno, Daniel
    University of Malaga, Spain.
    Latent dimensions of attitudes towards contemporary music: A structural model2015In: Psychology of Music, ISSN 0305-7356, E-ISSN 1741-3087, Vol. 43, no 4, p. 545-562Article in journal (Refereed)
    Abstract [en]

    Contemporary music from the Western Classical tradition, a term usually reduced to simply "contemporary music," is widely considered as being quite under-represented on the current musical scene in comparison to the music from any other period. As a perspective from which to explore this aversion beyond the obvious likes and dislikes, our aim was to find non-observable variables or latent dimensions by means of psychological constructs modelling attitudes towards contemporary music in a relevant population, such as music teachers to-be, in order to inform thinking about how to effect a change in this aversion. In doing so, a quantitative psychometric instrument was developed, validated and applied to a sample of this population during their university training period. Retrieved data was analysed by exploratory and confirmatory factor analyses, leading to the proposal of a second-order, structural equations model comprising three constructs identified as "Perceived complexity & stridency", "Desire to discover" and "Aesthetic respect". Results could help in a) finding strategies to address aversion, both by the identification of its latent components and their interrelations; and b) proposing a model suitable to be compared to that of other population subgroups and to be connected to other variables for testing the effectiveness of future experimental actions in the teacher training context.

  • 183.
    Mateos-Moreno, Daniel
    University of Malaga, Spain.
    The Profile of the Primary School Music Teacher in the Stage of Pre-Service Music Teaching Training2013In: Revista electrónica de LEEME, ISSN 1575-9563, no 31, p. 52-78Article in journal (Refereed)
    Abstract [en]

    By means of a quantitative cross-sectional study we aim to explore to the profile of the future music teacher during their last training stage at university. Our approach addresses their sociodemographic characteristics, academic backgrounds, and musical preferences. A brief questionnaire, created and validated for this study, was administered in the eight public Andalusian universities that offer the degree of primary school music teacher. The fruits of these analyses revealed evidence that contrasts similarities and differences by university, and lead to further inquiries based on musical preferences, musical training, and pre-university interest, among other examined variables. Finally, the implications of our results are discussed in relation to the training of these future Andalusian music teachers.

  • 184.
    Mateos-Moreno, Daniel
    et al.
    University of Malaga, Spain.
    Alcaraz-Iborra, Mario
    Conservatorio Elemental Mus San Fernando, Dept Guitar, Cadiz, Spain.
    Grounded Theory as a methodology to design teaching strategies for historically informed musical performance2013In: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 15, no 2, p. 231-248Article in journal (Refereed)
    Abstract [en]

    Our work highlights the necessity of revising the materials employed in instrumental education, which are systematically based on a progressive development of technical abilities and, though only transversely, without a structured sequence of contents, on issues referring to the interpretation of different periods and styles. In order to elaborate teaching resources systematising the stylistic contents in instrumental education, we propose and justify the use of a research methodology from the social sciences: Grounded Theory. In conjunction, we present a guided demonstration on how to put into practice this methodological system to analyse musical performance based on the concept of Historical Performance of Music and we create related pedagogical resources. © 2013 Copyright Taylor and Francis Group, LLC.

  • 185.
    Mateos-Moreno, Daniel
    et al.
    University of Malaga, Spain.
    Atencia-Doña, Lidia
    Universidad de Malaga, Malaga, Spain.
    Effect of a combined dance/movement and music therapy on young adults diagnosed with severe autism2013In: The arts in psychotherapy, ISSN 0197-4556, E-ISSN 1873-5878, Vol. 40, no 5, p. 465-472Article in journal (Refereed)
    Abstract [en]

    Current literature is scarce on the potential effects of combined dance/movement and music therapy on adults diagnosed with severe autism, particularly in distinguishing these effects on different areas of psychopathological disorders. We set two goals: first, to assess the effectiveness based on the score the participants obtained from the Revised Clinical Scale for the Evaluation of Autistic Behavior (ECA-R) after a series of dance/movement and music therapeutic procedures on adults with severe autism; second, to contrast the differences in effectiveness in concrete areas defined by subscales of the ECA-R, especially in its defined 2 factors and 12 functions. An overall of 36 one-hour sessions were carried out during 17 weeks on a sample of 8 participants with severe autism (approximately 2 sessions per week). During the treatment 8 measurements were taken (1 every 3 weeks) from this sample and from a control sample, which was also comprised of 8 subjects who were equally monitored at the same care center by two independent psychologists. Our experimental study seems to suggest that combined dance/movement and music therapy could be effective if used regularly for the improvement of autistic symptoms in adults diagnosed with severe autism. © 2013 Elsevier Ltd.

