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Dissertations / Theses on the topic 'Songwriting'
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Tour, Peter M. van. "Klingande klossar. Om 1800-talets menuettpedagogik och dagens songwriting. Del 2. Songwriting." Thesis, Kungl. Musikhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-899.
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Stephenson, Sally dhruvá. "Portraits of the songwriting process in elementary classrooms." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1967.
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Thesis (Ed. D.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains viii, 159 p. : ill. (some col.), music. Includes fifteen songs in the mp3 format. Vita. Includes abstract. Includes bibliographical references (p. 135-142).
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Ward, Andrew. "Popular song and narratology: Exploring the relationship between narrative theory and song lyrics through creative practice." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134488/2/Ward.pdf.
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This thesis proposes a new theorization of song analysis based on practice-as-research and underpinned by structuralist narrative theory. In an examination of 300 number one songs, the research explores both the relationship of storytelling and musical structure in popular songwriting, and the nature of songwriting-as-research as a research paradigm. In doing so, the thesis and associated creative works seek to guide future songwriters and industry in how stories are most effectively conveyed in popular song lyric writing.
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Scholtes, Mark A. "Creative Trigger, Creative Intent and Creative Choice: An Exploration of Where Songs Come From." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365726.
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This paper investigates the relationship between Creative Trigger, Creative Intent, and Creative Choice in the context of intuitive songwriting practice. By positioning creative practice in a theoretical framework that includes both traditional musical transcription and autoethnographic data, the paper discusses the interplay between these creative elements and their relationship to the finished works. It also seeks to compare conscious and intuitive songwriting process in an attempt to better understand how these two modes of operation intersect in the context of the author’s own creative practice. As a result, over the course of this project, this research highlights a transition away from what can be considered an overly romantic and anachronistic view of songwriting and creativity, towards a conclusion that refutes much of the mystery surrounding songwriting practice as propagated by many successful recording artists, songwriters, media, and the music industry at large.Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium of Music
Arts, Education and Law
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Staggs, Russell Kyle. "Psychology of the arts: songwriters discuss their creativity." Thesis, Boston University, 1993. https://hdl.handle.net/2144/28587.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Bennett, Joe. "Constraint, creativity, copyright and collaboration in popular songwriting teams." Thesis, University of Surrey, 2014. http://researchspace.bathspa.ac.uk/5037/.
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This PhD study starts with a single question: 'how do songwriters collaborate to write effective songs?' I will test several hypotheses, including 'amateur and professional songwriters demonstrate different behaviours','songwriting represents the collision of existing ideas', 'song form is market-driven', 'songwriters learn by hearing extant songs' and 'process and product are interrelated and it is possible to change the latter by consciously manipulating the former'. In testing the hypotheses, I will discuss the titular 'Four Cs' - Constraint, Creativity, Copyright and Collaboration. The last is explained easily in the central question; the first is necessitated by the inescapable fact that popular song exhibits statistically probable norms relating to characteristics such as harmony, form, lyric theme and rhyme. The second (Creativity) obviously requires originality, which in music manifests itself as the third - Copyright. Therefore, it is necessary to explore the constraints of song, and to consider songwriters' ability to cross the lower originality threshold of creativity defined by copyright. The research is itself constrained to a study of the work of 'professional' songwriters, defined as individuals whose work has generated income through royalties. I take the philosophical position that songs can only exist when there is an additional listener to hear them. Historically and culturally I define 'songwriting' as British and American popular songwriting as practised between 1952 and 2012 (the first 60 years of the 'singles chart' in the UK), although in some cases it will be necessary to make reference to slightly earlier sources . Three evidence bases are used: real-time recqrdings of songwriting sessions, immediate retrospective reports by songwriters, and later retrospective interviews. The first of these is auto-ethnographic; I have documented my own collaborative processes across a variety of real-world composition and songwriting projects. The research draws on existing academic literature, particularly in the fields of popular musicology and cognitive psychology, but also making reference to tertiary fields such as law, sociology, literature and philosophy. This thesis does not posit a 'template method' for songwriting - even a cursory examination of the evidence suggests that no such thing exists. Rather, the intention is to identify and analyse the way songwriting teams negotiate the creative and problem-solving challenges of writing effective songs.
