Dissertations / Theses: 'Men in music'

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Kullsvik, My. "“Jag kan ju egentligen inte läsa noter men…” : En studie om hur en kör med tradition av gehörsbaserad inlärning kan arbeta med noter samt arbeta på distans." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-85692.

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Svärd, Magnus. "”Jo, men sjunga rock är ju svårt” : En undersökande pedagogisk studie i hårdrockssång." Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-92813.

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Nordquist, Ebba-Sofie. "”Jag vet inte riktigt vad som ger mer, men jag tror att det ger mer” : Om grundskollärares förståelse av att se teaterföreställningar med sina elever." Thesis, Örebro universitet, Musikhögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-76660.

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Festi, Elizabeth. "Charles Ives: The Men that Made the Music." Capital University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=caphonors1589408226532052.

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Lindström, Niklas. "”Men så här gör väl inte riktiga kompositörer? Drar kort och så...?” : Om att sänka trösklarna i kompositionsundervisning." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-57984.

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Bolin, Andersson Rasmus. "Du kan ljud, men vad kan du mer? : En kvalitativ intervjustudie om musikproducenters och studioteknikers olika roller i inspelningssamanhang." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54974.

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Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut.
This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.

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Schlee, Christoffer, and Sebastian Hultkrantz. "Man måste inte vara musikalisk men det är roligt om man är det : Gymnasieelvers syn på musikalitet." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2621.

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Uppsatsens syfte är att undersöka vad gymnasieelever har för attityder till begreppet musikalitet. För att skapa en bild av vilka attityder som finns har en enkätundersökning genomförts bland tredjeårselever på en gymnasieskola i sydöstra Sverige. Resultatet av undersökningen visar att elever generellt betraktar musikalitet som en sekundär egenskap, något som är kul men inte nödvändigt. Det är också en skillnad i attityd mellan elever som själva aktivt spelar ett musikinstrument eller sjunger och de som inte gör det. I tidigare forskning talas det om att musikalitet är en antingen är huvudsakligen medfödd eller en huvudsakligen förvärvad egenskap. Bland eleverna är förhållningssättet till detta ganska spritt även om något fler anser att musikalitet främst är en medfödd egenskap.

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Beck, Kimberly Jean. "Music as a delight of god and men : absolutism, genre, and instrumental music in seventeenth-century Salzburg." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53925.

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The seventeenth century was an age of absolutist ideology during which many European princes took upon themselves trappings of both religious and secular authority. Composers in the service of absolutist patrons were compelled to provide music that could move easily between sacred and secular venues and represent both facets of the prince’s power. Contemporary conceptions of musical classification exhibit this porous threshold between religious and profane genres and performance spaces. In this dissertation, I show how a flexible conception of musical genre—one in which traditionally sacred and secular idioms were blended in diverse ways—illustrated the dual nature of the authority of Salzburg’s absolutist Prince Archbishop. The diverse oeuvre of Salzburg’s composers calls into question the very definition of musical genre in the period. While a modern conception of fixed musical genres is manifest in theoretical treatises of the time, musical evidence suggests that well-defined genre classifications did not practically exist in the seventeenth century. Rather, composers took a malleable approach to genre, often blending different texts, musical forms, and styles to craft musical compositions latent with meanings that encompass several genres. In the first chapter, I consider genre as described in contemporary treatises and argue that modern literary genre theory provides a useful lens for the study of genre in the period. Chapter 2 turns to the sacred repertoire of Salzburg, which in its variety of centonized texts, timbres, and instrumentations deviates from the stylistic norms of liturgical genres. In Chapter 3 I explore the representational capabilities of the large-scale works performed during spectacles that were symbolic of the power and piety of Salzburg’s Prince Archbishop. Salzburg’s instrumental ensemble sonatas, explored in Chapter 4, reveal two particular uses for the term “sonata” and point to the genre as a site of both representation and innovation. The final chapter considers the solo sonata as a devotional aid in the context of cyclic spiritual exercises in Salzburg, where music transcended the limitations of genre to move between notionally sacred and secular performance spaces to represent the piety and power of the Prince Archbishop.
Arts, Faculty of
Music, School of
Graduate

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Kerfoot, Janice. "Babylon boys don't dance : music, meaning, and young men in Accra." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99727.

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This thesis explores the landscape of popular music culture in Accra as it is experienced by a loosely interactive group of young self-identified rastafarians. The global pop-culture idiom born of the Jamaican socio-religious movement of rastafari allows these young Accrans to articulate self-concepts vis-a-vis very current trends in local and foreign youth cultures (such as hiphop), with reference to an ostensibly ageless collective identity. Questions of authenticity are made complex by the movement's weighty historical and political roots, its nuanced symbolic bonds with "local African culture", and the semiotic plasticity of its identifying practices. Ethnographic portions of this thesis are based on three months of fieldwork in Accra, during the summer of 2004. Key theoretical points are gleaned from a critical examination of early British Cultural Studies and its theoretical progeny, including the body of recent work tentatively dubbed "post-subcultural studies".

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Winters, Ben. "Korngold's merry men : music and authorship in the Hollywood studio system." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c.

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Bogdanovich, Danijela. "Men doing bands : making, shaping and performing masculinities through popular music." Thesis, University of Salford, 2009. http://usir.salford.ac.uk/26583/.

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Informed by the interdisciplinarity inherent in popular music studies, the thesis relies on qualitative research methods such as participant observation and semistructured interview to examine popular music masculinities. Methodologically, it is underpinned by a sociological understanding of music as practice as well as a process of enculturation, permeated by manifold musical and identity forming activities. Through an examination of a range of music settings such as those of "the band", live performance and online presence, the thesis foregrounds the multiplicity of "everyday" musical masculinities thus shifting the focus away from the most visible, popularised and the spectacular masculine types. The key themes addressed by ethnographic and participatory inquiry include: gender acculturating activities such as listening and collecting of musical knowledge and artefacts, and socialising in popular music spaces; gendering through musical practices inherent within a setting of the band; performing live and authenticating masculinities through series of verbal, visual and musical strategies; and embracing novel representational tools such as social networking sites to increase the band's visibility and represent the male body. By engaging with music as practice and music in context of everyday life, and by understanding gender as constituted through a series of culturally and musically informed activities, the thesis demonstrates that a wide range of masculine gender identities comprise creative and cultural dynamics within bands. Finally, the thesis maintains the dialogue with the existing writing on gender within the field of popular music studies, extending the arguments about multiplicity of gender positions and implications of gendering activities. Significantly, it challenges the understanding of popular music masculinity as a monolithic entity, providing an opening for further dialogue between all musicians, hoping to result in enhanced understanding of practical and ideological challenges faced by both men and women involved in the making and performance of music.