  • 186.
    Mateos-Moreno, Daniel
    et al.
    University of Castilla-La Mancha, Didáctica de la Expresión Musical, España.
    Iborra, Mario Alcaraz
    Pedagogy of musical styles in performance [Didáctica del estilo en la interpretación musical]2011In: Música y educación: Revista trimestral de pedagogía musical, ISSN 0214-4786, Vol. 24, no 88, p. 16-29Article in journal (Refereed)
    Abstract [en]

    Style is not commonly taken into account for leveling difficulties in instrumental performance, as technique is. Accordingly, teaching resources are solely organized around the technicalities of performance, leaving style as a cross-curricular aspect. With the aim of achieving a more meaningful learning of style, our work proposes a model for establishing instrumental teaching built not only around technicalaspects but also on performance style, taking as a starting point the rethinking oftwo dichotomies: on one hand, printed music and performance stylisticallyadequate; on the other, instrumental technique and interpretative style.

  • 187.
    Matslova, Wiktor
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Ta lektioner och öva: En självstudie i hur man lär sig spela saxofon2019Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is conducted on the basis of improving students and teachers understanding of how to play a new instrument. And is done with the help of notes and video recorded practice sessions. The instrument is saxophone and the practice period are ten weeks. Design theory is the theoretical perspective of choice and a focus is set on how different semiotic resources affect learning. The project is structured around lessons with a teacher and self-practice, with the hopes of comparing the different processes against each other.

  • 188.
    Molander, Emelie
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Vägen till en motiverande fiolundervisning: En intervjustudie med fyra fiollärare2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this paper is to increase knowledge and understanding of the didactic choices violin pedagogues can do to promote students’ motivation to play and practice. Apropos this end, I have conducted interviews with four violin pedagogues. The theoretical basis is a socio-cultural perspective, taking a holistic approach to the students learning. It is a perspective in which the social aspect is emphasized, in which the tutor is regarded as a prime facilitator in learning. The result shows that the four violin pedagogues believe that the social aspect is most important for student motivation, so the teaching is perceived as meaningful. They also believe that parents can influence students' motivation and that practice is an important factor for students to develop. Development in turn, creates motivation and exercise routines with the help of parents. However, interviewees do not see it as problematic if a student does not always find it fun to play immediately, as learning to make music can create happiness in the future. Furthermore, the results show that the interviewees think that there are no easy answers and not just one way to teach. All students and teachers are unique and it is therefor important to adopt a flexible approach and have an open mind about creating a motivating learning environment.

  • 189.
    Morin, Viktor
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Intuition, Teknik och Erfarenhet: Observation av en lärandeprocess2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This is a study about learning and creative processes. More specifically, the study contains an observation of how I arrange three songs for different instruments within a specific time limit. The questions that are accounted for in this study are what techniques I use, which problems arise and how the time limit affects the result. The result of this study shows that a variety of factors are present during my composition/arranging process. It shows that I apply intuition, discursive thinking, music theoretical techniques, and experience in the field of arranging music. The observation is, to some extent, analysed from phenomenological perspective.

  • 190.
    Morin, Viktor
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Vem övar mest?: En fallstudie om sångstudenters musikaliska bakgrund och hur mycket de övar2016Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    A lot of research has been done in the field of musical practice. Earlier studies have displayedinteresting conclusions about the quantitative properties of practice, like the famous 10 000 hours that is thought to be required to attain a level of musical expertise,to the significant meaning of qualitative properties in practice, like motivation and practicestrategies. The background to this study lies in an interest for singing students andtheir musical background. The present study emanates from a positivist perspective onknowledge and interest is mainly in seeing if there is significant correlations betweenstudents musical background and how much time they spend on practice. A survey wasdone on singing students of The Ingesund School of Music. They were asked differentquestions about their musical background and how much they practice. The study couldconclude that institutional factors, such as years spent with singing lessons and theamount of earlier education, have a correlation to higher practice-time per week. Parentswho work with and practice music doesn’t seem to be of importance. However,those students whose parents are musicians reported a higher rate of influence by their parents.

  • 191.
    Möller, Marta
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Att brottas med musiken: En självstudie i erfarandet av dynamik utifrån ett solostycke2018Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In order to find out and become aware of my own use of dynamics and the use of it in performance, I have made a study on this. The purpose is based on several comments during master classes and lessons, as I have always been told that I never express enough dynamics in the performed piece. My research is based on the experience of my own practice and the development of big dynamic contrasts in the flute piece Density 21.5 byEdgard Varése. I also explore and look at the influences of the room acoustic and the matter it has on the actual dynamic. The background research emphasizes how dynamics are gaining importance through history, how to use dynamics on the flute, previous research that has been made on the study of pieces and acoustics and also the theoretical perspective of body phenomenology by Merleau-Ponty. The method chapter clarifies the structure of the study and how practice situations have been highlighted through logbook, audio- and video recording. This has then been analyzed through detailed body phenomenology and an attempt has also been made to clarify factors that can improve my own dynamic control and its experience. Finally, there is a discussion which brings up how habits and activities of the body affect the experience in both practice and performance.  