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Van, Rensburg Adriana Janse. "Songwriting in adolescence : an ethnographic study in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.
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Thesis (D. Phil.)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made.
AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.
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Olsson, Ennart Annika. "Sången tar inte slut när den är färdig, den lever vidare : songwriting i musikterapi." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2230.
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The study arose out of a curiosity and a personal interest in finding different methods of songwriting for various target groups in music therapy. The aim of the study was that, based on a literature review and interview, compile information about the different methods of songwriting for different audiences, how as a music therapist can work with songwriting and what the outcome might be. The study presents a review of relevant literature and previous research in the field of songwriting. From a hermeneutic perspective, the interview responses interpreted and transcribed, and literature have summarized the most important and relevant on the subject. The questions have focused on how different methods might look like and what advantages and disadvantages there are to the methods, both for clinicians and clients. Questions about the tools, techniques, theoretical knowledge and reflection on the different diseases and disabilities, are also included in the study.Uppsatsen har uppkommit ur en nyfikenhet och ett personligt intresse kring att hitta olika metoder i songwriting för olika målgrupper inom musikterapi. Syftet med studien var att, utifrån en litteraturstudie och intervjustudie, sammanställa information kring olika metoder i songwriting för olika målgrupper, hur man som musikterapeut kan arbeta med songwriting och vad resultatet kan bli. I uppsatsen presenteras en genomgång av relevant litteratur och tidigare forskning inom området songwriting. Utifrån ett hermeneutiskt perspektiv har intervjusvaren tolkats och transkriberats, och litteraturen har sammanfattats till de viktigaste och relevanta angående ämnet. Frågeställningarna har handlat om hur olika metoder kan se ut och vilka fördelar och nackdelar det finns med metoderna, både för klinikerna och klienterna. Frågor kring verktyg, tekniker, teoretiska kunskaper och överväganden kring olika sjukdomar och funktionsnedsättningar, tas också upp i studien.
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Bakan, Daniel Lowell. "Folk music, songwriting, art therapy and education in non-school settings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0015/MQ45481.pdf.
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Levihn-Coon, Andrew. "Singing the Blues Away: Songwriting as a Coping Mechanism for Depression." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1173.
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The widespread prevalence of depression throughout the world, across a variety of demographics, stresses the importance of examining different ways of coping with the affliction. This paper provides a background of different theories of coping with depression and it reviews how therapeutic songwriting, a form of active music therapy, can work as a highly effective method of coping with depression. The review indicates that therapeutic songwriting can be a successful coping mechanism through its positive influence as a primary and secondary control engagement coping strategy. Furthermore, songwriting acts as an adaptive distractor and emotion regulator, and has a positive impact on self-esteem and subsequently self-compassion. Additional benefits of therapeutic songwriting are discussed such as its time effectiveness and its ability to act as a therapy motivator and a psychoeducational tool. The findings indicate a need for future research to examine original therapeutic songwriting, in which the therapy-participant creates both original music and lyrics with the guidance of the therapist, as a potentially successful treatment for depression.
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Taylor, Allan. "Song, songwriting and the songwriter in the English folk song revival." Thesis, Queen's University Belfast, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333855.
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Carpenter, Aubrey W. "Songs from the Willow Tree: Staging Collective Inspiration for Creative Songwriting." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/365.
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The songwriting process, inspiration to song, can take many forms. This project explores a highly structured approach, using themes derived from reported individual experience to direct the creation of musical ends addressing common experience.
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West, Andrew. "Exploring the pedagogy of songwriting : a case study of five undergraduate songwriters." Thesis, Bath Spa University, 2012. http://researchspace.bathspa.ac.uk/6885/.