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Sundbye, Martin. "Ljudets funktioner i filmen No Country for Old Men : En audiovisuell analys." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29784.

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Sundbye, Martin (2019). Ljudets funktioner i filmen No Country for Old men – En audiovisuell analys. Examensuppsats inom Ljud- och musikproduktion, Högskolan Dalarna, Akademin för språk och medier, Falun. I denna uppsats undersöktes främst ljudet men också bilden ur en scen från filmen No Country for Old Men. Detta gjordes för att ta reda på hur scenen använder sina ljudresurser ur ett berättelsefunktionsperspektiv, samt att få en djupare förståelse för ljudets roll och vad ljudet bidrar med till berättelsen som bilden inte gör. Den valda scenen granskades med hjälp av en audiovisuell analysteknik kallad Masking, som myntades av den franske filmljudsforskaren Michel Chion. Resultatet visade att scenen använder sig av en mycket begränsad ljudpallet. Filmskaparna har gjort ett medvetet val att välja bort viktigt berättardimensioner som musik och dialog. Scenen förlitar sig istället på atmosfärsljud och ljudeffekter för att berätta historien. Ljudeffekter blir en central del i berättelsen och är direkt nödvändiga för att scenen ska kunna förstås till fullo. Ljuden ignorerar också det visuella tempot som delvis närvarar och strävar istället efter en mer naturlig ljudberättelse, där ljudet förblir oförvrängd. Alla ljud som hörs är även diegetiska vilket tillsammans med den begränsade ljudpaletten bidrar till en intim och realistisk upplevelse, trots scenens relativt surrealistiska händelseförlopp.

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Lang, Jacqueline. "The identity of Curley's wife in Carlisle Floyd's Of mice and men." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1671.

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Ekberg, Jan. "”Vi fick komma med förslag ganska tidigt, men läraren fick avgöra om det var något vi kunde spela.” : En kvalitativ studie om elevinflytande i ensembleundervisningen ur ett elevperspektiv." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101431.

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Syftet med denna uppsats är att belysa elevinflytandet ur ett elevperspektiv i ensemblekurserna på ett musikestetiskt gymnasium, samt se vilka effekter det sociala samspelet har på eleverna ur ett sociokulturellt perspektiv. Den data som behövdes för denna studie samlades in genom semistrukturerade intervjuer och analyserades genom ett sociokulturellt perspektiv. Det visar sig att elevernas upplevelser som berör inflytande liknar varandra på många sätt, men det framkommer vissa skillnader. Inflytandet som framkommer tenderar till att framförallt vara av en positiv karaktär men det förekommer även negativa aspekter som påverkar eleverna. Det sociala samspelets inflytande på eleverna visar sig ha en stor påverkan på fler plan än den musikaliska utvecklingen. Eleverna lär sig att fungera som grupp, ta beslut och utvecklas som musiker.

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Lower, Jonathan Scott. "The American Blues: Men, Myths, and Motifs." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1340154289.

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Nilsson, Sofie. ""Men vad innebär det i praktiken då?" : En fenomenografisk studie om musiklärares erfarande av elevers inflytande och motivation på högstadiet." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105217.

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”But what does it mean in practice?” is a phenomenographic study that aims to examine how music teachers experience inclusion of pupil influence in their teaching and if there is a connection between pupil influence and motivation. The study leans on previous research that has been done in both pupil influence and motivation. The method in this study consists of five semi-structured interviews with active music teachers in different high schools. The results show that most of the music teachers in question use the curriculum as an assurance to include the proper elements to each semester’s work areas. The interviewed teachers’ teams work actively on including pupil influence in their respective schools, but some of them express a desire to talk more about pupil influence and how it may be executed in practice. There are times when the music teachers choose to decrease the pupils’ influence depending on their age. The results additionally show that lack of time is an influential factor for whether music teachers choose to include pupil influence in their teaching or not. Furthermore all of the music teachers agree that there is a connection between pupil influence and keeping the lesson material up to date. This is due to the music teachers seeing a rise of the pupils’ motivation when given influence to choose songs and music genres for the music lessons.

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Sakadakis, Stella. ""Where do the boys go?" : tracking the development of careers in the music industry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55453.

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Musical careers develop along particular trajectories as a consequence of the relationships that are established between the musician and the industry. This thesis studies the nature of these relationships and the manner in which they contribute to the development of a musical career. The dichotomy between the artistic concerns of the musician and the economic interests of the industry that informs many popular music studies is re-oriented in light of the economic interests that are inherent in the musician's pursuit of a musical livelihood. The importance of commercial success in the maintenance of a musical living is explored in the case study of Men Without Hats, a Montreal based pop band that has maintained a fifteen year career despite a lack of commercial success over the past decade. This study suggests that the maintenance of a musical career over an extended period of time is a consequence of the types of relationships that are cultivated by the musician over the course of his/her career.

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Granat, Nina. "''Ämnesintegrerade projekt är kul, men...'' : En studie om hur musiklärare erfar samarbete med andra ämneslärare i kulturskolan." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-72319.