  • 192.
    Nilzon, Eva
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Elever mår bra av att bli lyssnade på: En studie i musiklärares syn på bemötandet av elever i kulturskolan2014Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This interview study describes music teachers’ views on treatment of pupils in music education in Swedish music and arts schools. The purpose of the study is to show how three music teachers talk about treatment of pupils in music education, and its impact upon student musical learning. Data consists of interviews with three music teachers from different music schools in Sweden. The study is based on hermeneutic perspective such as understanding and interpretation, and the result show the following five themes: Factors that impact the treatment in the classroom situation, connections between teacher treatment and student progression, and music teachers’ dialogue on treatment. In the last chapter, among other things, the teachers’ experiences of not having learnt about treatment during their teacher training are discussed.

  • 193.
    Norberg, Helena
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    ”Det blir inte relevant om man inte får ett sammanhang”: En intervjustudie av pianopedagogers syn på samspel och gruppundervisning i piano2013Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to investigate active piano teachers’ experiences of group teaching and interaction opportunities for new beginner in piano. The background chapter provides an overview of what's written about the interplay, piano tutorials, traditions in piano teaching and materials for groups, followed by a presentation of previous research in the field. The theoretical starting point for the study consists of the socio-cultural perspective on learning and communication.

    The collected data material consists of qualitative interviews with four active piano teachers who have experience of interaction and group lessons for piano. The results chapter describes the informants' experiences of group work, interaction, conditions and materials. The result tells that external frame factors (such as instruments and services) as well as internal frame factors (as educator interest and motivation) have important implications for how the teaching will be. Other issues raised by informants are group dynamics, the importance of pulse and listening in interaction situations and approaches to find suitable materials. The concluding discussion chapter highlights parts of the study’s results discussed in relation to the socio-cultural perspective on learning, and the previous literature and research. One conclusion is that piano students in a group have the opportunity to learn other skills than the individual student. Another conclusion is that if the group dynamic doesn’t function, so does not the musical interaction, or any other elements.

  • 194.
    Nordén, Malin
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Prioriteringar i undervisningen: Sångpedagogers kunskapsprioriteringar och mål med undervisningen2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study examines what vocal teachers prioritize in the training of beginners’ pupils. The study is based on a survey where ten singing teachers from south and central Sweden participated, as well as three separate interviews with vocal teachers who also participated in the survey. The informants have answered questions about priority in vocal education with emphasis on beginners’ pupils. The study examines teachers' views on what priorities they make for a whole semester's tuition, equivalent to 10-15 individual singing lessons, at a school of music or a school of arts. The study is based on a didactic perspective on how teaching is built around the content, method and why teachers prioritize in a certain way. The result shows that vocal teachers, when starting out with a new student, makes a voice analysis and create a picture of the student's knowledge and relevant goals. Then they work to strengthen the student's confidence, ability to express themselves and breath support. Breath support, good posture, relaxation and vocal warm up is prioritised. A good combination of these are considered to be the basis of a healthy use of vocals, and to have a positive influence on development in other voice qualities. Lowest priority was given to improvisation and music reading. The students are usually not considered mature enough to work with improvisation in their starting stage, and music reading is considered to be too theoretical to maintain student interest.

  • 195.
    Olovsson, Mika
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Det krävs förebilder överallt: En intervjustudie om slagverkslärares syn på kvinnliga slagverkselevers musicerande ur ett genusperspektiv2017Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The main purpose of this study is to examine female percussion teachers view on the challenges of being a female percussion student. The theoretical basis of the study is gender theories and social constructionism. Data was collected from six semi-structured interviews whereof one was used as a pilot interview. The interviews were transcribed and thereafter

    thematic analysis was used to examine the data. The results show that the female teachers all advocate the importance of female role models and the way they are depicted in the media. Family members are also highlighted as important and influential role models concerning the pupils’ choice of instrument or continued musicing. The teachers in this study are of the opinon that percussionists, depending on their gender, face different challenges. As an example, they mention performance anxiety and social tendencies. 

  • 196.
    Olovsson, Mika
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Kroppen och övandet: En observationsstudie om en slagverkares övningsprocess och användande av kroppsliga resurser2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine how a percussionist uses her body as a semiotic resource and how the process of practising during a limited period is designed. In order to realize this I have self-monitored my 20 minute long practice sessions five days a week during a five-week period. This process has been documented by a video recording device and by writing a log after each session. In the analysis I use design theory as a theoretical perspective. The results show that my body is used both as an expressive tool as well as substitute for the metronome. During the practice sessions, tempo appears to be the main focus, and the musical piece is played in separate movements and rarely played from beginning to end. In the last chapter usage of the body as a semiotic resource is discussed from a design theoretical perspective. Lastly the use and quality of my practice strategy is discussed in relation to relevant literature and research. 