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Although songwriting is commonly taught as a component of popular and commercial music programmes in higher education both in the UK and overseas, there is relatively little published theory on how the subject is taught and learned in formal educational environments. Further, there is no published consensus among teachers as to what might constitute effective pedagogical practice or on how undergraduate songwriters might develop as individual learners. Using a case study of five undergraduate songwriters taught in a formal environment by the researcher over an eight-month period, the research aims to develop an understanding of what songwriters learn and experience when they adopt co- investigative and group learning roles within the researcher's particular teaching and learning process. The thesis proposes that songwriting consists of four elements: music, creativity, language and communication and that the existing pedagogies of these elements, when critically examined within the context of the empirical research findings, may be able to provide a theoretical set of possible directions for the pedagogy of songwriting in higher education. Background theory is provided by literature reviews of pedagogical practice in higher education and of the distinctive pedagogies of music, creativity, language and communication and the case study data analysis is used to generate focal theory. The conclusion examines findings from the empirical study within the context of the background theory to identify some of the distinctive features of the teaching and learning of this particular case of songwriting in higher education, and to ask questions and make suggestions concerning future practice and research. The researcher's prior study of how professional songwriters develop outside of the academy, which found that professional songwriters recalled having developed songwriting skills in similar ways, is used as the main theoretical basis for the empirical research, which adapts findings from the prior study to offer a pedagogical framework within which five students are encouraged to develop as individual learners. In the empirical research findings, which are drawn from participant-observations, interviews, analysis of student journals and product- analysis, learners found methods that enabled them to generate songwriting ideas both they and the researcher considered effective in conveying meaning. As critical listeners the students appeared to become increasingly aware of the communicative quality of their work and emotion and confidence emerged as influential factors in the learners' ability to develop as songwriters. Analysis created both beneficial and detrimental effects and, within both personal and broader theoretical contexts existing modes of assessment were called into question.
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Carriage, Leigh. "Breathing New Life into Old Forms: Collaborative Processes Supporting Songwriting and Improvisation." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20368.
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The primary aim of this practice-based research was to reinvigorate my artistic practice in composition, and in so doing provide a useful model for vocalists and singer-songwriters in the contemporary jazz genre. These aims are achieved by identifying the dialectics – the collaborative inputs – in composing, lyric writing, rehearsing and recording. The thesis provides a narrative of processes undertaken in the creative practice journey involved in the production of the albums Get Out of Town (2012), Mandarin Skyline (2013) and Weave (2016). Leading Australian musicians and composers were selected for the writing and recording processes. Through a detailed examination of their input and contribution to the music, along with the input of non-musician participants, an enhanced understanding of the musical and wider interactions related to collaborative processes is revealed. The collaborative processes are outlined song by song and analysed in every stage of music creation, including preproduction discussions, communications with selected co-writers, musicians’ contributions to arrangement and composition, informal discussions related to “best” practice, and negotiation regarding stylistic interpretations pertaining to genre, harmonic movement and improvisation. Improvisation emerges as a key factor in not only the personal creative compositional process, but also in the collaborative process. The concept of collaboration was stretched to encompass personal creative processes, informed as they are by issues of stylistic identity, inspirational figures and the creative milieu within which musicians hone their skills. This process shone light on strategies within the collaborative spectrum that promoted the extension and development of my songwriting and improvisational practices.
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Tour, Peter M. van. "Klingande klossar. Om 1800-talets menuettpedagogik och dagens songwriting. Del 1. Joseph Haydns menuetter." Thesis, Kungl. Musikhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-898.
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Cobb, Maggie Colleen. "Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6208.
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This dissertation can broadly be summarized as an examination of the construction and maintenance of a specific type of “authentic” American identity through the lens of folk music. Drawing from interpretive perspectives within the sociology of culture and social psychology, social constructionism and symbolic interactionism in particular, I combine ethnographic research with 61 interviews at two different “folk musicians’ festivals” (festivals where attendees, not hired professionals, produce the music).