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Syftet med studien är att få insikt i hur musiklärare i kulturskoal erfar ämnesintegrerade projekt samt hur inkluderingsarbete kan främjas av sådana projekt. För att kunna uppnå detta syfte utgår studien från följande forskningsfrågor: Vilka erfarenheter har musiklärare av ämnesintegrerade projekt i kulturskolan? Och i vilken utsträckning upplevs ämnesintegrerade projekt kunna påverka inkluderingsarbete i kulturskolan? Studiens kunskapsteoretiska utgångspunkt är interpretativism och den vetenskapsfilosofiska utgångspunkten fenomenologi. För att uppnå syfte och svara på frågeställningarna har semistrukturerade intervjuer gjorts med tre musiklärare som arbetar på varsin musik- eller kulturskola i Sverige. Resultatet presenteras i två övergripande teman. Teman är Resurser för och motivation till kreativt arbete samt social interaktion. I resultatet framkommer många likheter i de intervjuade musiklärarnas utsagor vilka till stor del handlar om en positiv inställning till utförandet av ämnesintegrerade projekt och främjandet av inkluderingsarbete i musik- och kulturskolan. Möjligheten och motivationen till att vilja utföra projekt skiljer sig däremot åt mellan musiklärarna vilka bland annat påverkas av tillgång till resurser och samarbete mellan kollegor.
The purpose of this study is to get a view of how music teachers in the Swedish music schools experience projects where different art subjects are integrated with each other and to see if these projects can facilitate that more people get included in these schools. In order to achieve this purpose, the study is based on the following research questions: In what ways does music teachers experience subject integrated projects in the Swedish music schools?, In what way can subject integrated projects facilitate that more people get included in the Swedish music schools according to music teachers? The theoretical foundation of the study is interpretivism and the philosophical perspective is phenomenology. Semi-structured interviews were conducted with three music teachers whom where all working in one music school each. The result is presented in two overall themes. Resources and motivation for creative work is the first theme. The second theme is Social interaction. The result reveal that the experience the music teachers describes when it comes to subject integrated projects and the work with including more people to the music schools are quite similar too each other. The experience is however different within the teachers answes when it comes to the possibility and the motivation to participate or lead a subject integrated project. The result reveal that possibilities and motivation is affected by resources and the cooperation in between colleges.

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Li, Xin Ling. "Who stole the beat? : black masculinity, hip-hop music, and the black gay men who rap." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708221.

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Wilson, Catherine Marie. "If you listen, I'll tell you how I feel: incarcerated men expressing emotion through songwriting." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4978.

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Throughout human history, music has served as a coping mechanism when people have endured extreme hardships in life. Music and songs in prisons have been written and sung to express the pain of the incarceration. Research has suggested that songwriting is a powerful educational and therapeutic catalyst, and that songwriting may facilitate the processing of difficult emotions. The purpose of this study was to gain a greater understanding of the emotions expressed in the songs of incarcerated men, and how songwriting as an outlet for emotional expression influenced the writers. Data collected for this study included 47 songs written by 17 incarcerated men, written observations and reflections by participants and three facilitators, transcriptions of four workshop sessions, and sound recordings/transcriptions of 16 spoken introductions and 13 songwriter-performed pieces. An additional 32 songs were collected from a case-study participant for examination. All data were collected using ethnographic methods. Modified grounded theory techniques, including initial coding, focused coding, and memo writing were used to analyze the data. Findings revealed that although the lyric themes categorized expressed more happy than sad emotions, the most frequently expressed emotion was desperation, and desperation was usually expressed in songs with a context of incarceration. In addition, songs that expressed humor were often a way to cope with incarceration, and songwriting was also a way express the pain of addiction. Examining the songs of the case-study participant revealed that his writing changed over time. His most frequently expressed emotion in 2008 was fear, and song concepts usually involved sinister, otherworldly figures. In 2011, his most frequently expressed emotion was closeness, and song concepts focused on determination to build a better life. Throughout the workshop sessions, the men experienced feelings of psychological comfort in routines established over time. Data analyses indicated that group interactions and opportunities to perform were primary motivators in participants' decisions to participate in the Songwriters' Workshop. For most men, group response processes generated new ideas for songs, and greater song quality. Some of the men further stated that participating in the Songwriters' Workshop helped them to foster better relationships, and re-envision their futures. Difficulties that occasionally arose were both pedagogical and social in nature. Based upon these findings, I suggest that aspects of Cohen's Theory of Interactional Choral Singing Pedagogy pertains to songwriting contexts. I propose a theory of the expressive community, in which the community influences individuals, and individuals influence the community. I further suggest collective-actualization, in which individuals in a group realize their collective potentials, capabilities, and talents, and seek the achievement of these potentialities.

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Tubbs, Andrew. "Sounding the feeble mind: musical reactions to the American eugenics movement in Of Mice and Men (1939) and Oklahoma! (1955)." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7038.

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In the early twentieth century, the American eugenics movement began to dominate much of the public discourse surrounding disability, particularly the disability known as “feeble-mindedness.” Eugenicists broadly depicted the feeble-minded as both innocent children because of their supposed lack of intelligence and moral deviants who could harm members of society. There are many studies that have analyzed the effects of this construction of disability in popular culture and American films. However, only a few scholars, such as Joseph Straus and Stephanie Jensen-Moulton, have asked what the feeble mind sounds like. Through a musical analysis of the leitmotifs present in the film scores for Of Mice and Men (1939) and Oklahoma! (1955), this thesis argues that the symptomology of feeble-mindedness and social stereotypes of the disability seeped into and influenced the musical portrayals of Jud Fry and Lennie Small. Jud and Lennie reflected many of the anxieties surrounding disability during the eugenics era. Although the films’ narratives reveal the ideological positions towards disability, music also plays a significant role announcing characters’ disability and encouraging particular responses to disability. The musicians for these films, including Aaron Copland, Richard Rodgers, Oscar Hammerstein II, and Robert Russell Bennett, accomplished this task by musically imitating a disabled embodiment. By mimicking either physical symptoms or social stereotypes of feeble-mindedness, particularly obsession and idiocy, the film scores represent Jud and Lennie as either innocent children or social menaces to support the ideological stance of each film.

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Björklin, Maja. "”Musikteori är viktigt, men i första hand är jag ju fiollärare” : En fenomenologisk intervjustudie om fiollärares förhållningssätt till musikteori i undervisningen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67549.