  • 197.
    Olsson, Elin
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Vad gör mig motiverad?: En självstudie om motivation i övningsrummet i fenomenologins anda2018Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to find out what kind of motivational factors has an inpact on my practice. The study is based on a life-world perspective and the choosen observation method is logbook writing. In the background chapter accounts for the different motivational theories and the theoretical perspective phenomenology with a direction towards the life-world perspective. Results are presented by the help of three different main themes: Conditionshaving a goalandphysical and mental factors. The result shows that factors such as time, environment, instruments, tiredness, stress and physical obstaclesaffects my motivation. Having a goal proves to be the crucial factor for my motivation; which in turn needs to appear before the practice.Chapter on results are then concluded with a summary and a number of conclusions. The study ends with a discussion based on what is stated in the result and background chapter. The crucial factorandunderstanding of my life-worldare two of four aspects that will be discussed. The discussion ends with highlighting the importance of this study for my future profession as a teacher and also for other active teachers in both music and other subjects. Ideas on how the subject matter can be further developed are also highlighted during the final part of the discussion.     

  • 198.
    Olsson, Per
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Att memorera eller inte memorera, det är frågan?: En självobservationsstudie om musikmemorering2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is, from a design theoretical perspective, to study how three different memorizing strategies of a piano piece takes shape. This includes the question: How do I design three different strategies for memorization of Etude op. 10 no. 2 by Chopin? The three different ways to memorize the music was based on previous literature and research. During a time period of five weeks,  I used logbook and video documentation as a method to study this process. The theoretical perspective that was used to describe the process was the design theoretical perspective. The results showed that method one, “Memorizing by rote”, created a choreography of the hands – a kinesthetic memory. This by using different physical and material resources. Method two, “Visualization” designed the learning through two transformation cycles. For the third method, “Conceptual memorization”, Analysis and the Two-Chair technique was two overall designs. In the discussion these results are put in relation to the literature, previous research and from the theoretical perspective.

  • 199.
    Olsson, Per
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    "Ohh, Lärare A, han är mästare på att tala om andra studenter": En kvalitativ fallstudie om musikstudenters erfaranden av relationen till deras lärare på högskolan2018Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine how music students with one-to-one tuition experience the phenomenon of the relationship with their teachers, on and off lesson. In order to achieve this purpose, the study is based on the following research questions: What relationship do students with individual education experience with their teachers?, How do the students experience the communication that goes beyond the framework of the teaching? and What does a desired relationship with a teacher look like according to the students? The study is a qualitative case study at a Swedish university with four music students and takes its starting point in the theoretical perspective phenomenology. The research method for the study is semi structured interviews, which were subsequently transcribed and analysed with thematic analysis. The result is presented in three overall themes, one for each research question. These three themes are the relation to teachers, communication outside the framework of the teaching and a desired relationship. The first theme, the relationship to teachers, is characterized by a variety of experiences and is described in a spectrum from close private relations to impersonal relationships. The overall conclusion regarding the student relationship to the teacher is that the experiences vary depending on which teacher and student the relation is between. The second theme concerns communication between teachers and students. The students experience it as practical with communication via SMS, Facebook Messenger and speech. On the other hand, the students are critical of teachers who speak in negative ways about other students. In the third theme, the phenomenon a desired relation is described. The conclusion about this is that a desired relationship should be a collaboration and that the student’s study result is more important than the relationship with the teacher. In the following discussion chapter, the result is put in relation to previous literature and research and the theoretical perspective phenomenology.

  • 200.
    Paulsson Karlsson, Sandra
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Hur börjar nästa vers?: En självobservationsstudie i memorering av  sångtext ur ett hermeneutiskt perspektiv2017Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this self study was born out of an assumption I have made of myself, that I find it difficult to learn song lyrics by heart and perform them by heart. From a hermeneutic perspective the study takes a deep dive into my learning process whilst learning song lyrics. The study is documented by video and logbook writing, where I learn two songs by heart. The analysis results are summarized in four themes based on my research questions: strengths in the rehearsal process, interpreted as empathy of the text where I create inner pictures and stories, and weaknesses in the rehearsal process, interpreted as practice strategy and playing the piano, as well as a comparison between using pre-recorded music or not, a comparison focusing on the purpose of pre-recorded music and its consequences for me; consequently that the pre-recorded music was used as a confirmation for correct pronunciation of the lyrics. The discussion debates the interpretation of the results against the background literature and previous research. 

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