My principal focus at these festivals concerns the various practices and stories surrounding the creation and performance of original folk music. I use the empirical platform of musicians’ festivals, where folk songwriters are plenty, combined with the theoretical synthesis of music and narrative, to examine how such practices and stories shape, and are shaped by, culture, emotion, and identity. Specifically, I am interested in the cultural “work” accomplished by the interrelationships among music and narrative at festivals, around songwriting, and in songs, particularly as such “work” relates to the (re)production and reception of folk and festival culture, participants’ emotional experiences, the construction and maintenance of participants’ personal and collective identities, and the purposeful evocation of social change.
In attending to the importance of process and meaning-making, I examine the process through which one accomplishes authenticity as a folk and festival member, the creative process of songwriting, and the process through which listeners experience and interpret “good songs.” I offer the concepts (and processes) of songwriting as inquiry and songwriting in action to account for how these interrelationships “work” for songwriters and listeners, but also for sociologists, particularly in terms of including the (mostly neglected) lived and embodied dimensions of emotional experience. Throughout, I explore how stories and practices in and around the process of musical production and performance are largely influenced by broader cultural narratives that circulate in and around folk music culture, particularly as they relate to the notion of “authentic identity” through emotionality, creativity, and social justice.
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Bakan, Daniel Lowell. "A song of songs : a/r/tography, autoethnography, and songwriting as music education research." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51903.
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This dissertation is an a/r/tographic inquiry in which I explore how songs and stories about songwriting can serve as a means for theorizing new ways of conducting research in music education. I a/r/tographically braid music, lyrics, scholarship and research, autoethnography, and other creative analytical practices to demonstrate how songs and memories can be used as interpretive texts for understanding artistic identity and the nature of being a musician. Through a collaged and multi-modal method of inquiry, I show how music and its renderings, i.e., recordings, lyrics, videos, memories, and lived shared expressions (e.g., performance) can hold and uncover new ‘knowings’ about music making, the self, and society. Using a bricolaged métissage approach, I explore how and why the ethnographic study of autobiographical material and artistic renderings through (and about) song can broaden understandings of the lived experiences of musicians, music learners, and teachers. Supported by Pinar’s re-conceptualist theory of currere, hermeneutic epistemologies, and praxial approaches to music education, this dissertation exemplifies performative autoethnography as research through music-making. I ultimately arrive at two interwoven outcomes: 1) song may function simultaneously as the method, results, and interpretation of research; and 2) the lived experiences and ‘musicings’ of musicians may be considered as a form of artful scholarship. Digital audio and video files of six original songs are attached to this dissertation not only as data in support of the research, but also as a representation and report of findings through storied/scholarly renderings in lyric, prose, image, and music. Supplementary video material is available at: http://hdl.handle.net/2429/51863Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Batkiewicz, Erin Aubrey. "Practices and Perceptions of Music Therapists Using Songwriting Interventions with Clients Who Are Grieving." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/62.
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Music therapists use songwriting interventions to address a variety of goals with several populations. Nevertheless, limited research exists regarding the use of songwriting interventions with individuals who are grieving. The purpose of this study was to examine practices and perceptions of board-certified music therapists working with clients who are grieving, specifically: (a) common interventions used to address grief (b) use of songwriting intervention; (c) perceived effectiveness of songwriting; and (d) music therapists’ comfort levels and training in implementing songwriting interventions. An online survey was sent to 6,292 board-certified music therapists, 324 of whom completed the survey. Participants reported that they use counseling techniques, singing, and songwriting with individuals who are grieving. Respondents indicated that songwriting was most effective in increasing emotional expression of clients who are grieving. All participants (N = 324, 100%) believed that songwriting could be an effective intervention for clients who are grieving. Music therapists expressed a need for further training in implementing songwriting interventions.