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Syftet med studien är att beskriva tre fiollärares förhållningssätt till musikteori i undervisningen. Detta görs med forskningsfrågorna: Hur definierar fiollärarna begreppet musikteori? Vilka musikteoretiska element erfar fiollärarna att de integrerar i undervisningen?Hur erfar lärarna att de arbetar med musikteori i fiolundervisningen?och Vilka svårigheter förknippar lärarna med fenomenet musikteori i fiolundervisning? Studiens kunskapsteoretiska utgångspunkt är interpretativism och den vetenskapsfilosofiska utgångspunkten fenomenologi. För att uppnå syfte och svara på frågeställningar har semistrukturerade intervjuer gjorts med tre fiollärare. I resultatet beskrivs deras förhållningssätt till musikteori i undervisningen kategoriserade i fyra teman: Fiollärarnas definition av begreppet musikteori, Att arbeta med musikteori i fiolundervisning, Val av musikteoretiskt lektionsinnehåll och Svårigheter med musikteori i fiolundervisningen. I resultatet framkommer många skillnader och olikheter i de intervjuade lärarnas utsagor, men alla berör ämnet notläsning och betonar vikten av att koppla musikteoriundervisning till spel på fiolen. I studiens avslutande kapitel diskuteras resultatet i förhållande till tidigare litteratur och forskning samt till studiens vetenskapsfilosofiska perspektiv fenomenologi.
The purpose of the present study is to describe three violin teachers approach to music theory in teaching. The study has three research questions: How does the violin teachers define the term music theory? What kind of music theory elements do violin teachers experience that they integrate into their teaching? In what way do the teachers experience that they work with music theory in violin education?and What are the music teachers experiences of the phenomenon music theory in violin education?The theoretical foundation of the study is interpretativism and the philosophical perspective is phenomenology. Semi-structured interviews were conducted with the three violin teachers. In the result, their approach to music theory in violin teaching is categorized into four themes: The violin teachers definitions of music theory, To work with music theory in violin teaching, choice of music theoretical lesson contentand Difficulties with integrating music theory in violin teaching. The results reveals that there is differences between the teachers' approaches. However, all the teachers reported that they emphasize note acquisition and the importance of combining music theory with playing the violin. Finally, the results are discussed in relation to previous literature and research, as well as to phenomenological perspectives.

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Lovelock, James Michael. "'Not just for gays anymore' : men, masculinities and musical theatre." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7533/.

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This thesis explores how the changing masculinities of the 21st century have affected how young men connect to musical theatre as a genre that has been stereotypically seen as gay. The investigation is first located in the theoretical framework of masculinities, utilising the concepts of the male sex role, hegemonic masculinities and inclusive masculinity to chart how the performance of the male gender has changed over the past century. The project then adopts an empirical approach to a group of 161 men and 25 women, establishing a methodological framework for correlating sexual orientation with attitudes towards musical theatre. There is a further honing of this methodology through the adoption of Jenifer Toksvig's 'The Fairytale Moment' exercise, which identifies how each participant connects to narrative through a core emotional drive. Finally, this data is tested through three case studies of how individual participants connect to 'Les Misérables', 'Wicked' and 'Soho Cinders', concluding that the emotional content of musical theatre is now as desirable to straight men as it is to women and LGBT men.

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Brdarski, Aleksandar. ""Estet? Tack, men nej tack!" : En fokusgruppstudie om det sjunkande söktrycket på det estetiska programmet på gymnasiet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2703.

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Söktrycket på det estetiska programmet har sjunkit markant de senaste sex åren. Det samtidigt som förstahandssökande till alla andra högskoleförberedande program fortsätter att stiga. Tidigare forskning visar på att det finns en förförståelse kring det estetiska programmet och att det är den negativa synen hos vuxna människor som påverkar ungdomar idag att söka sig till andra program. Samtidigt som de vuxna inte riktigt är medvetna om att det estetiska programmet är högskoleförberedande. Jag har i denna uppsats valt att genomföra fokusgruppsamtal med elever från det estetiska samt tekniska programmet. Jag ville ta reda på hur dessa elever möjligtvis påverkats av vuxnas syn och tankar kring gymnasieskolan. Det framgick klart att eleverna jag intervjuade själva var medvetna om en negativ syn kring det estetiska programmet och att det upplevdes som mindre seriöst och lite lättare. Resultaten analyseras med hjälp av en normteori som baseras på tre stycken normbildande komponenter, och teorin används här som ett analytiskt verktyg. Genom dessa komponenter och tidigare forskning så försöker jag hitta förklaringar till varför ungdomar idag, i större grad, väljer att läsa annat än det estetiska programmet.

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Bergström, Isak. "Vaggvisa till nationalismen : Stilanalys. Jämförelse: Tre ikoniska, men synnerligen olika, dragspelare av vår tid." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3078.

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Munkesjö, Maria. ""Okej, jag kan sitta och lyssna på musik men jag tänker inte äta!" : en kvalitativ intervjustudie om musikens funktion för patienter som gått i musikterapi för ätstörningsproblematik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1669.

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Munkesjö, Maria: "Okej, jag kan sitta och lyssna på musik men jag tänker inte äta!" En kvalitativ intervjustudie om musikens funktion för patienter som gått i musikterapi för ätstörningsproblematik. Uppsats 15 hp inom ramen för Magisterprogrammet i musikpedagogik med inriktning musikterapi vid Kungl. Musikhögskolan i Stockholm. Syftet med denna kvalitativa intervjustudie har varit att undersöka hur patienter som gått i musikterapi för ätstörningsproblematik upplever och använder sig av musik. Frågeställningarna har handlat om vilken funktion musik har i deltagarnas liv och om detta har förändrats av musikterapi. I uppsatsen presenteras en genomgång av relevant litteratur och tidigare forskning inom områden som: musikterapi, musik och hälsa och ätstörningsproblematik. Sex kvinnliga patienter (medianålder 25 år) som genomgått musikterapeutisk behandling (i snitt 2,6 år) för sin ätstörningsproblematik intervjuades med hjälp av semistrukturerade dialogintervjuer. Utifrån ett hermeneutiskt perspektiv och med Health Musicking som teoretisk utgångspunkt, tolkades sedan de transkriberade intervjuerna. Metoden som användes var tematisk kvalitativ analys vilket kompletterades med konstnärlig form (bild och musik). Resultatet presenteras i form av fyra huvudteman: Musikens funktion som följeslagare genom livet; Musikens funktion som allierad med dikotomin; Musikens funktion som redskap för transformation och Musikens funktion som bundsförvant med känslan. Resultatet diskuteras utifrån syfte och frågeställningar. Med utgångspunkt i teorifältet Health Musicking visar denna studie att musik används och har en mångfald av funktioner för deltagarna under barndom och uppväxt. Under sjukdomstiden förändras detta markant och speglar ätstörningsproblematiken. I den musikterapeutiska behandlingen får musik genomgående en mer eller mindre central funktion som terapeutiskt redskap. Efter musikterapin återgår musikens funktion till en större mångfald men nu används musik i betydligt större utsträckning som medveten hälsoresurs; Health Musicking, i det dagliga livet.
Munkesjö, Maria: "Okey, I can sit and listen to music but I will not eat !" A qualitative study of music´s function for patients with eating disorders. A study carried out within the context of the Master Program in Music Education, profile Music Therapy at the Royal College of Music in Stockholm. The purpose of this qualitative interview study was to investigate how patients in music therapy for eating disorders perceive and use music. This by examining the function of music attributed to the participants' lives and if it has been altered by Music Therapy.The paper presents a review of relevant literature and previous research in the fields of Music Therapy, Music and Health and Eating Disorders. Six female patients (median age 25 years) were interviewed after music therapeutic treatment (average 2.6 years). With a hermeneutical approach the transcribed interviews was analyzed using thematic qualitative analysis and artistic interpretation (music and image). The result presented in four main themes; The music's function as a companion through life; The music's function as ally with the dichotomy ; The music's function as tool for transformation and The music's function as associate with feelings. The results are discussed on the basis of objective and issues. This study shows, based on the theory of Health Musicking, that music is used and has a multitude of functions for the participants during childhood and adolescence. When the eating disorders develop the use of music are significantly modified and reflect the eating disorders. During the music therapy sessions the music take a more or less central role as a therapeutic tool. After music therapy the function of the music return to a multitude of functions. But now the participants are more aware of music as a health resource; Health Musicking, in their daily lives.

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Wilson, Catherine Marie. "If you listen, I'll tell you how I feel| Incarcerated men expressing emotion through songwriting." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3608802.

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Throughout human history, music has served as a coping mechanism when people have endured extreme hardships in life. Music and songs in prisons have been written and sung to express the pain of the incarceration. Research has suggested that songwriting is a powerful educational and therapeutic catalyst, and that songwriting may facilitate the processing of difficult emotions.

The purpose of this study was to gain a greater understanding of the emotions expressed in the songs of incarcerated men, and how songwriting as an outlet for emotional expression influenced the writers. Data collected for this study included 47 songs written by 17 incarcerated men, written observations and reflections by participants and three facilitators, transcriptions of four workshop sessions, and sound recordings/transcriptions of 16 spoken introductions and 13 songwriter-performed pieces. An additional 32 songs were collected from a case-study participant for examination. All data were collected using ethnographic methods. Modified grounded theory techniques, including initial coding, focused coding, and memo writing were used to analyze the data.

Findings revealed that although the lyric themes categorized expressed more happy than sad emotions, the most frequently expressed emotion was desperation, and desperation was usually expressed in songs with a context of incarceration. In addition, songs that expressed humor were often a way to cope with incarceration, and songwriting was also a way express the pain of addiction. Examining the songs of the case-study participant revealed that his writing changed over time. His most frequently expressed emotion in 2008 was fear, and song concepts usually involved sinister, otherworldly figures. In 2011, his most frequently expressed emotion was closeness, and song concepts focused on determination to build a better life.

Throughout the workshop sessions, the men experienced feelings of psychological comfort in routines established over time. Data analyses indicated that group interactions and opportunities to perform were primary motivators in participants' decisions to participate in the Songwriters' Workshop. For most men, group response processes generated new ideas for songs, and greater song quality. Some of the men further stated that participating in the Songwriters' Workshop helped them to foster better relationships, and re-envision their futures. Difficulties that occasionally arose were both pedagogical and social in nature.

Based upon these findings, I suggest that aspects of Cohen's Theory of Interactional Choral Singing Pedagogy pertains to songwriting contexts. I propose a theory of the expressive community, in which the community influences individuals, and individuals influence the community. I further suggest collective-actualization, in which individuals in a group realize their collective potentials, capabilities, and talents, and seek the achievement of these potentialities.

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Rich, Morgan. "Lulu and the undoing of men unveiling patriarchal conventions imposed and overturned in Alban Berg's opera /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225111576.

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Estes, Kevin M. "Solo and Chamber Percussion Works by Nigel Westlake: An Examination of Fabian Theory, The Hinchinbrook Riffs, The Invisible Men, Kalabash, Malachite Glass, Moving Air, Omphalo Centric Lecture and Penguin Circus." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397567270.

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Koch, Sabine. "'There can be no difference in faith among certain men but rather a difference in words' : Mendelssohn's Kunstreligion as a set of beliefs and an aesthetic language." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9815.

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This dissertation explores the influence that nineteenth-century tenets of Kunstreligion exerted on Felix Mendelssohn Bartholdy's aesthetic thought. Widely defined as the merging of religious and aesthetic notions in writings about the arts, Kunstreligion has frequently been interpreted as a manifestation of spiritual beliefs and a movement with which Mendelssohn was not affiliated. The aid of this thesis is to challenge these claims, and to establish the rootedness of sacralised conceptions of music in non-religious inspirations and particulars of language use. Placing Mendelssohn's fascination with church worship, religious morality as well as the human and the divine in the context of wider philosophies of art and religion, the dissertation explores how the composer availed himself of art-religious vocabulary in his correspondence, examining his use of language both in terms of his own religious upbringing and the intellectual discourse of his age. Mendelssohn's Kunstreligion was very practically oriented. reflecting his belief that music was a religious language of feelings and proclamation, his performance of Bach's St. Matthew Passion and subsequent compositions manifested a concern to serve educative purposes related to historicism as well as religious edification and instruction. An analysis of how he viewed these activities in his correspondence reveals that comparisons of concerts with church sermons were not only meant metaphorically but point to objectives that he hoped to accomplish as a man and an artist. His reflections on attributes oft he 'human' and the 'divine' elsewhere suggest a belief that artists were blessed by God and that superior works of art were either God's creation or deserved to be described as 'divine' in the sense of 'excellent.' As these overlapping religio-aesthetic concepts and meanings indicate, in Mendelssohn's writings, Kunstreligion could be both a form of religion that was associated with Schleiermacher's theology and an eclectic verbal language that was creative, often qualitiative, sometimes irons, and, to that effect, typically Mendelssohnian.