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Scott-Melton, Fiona. "Women, singing and songwriting : accounts of everyday music-making across the amateur/professional divide." Thesis, University of Winchester, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549641.
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Feminist literature on women's involvement in music has predominantly focused on western art music and the relationship women have with feelings versus a rational approach to writing music. Little consideration has been given to women's music practices in everyday settings, including early years education. This thesis explores women's accounts of writing songs or working with young children in terms of what factors are involved in them having a successful relationship with music. Findings are drawn from a qualitative study in which fifteen interviews were undertaken with women between the ages of 20 and 78 in which singing was an element of their musical practice. A horizontal and vertical analysis was used to explore the nature of the women's relationship with music. This study suggests that for the women engaged in writing songs for adult consumption, the development of a long-term commitment to participate involved four key ingredients, which were: finding the 'right' genre, music becoming an important means of expression, a sense of choice concerning the materials one works with, and developing a positive relationship with music. Although there was a strong emotional connection with music, for the women involved in music on a professional basis no linkage with well-being was made. In contrast, many of the women involved in music on an amateur basis or working with young children, were found to engage in music practices in which well-being was enhanced. This caused music to playa crucial role in their everyday lives. This was the case regardless of the level of skill already acquired.
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Pejler, Andreas. "Social and Musical Effects of Co-writing : Performing and analyzing six co-writes." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3169.
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This study examines social factors in songwriting collaborations with the aim to understand the inner workings of co-writes. Previous research indicates significant benefits with songwriting collaborations, both related to productivity and creativity (e. g. Bennett 2012, Littleton & Mercer, 2012). Nonetheless, it can be creatively frustrating to make music in a collaboration that does not work like expected. What is significant about the musical work in a fulfilling co-write? And how can you find your way out of struggle together? While there is qualitative research on musical collaborations, this study is distinguished by that the researcher is partaking in several co-writes. Six collaborations were documented with various methods, including video and audio recordings, post-hoc reflection, semi-structured interviews and communication memos. The comprised material was transcribed and analyzed in order to reveal socio-musical tendencies in the co-writes. The research suggests four socio-musical categories for explaining actions in co-writing sessions – ‘Artistic Concept’, ‘Concept’, ‘Meta’ and ‘External’. The two first categories are more artistically connoted, where the last two are more socially signified. During the study, purely artistic actions were outweighed by more socially connoted actions in the co-writes. This resulted in a fairly low generation of musical material per session. The prevalence of bonding may be seen as a way of avoiding rejection, which is a possible outcome when suggesting musical ideas (Bennett, 2012). The sessions that were most fulfilling for the researcher were characterized of nonverbal, musical means rather than linguistic ones - where the collaborators didn’t talk about the music, but connected through songwriting. High rates of fulfillment connected to musical communication was also supported by numerous co-writers in the project.Medley of songs created in the project.
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Nuttall, Keir. "I’m with Muriel: Applying a persona-centred songwriting technique to the creation of a new Australian musical." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/209305/1/Keir_Nuttall_Thesis.pdf.
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This Thesis by Creative Works advances a new method of songwriting centred around the concept of persona. Drawing on Csikszentmihalyi’s Systems Model of Creativity and Auslander’s work on persona and popular music performance, the thesis develops a model of songwriting that is then applied in the creation of new music and lyrics for the Australian musical theatre production, Muriel's Wedding the Musical.
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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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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.
Full textAbstract:
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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Deaton, Melissa. "THE EFFECT OF A SINGLE-SESSION GROUP SONGWRITING INTERVENTION ON GRIEF PROCESSING IN HOSPICE CLINICIANS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/116.