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Aasen, Andreas. "Vi har sett och hört den, men var då? : En enkätundersökning om barns och vuxnas relation till instrumentet trumpet." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31621.

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Studiens syfte är att undersöka om barn och föräldrar känner till instrumentet trumpet och vilka föreställningar de har om detta instrument. Mina frågeställningar är: Vad vet 6-7 åringar och deras föräldrar om instrumentet trumpet? Vilka föreställningar har de om instrumentet trumpet? För att ta reda på dessa frågor har jag genomförd en enkätstudie i Arvika med barn i första klass och deras föräldrar. 33 vuxna och 34 barn från sammanlagt tre skolor deltog i undersökningen. Resultaten visade att kunskapen om trumpet är ganska stor bland 6-7 åringarna och deras föräldrar. Alla respondenterna i denna undersökning vet vad trumpet är och över en tredjedel av de 67 respondenterna känner till någon som spelar trumpet. Bland barnen existerar ingen stor ”kändis” på trumpet, istället känner de till vänner eller bekanta som spelar. De vuxna angav till viss del vissa kända musiker ofta då jazztrumpetare av äldre slag. Vidare så verkar 6-7 åringarna ganska fördomsfria om trumpet, då de anser att unga som gamla och män som kvinnor spelar trumpet. Föräldrarna tror däremot att trumpetspel domineras av män, i övrigt verkade de vara ganska fördomsfria. Kommunala musikskolan verkar ha ett starkt varumärke i Arvika eftersom många av respondenterna uppgav att de visste att de kan kontakta musikskolan om de vill börja spela trumpet. Resultaten visade också att trumpet inte ses som tråkigt, de flesta tycker det verkar mittemellan eller roligt att spela trumpet. Utifrån resultaten i denna studie klarar trumpeten sig bra. Samtidig tycks trumpeten vara ett stycke undan den status en kunde önskat sig.
The study's purpose is to investigate whether children and parents know the instrument trumpet and the beliefs they have about this instrument. My questions are: What do 6 and 7-year-olds and their parents know of the instrument trumpet? What are their beliefs concerning the trumpet and what does the trumpet mean to them? To find out about these questions, I have conducted a survey study in Arvika with children in first grade and their parents. 33 adults and 34 children from three schools took part in the survey. The results showed that knowledge of the trumpet are quite good among 6 and 7-year-olds and their parents. All the respondents in this survey know what the trumpet is, and over one-third of the 67 respondents know about someone who plays the trumpet. Among the children exist no big "celebrity" trumpet player. Instead they mention friends or acquaintances that play the instrument. There were some well-known musicians among adults but it was often aging jazz trumpeters. 6 and 7-year-olds are pretty open-minded about trumpet. They seem to consider both that young, old, men and women could be playing the trumpet. The parents, however, think that men dominate playing the trumpet. Otherwise are the parents also pretty open-minded. The music school appears to have a strong name in Arvika. Many respondents stated that it´s possible to contact the music school if you want to start playing the trumpet. The results also showed that the trumpet is not considered as boring. Most people put it midway between boring and fun to play. Based on the findings in this study, the trumpet seems to be a well-known and somewhat appreciated instrument among the respondents. At the same time it seems to be a bit out of range from a satisfying reputation.

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Spatz, Garrett M. "Born (Again) This Way: Popular Music, GLBTQ Identity, and Religion." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351359017.

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Rich, Morgan Marie. "Lulu and the Undoing of Men: Unveiling Patriarchal Conventions Imposed and Overturned in Alban Berg's Opera." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225111576.

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Brown, Carlos Bernard. "GOD, Give Us Men! An Examination and Introduction to the Life, TTBB Choral Music, and Scholarship of Uzee Brown, Jr." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1571061468306883.

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Berggren, Kalle. "Reading Rap : Feminist Interventions in Men and Masculinity Research." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-229518.

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The present thesis explores how masculinity is constructed and negotiated in relation to race, class and sexuality in hip hop in Sweden. Theoretically, the study contributes to the increasing use of contemporary feminist theory in men and masculinity research. In so doing, it brings into dialogue poststructuralist feminism, feminist phenomenology, intersectionality and queer theory. These theoretical perspectives are put to use in a discourse analysis of rap lyrics by 38 rap artists in Sweden from the period 1991-2011. The thesis is based on the following four articles: Sticky masculinity: Post-structuralism, phenomenology and subjectivity in critical studies on men explores how poststructuralist feminism and feminist phenomenology can advance the understanding of subjectivity within men and masculinity research. Drawing on Sara Ahmed, and offering re-readings of John Stoltenberg and Victor Seidler, the article develops the notion of “sticky masculinity”. Degrees of intersectionality: Male rap artists in Sweden negotiating class, race and gender analyzes how class, race, gender, and to some extent sexuality, intersect in rap lyrics by male artists. It shows how critiques of class and race inequalities in these lyrics intersect with normative notions of gender and sexuality. Drawing on this empirical analysis, the article suggests that the notion of “degrees of intersectionality” can be helpful in thinking about masculinity from an intersectional perspective. ‘No homo’: Straight inoculations and the queering of masculinity in Swedish hip hop explores the boundary work performed by male artists regarding sexuality categories. In particular, it analyzes how heterosexuality is sustained, given the affection expressed among male peers. To this end, the article develops the notion of “straight inoculations” to account for the rhetorical means by which heterosexual identities are sustained in a contested terrain. Hip hop feminism in Sweden: Intersectionality, feminist critique and female masculinity investigates lyrics by female artists in the male-dominated hip hop genre. The analysis shows how critique of gender inequality is a central theme in these lyrics, ranging from the hip hop scene to politics and men’s violence against women. The article also analyzes how female rappers both critique and perform masculinity.

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Morad, Moshe. "'Fiesta de Diez Pesos' : music as a space for identity, interaction, and escapism, among gay men in Special Period Havana." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/15638/.

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Ketterer, Elizabeth. "'Govern'd by stops, Aw'd by dividing notes' : the functions of music in the extant repertory of the Admiral's Men 1594-1621." Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/352/.

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This thesis examines the functions of music in the extant repertory of a single playing company, the Admiral’s Men, at their primary venues between 1594 and 1621. Music’s effectiveness as a theatrical tool depends upon the presence of an audience willing and able to be affected by it. The mimetic relationship between representation in the playhouse and musical practices in the non-dramatic world allows that ability. This thesis traces the dissemination of musical behaviors and ideas to potential playgoers and offers a critical analysis of the evidence of musical performance and discourse in the repertory. Contrary to the long-standing reputation of the company as appealing primarily to a rough and rowdy audience (particularly at the first Fortune), the use of music throughout the repertory suggests the continuous presence of a socially diverse and musically literate body of theatrical patrons.

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King, Martin S. ""Running like big daft girls" : a multi-method study of representations of and reflections on men and masculinities through "The Beatles"." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/9054/.

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The aim of this thesis was to examine changing representations of men and masculinities in a particular historical period (“The Sixties”) and to explore the impact that this had in a period of rapid social change in the UK and the legacy of that impact. In order to do this, a multi-method study was developed, combining documentary research with a set of eleven semi-structured interviews. The documentary research took the form of a case study of The Beatles, arguing that their position as a group of men who became a global cultural phenomenon, in the period under study, made theme a suitable vehicle through which to read changing representations of masculinities in this period and to reflect on what this meant for men in UK society. The Beatles’ live action films were chosen as a sample of Beatle “texts” which allowed for the Beatles to be looked at at different points in the “The Sixties” and for possible changes over that time period to be tracked. Textual analysis within discourse analysis (based on a framework suggested by van Dijk [1993], Fairclough [1995] and McKee [2003]) was used to analyse the texts. Ideas advanced by the Popular Memory Group (1982) about the interaction of public representations of the past and private memory of that past were influential in the decision to combine this piece of documentary research with interviews with a sample of men, in an age range of 18 to 74. The interview stage was designed to elicit data on the perception of the participants of the role of representation (with particular reference to the Beatles) of masculinities on them as individuals and their ideas about how this may have had an impact in terms of longer term social change. Ehrenreich’s (1983) notion of a male revolt in the late 1950s, an emergence of a challenge to established ideas about men and masculinity, was also influential, particularly as it is an idea at odds with the “crisis in masculinity” discourse (Tolson, 1977; Kimmel, 1987; Whitehead, 2002) at work in a number of texts on men and masculinity. Examining further Inglis’ (2000b : 1) concept of The Beatles as “men of ideas” with a global reach, the chosen Beatle texts were examined for discourses of masculinity which appeared to be resistant to the dominant. What emerged were a number of findings around resistance, non-conformity, feminised appearance, pre-metrosexuality, the male star as object of desire and The Beatles as a global male phenomenon open to the radical diversity of the world in a period of rapid social change. The role of popular culture within this process was central to the thesis, given its focus on The Beatles as a case study. However, broader ideas about the role of the arts also emerged with a resultant conclusion that “the sixties” is where a recognition of the importance of representation begins as well as a period where representations of gender (as well as class and race) became more accessible due to the rise in popularity of TV in the UK and a resurgence in British cinema. The thesis offers a number of ideas for further research, building on the outcomes of this particular study. These include further work on the competing crisis/ revolt discourse at work in the field of critical men’s studies, ascertaining female perspectives on representations of masculinities and their impact, further work on the Beatles through fans and an application of some of the ideas at work in the thesis to other periods of British history.

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Ström, Anna. "”Men lite mer kunde nog vi barn få bestämma” : En undersökning av några barns upplevelser av ett storprojekt på musikskolan." Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4841.

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Uppsatsen behandlar genomförandet av det så kallade storprojektet, som under våren 2009 ledde fram till föreställningen ”Jorden Runt”. I studien (där jag fungerat som deltagande observatör) presenteras bakgrunden till projektet från start, samt en undersökning rörande i vilken utsträckning sex brasselever (på instrumenten kornett, valthorn och baryton) upplevt arbetet med ”Jorden Runt”, deras förväntningar inför projektet samt om de har några förslag inför kommande storprojekt. Undersökningen visar att eleverna inte tycker att de fått bestämma särskilt mycket i arbetet med föreställningen, men är trots detta ganska nöjda - endast en elev skulle ha velat påverka föreställningen ytterligare. Vid en jämförelse mellan elevinflytandet i storprojektet och i grundskolan framkommer olika synpunkter. Några elever tycker att de fått bestämma mer under storprojektet, medan andra tycker att de fått vara med och bestämma mer i grundskolan.

The essay discusses the implementation of the so called major project which took place during the spring of 2009 and generated in the show “Around the World”.The study (in which I’ve functioned as a participating observer) contains background information of the project and a study concerning how six brass students (playing the instruments cornet, French horn and baritone) have experienced the work of “Around the World”, their expectations before the project and whether they have any suggestions for the future major projects.The students do not experience a high level of their own participation but are yet fairly satisfied - only one student requests more influence. A comparison between the major project and the compulsory school shows that the students have different experiences. Some students think that they were allowed to decide more during the major project while other students felt that they were allowed to decide more in compulsory school

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Eriksson, Björn. "Musikskapande med slumpen som inspiration." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3151.

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This thesis is about getting inspiration from and creating with chance, and how I discovered different ways to create random notes and rhythms for the purpose of writing jazz compositions. I have used different software and apps to create random content and tried to get inspired from it. In some occasions I only needed a few notes or a simple rhythm to get enough inspiration to create a full composition. I got the idea of using chance to create music a couple of years back when I was studying music at Fridhems Folkhögskola. There I recorded a bag of microwave popcorn popping and quickly realized that it was full of rhythmic material. I transcribed some of the rhythms and composed a song from it. In this process I wanted to develop my method and think of new ways to create random sequences. I found several apps useful for this purpose. I also found a way to export these sequences as MIDI-information in the form of note pitches and rhythms into the notating software Sibelius, which allows you to rearrange these notes and rhythms in many ways. In my work I discuss the effect of having randomly created elements in music. How does ”random” sound in a jazz context? How does musicians react to music that is composed from random elements and what effect can it have on the improvised parts? When working with randomly created notes and rhythms there’s also a discrepancy between me as a creator and the random musical content which is derived from something else, outside myself. That is something I found useful in the sense of reducing some of the self criticism which often occurs when creating and writing music. The differens tools I used in my work can create an endless amount of material.