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The purpose of this study was to determine the effect of a single-session group music therapy songwriting session on grief processing in hospice clinicians. The study design was quasi-experimental. Participants were cluster randomized into a control group and a treatment group. The researcher led a 50-minute songwriting session focused on sharing and processing experiences of grief-related stress and burnout in hospice work. Grief processing was measured using a self-report survey for n=25. Overall differences between control and treatment groups were not found to be statistically significant. Significant differences were also not found in treatment score differences for type of hospice clinician or years of experience. For future research with hospice clinicians, a new measurement tool should be developed that is more specific to measuring an actual difference before and after a treatment. The current measurement tool is best used as an inventory for stress and grief levels that result from caregiving. Any new measurement tool should be kept under twenty questions. A single-session, though convenient for busy hospice clinicians, may not provide a complete treatment for grief and stress. Further research with hospice clinicians may require several treatment sessions to achieve a more complete grief processing experience.
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Sjödin, Max. "Att skapa till mig själv istället för att skapa till andra : Ett examensarbete om att skriva och producera musik till mig själv och andra." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3006.
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Jag har länge skrivit pop-musik till andra artister, ofta i session tillsammans med andra låtskrivare, men varje gång jag försökt skriva musik som jag själv ska framföra har det tagit stopp. Jag bestämde mig för att ta itu med detta och utmana mig själv att övervinna de hinder som ofta dyker upp. Därav ägnade jag delar av våren 2019 med att undersöka de upplevda skillnaderna mellan att skapa musik åt mig själv och att skapa musik åt andra. Syftet med detta arbete var att undersöka skillnaderna som uppstår när jag skapar musik till mig själv gentemot när jag skapar åt andra, för att hitta ett arbetssätt som fungerar så bra som möjligt för mig. Genom att skriva och producera i olika konstellationer fick jag lärdomar om hur jag fungerar, inte minst när det gäller hur jag upplever skillnader i frihet och kontroll när jag skriver till olika mottagare. Efter flertalet sessions hade jag lyckats ta fram så många som nio olika låtar, och med det kom minst lika många insikter och lärdomar. Utifrån detta material skedde ett urval bland låtarna, som så småningom ska bli en EP.
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Marinaro, Rebeckah. "The effect of group songwriting versus poetry writing on the self-efficacy of adults who are homeless." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539252.
Full textAbstract:
The purpose of this study was to investigate the effect of group songwriting versus poetry writing on the self-efficacy of adults who are homeless. The study was conducted in the day center of an emergency shelter where participants took part in one of two conditions. The treatment condition consisted of a single music therapy songwriting session during which participants ( n = 19) collaboratively wrote lyrics and composed the music for an original song. After the group performed the song together, with the use of handheld percussion instruments, the researcher facilitated a closing discussion. The control condition consisted of a single poetry therapy session during which participants (n = 14) collaboratively wrote a free-verse poem, recited it together, and concluded with a facilitated discussion. Results showed increased mean self-efficacy scores for both conditions, though neither group's improvement was significant. While there was also no significant difference in the amount of change exhibited by one condition as compared to the other, the music group did evidence a stronger trend of movement toward higher self-efficacy. Music participants had higher mean change scores on 4 out of 5 pre/posttest questions, as well as a higher overall mean change score (6% change as compared to 2% in the poetry condition). The products created in each session were analyzed for observable differences. Overlapping themes included: love, peace, happiness, unity, goals, change, positive thinking, and overcoming adversity. The songs composed by the two music therapy groups were written in verse-chorus form and produced between 6 and 8 unique, unrepeated lines. The poem written by the poetry therapy group was through-composed and produced 26 unique lines. The poetry group product also contained more themes, more sub-thematic material and greater complexity, as evidenced by more detailed explication of each idea. The unique strengths of songwriting and poetry writing in this setting were illuminated by their use in this study; specific goal areas best suited to each modality are discussed. Literature reviewed strongly suggests the need for additional research regarding the use of music therapy with adults experiencing homelessness. The results of this study suggest that both music therapy and poetry therapy are effective therapeutic approaches for this population and that songwriting specifically, may have distinct advantages in addressing self-efficacy.