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Karlsson, Andreas. "Man blir ständigt påmind om att man är tjej : En kvalitativ studie om kvinnliga elgitarrister." Thesis, Örebro universitet, Musikhögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64549.

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Björlemyr, Sara. "”Jag har hört att man inte behöver ha talangutan att det räcker med blod, svett och tårar och det har jag.” : En studie av sångpedagogers erfarenheter och uppfattningar av tonträffningssvårigheter." Thesis, Örebro universitet, Musikhögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-69150.

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Tengholm, Erik. "Solist med storband." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3106.

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This project deals with the different aspects and problems that I associate with being a soloist with a big band, playing my own music. I put together a big band with some of my favorite musicians, wrote four arrangements on original tunes and played them on a concert at The Royal College of Music on the 7th of March 2019. In the arranging process, I tried to focus on making my trumpet playing sound as natural as possible. The goal throughout the whole project has been to make the music match my trumpet playing and improvisational sound.

Medverkande: Sebastian Jonsson, Leonard Werme, Björn Bäckström , Samuel Muntlin, Emma Josefsson (träblås), Erik Tengholm, Isac Åberg, Max Stark, Linnea Jonsson, Emma Granstam (trumpet), Lars Ullberg, Agnes Darelid, Hampus Adami, Simon Skogh (trombon), Mattias Olofsson (gitarr), Anna Gréta Sigurdardóttir (piano), Johan Tengholm (kontrabas), Oscar Johansson Werre (trummor).

Till uppsatsen bifogas inspelningar av mina egna kompositioner som är kopplade till arbetet: Complexity of Love, Motljus, Livejazzbaren och Island.

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Langemyr, Henrik. "Att komponera med eller utan notskriftsprogram." Thesis, Örebro universitet, Musikhögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-77860.

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Ek, Alexander. "Det digitala framförandet : Med datorn som huvudinstrument." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86516.

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Hägg, Daniel. "Vi äro musikanter, men vill färre och färre spela basfiol och flöjt? : En kvalitativ studie av barns val av instrument till den frivilliga musikundervisningen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36331.

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Studien syftar till att få en djupare insikt i hur sociala och kulturella faktorer påverkar barn och ungdomar i deras val av instrument för studier på en kulturskola. I bakgrundskapitlet presenteras tidigare forskning och annan relevant litteratur inom studiens ämnesområde. Studiens teoretiska utgångspunkter utgörs av det sociokulturella perspektivet. Studiens metod utgörs av den kvalitativa intervjun. Sex nybörjare, tre flickor och tre pojkar i åldrarna 8-10 deltog i studien. I resultatet framkommer att omgivningen, media, musikskolan och barnet själv är faktorer som på olika sätt har påverkat barnen i deras val av instrument. Framförallt visas på att förebilder har haft en inspirerande påverkan och att informanterna bildade sig en egen uppfattning av vilka instrument de gillade och ogillade om de hade fått prova på att spela dessa. Även diskussionen lägger tonvikt på förebilder och barns egen uppfattning om val av instrument. Detta diskuteras i relation till tidigare forskning samt det sociokulturella perspektivet.
The study aims to gain a deeper understanding of how social and cultural factors influence children and young people in their choice of instruments for studies at a music school. In the background chapter, previous research and other relevant literature in the study subject are presented. The study's theoretical point is the socio-cultural perspective. The study's method is the qualitative interview. Six novices, three girls and three boys between the ages of 8-10 participated in the study. The result shows that the environment, media, music school and the child itself are factors that in different ways have influenced the children in their choice of instruments. The result highlights that role models have had an inspiring effect and that informants formed their own opinion of what instruments they liked and disliked if they had the chance to play them. The discussion chapter also puts emphasis on role models and children’s own perception in the matter of choice of instruments. This is discussed in relation to previous research, and the socio-cultural perspective.

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Josefine, Nyman. "”Var inte rädd för att gå in i detta” : Om kulturskolans målsättning och kompetens inom teaterverksamhet med barn och unga med funktionsnedsättning." Thesis, Örebro universitet, Musikhögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-76659.

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Hall, Ulrika, and Petra Holmgren. "Musik i förskolan : lärande med, om, i och genom musik." Thesis, Linnéuniversitetet, Institutionen för didaktik och lärares praktik (DLP), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-102610.

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Tidigare forskning visar att musik i förskolan till stor del används som medel för lärande i andra ämnen, musiken som ämne i sig hamnar lite i skymundan. Många förskollärare känner att de inte har tillräcklig kompetens eller känner sig tillräckligt säkra på ämnet för att kunna bedriva musikundervisning.Med stöd av Lindströms teori om fyra estetiska lärandeformer undersöker vi i denna studie hur förskollärare arbetar med musiken och om musiken används som mål eller medel för lärande. Studien är en kvalitativ intervjustudie där åtta förskollärare deltog. Resultatet visade på att den vanligaste lärandeformen som förskollärarna arbetade med var lärande Med, vilket innebär att musiken används som medel för lärande i andra ämnen. Majoriteten av respondenterna uttryckte även att de saknar kompetens och kunskap och de efterfrågar kompetensutveckling på sina arbetsplatser.Slutsatsen i studien är att trots att musik ses som en viktig del i barns utveckling och lärande så får den förhållandevis liten plats i förskolans verksamhet.

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Lindeberg, Vanja. "Att göra uttryck : Att arbeta med musikaliskt uttryck i sång." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-57975.

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Borgemo, David. "Scennärvaro : En studie om instrumentallärares uppfattningar om, och arbete med, scennärvaro." Thesis, Örebro universitet, Musikhögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64442.

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Dissertations / Theses on the topic 'Men in music'

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