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Lempiäinen, Kristoffer. "Floating : Metoder för att skriva låtar." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2914.
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Denna rapport fokuserar på ämnet att skriva låtar med olika metoder, och handlar huvudsakligen om tre metoder som jag har använt mig av. Det tas även upp om begreppen kreativitet och flow, och hur det tillämpades kring låtskrivarprocessen. I bakgrunden presenteras det tidigare studier och litteratur som berör dessa ämnen. Som metod utgick jag ifrån Metod 1 – att få helt fritt komponera och skriva idéer, Metod 2 – att använda sig av en rytm, och Metod 3 – att skriva med struktur. Dessa metoder har tagits från Lathund För Låtskrivare och andra artiklar som berör låtskrivning. Resultatet blev att omkring 70 låtar skapades. Tio valdes ut att bli färdigställda, samt sju stycken valdes ut för konsert. Slutsatsen blev att Metod 1 användes betydligt mer än Metod 2 och 3, eftersom jag upplevde mer kreativitet och flow under den metoden. Detta tas upp mer ingående i resultat och diskussion.
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Straleckaitė, Dalia. "Mokinių dainos kūrimo fenomenologinė analizė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120808_115350-63315.
Full textAbstract:
Skirtingų meno sričių kūryba perteikia vidinę kuriančiojo būseną, subjektyvų požiūrį į pasaulį, įprasmina būtį ir padeda save išreikšti specifine – meno kalba. Jau daugelį metų įvairių sričių mokslininkai siekia išsiaiškinti, kaip gimsta meninė kūryba, kas ją inspiruoja ir kokie yra jos atsiradimo veiksniai, aplinkybės, motyvai bei asmeninė prasmė.
Tyrimas atliktas jau ketvirtus metus Kalvarijos meno mokykloje vykdomo muzikinio – kūrybinio edukacinio projekto „Mokinių kūrybiškumo ugdymas muzikine kūrybine veikla“ pagrindu. Šio projekto metu mokiniai skatinami kurti dainas bei jas pristatyti meninės kūrybos vakaruose „Kūryba širdimi“. Mokinių dainos kūrimo procesas magistro darbe tiriamas remiantis fenomenologine strategija, padedančia tiriamą fenomeną aprašyti laisvai, iš anksto nesiejant jo su teoriniais ir socialiniais konstruktais, hermeneutine interpretavimo teorija bei konstruktyvistiniu požiūriu. Tyrimo objektas – mokinių dainos kūrimo procesas. Tyrimo tikslas – atskleisti mokinių dainos kūrimo proceso ypatumus ir dainos kūrimą kaip fenomeną.
Pirmoje darbo dalyje analizuojamas meninės kūrybos konceptualusis turinys atskleidžiant meninės kūrybos kaip fenomeno paslaptis, sampratą, ypatumus. Fenomenologijos kontekste meninė kūryba – motyvuota, intuityvi, pasižyminti nuojautomis, įžvalgomis, kurios nėra sąmoningai kontroliuojamos. Jai būdingas kūrybinis įkvėpimas, nevaržomas kūrybinio rezultato siekimas. Kiekviename meninės kūrybos žingsnyje susiduriama su skirtingais... [toliau žr. visą tekstą]Creation of different kinds of art convey the inner state, the subjective creator’s attitude towards the world, gives a sense to the entity and helps to express oneself through a specific – art language. Scientists of various spheres seek to find out how the artistic creation originate, what inspires it and what are the factors, circumstances, motives and personal implications of its origin for many years already. The research is done on the grounds of musical – creative educational project “Education of Pupils’ Creativeness by Musical Creative Activity” that is being implemented at Kalvarijos Art School for fourth year already. During this project pupils are encouraged to write songs and introduce them in artistic creation evenings called “Heart Creation”. In the master’s work, children’s songwriting process is researched with reference to phenomenological strategy that helps to describe the phenomenon researched freely, not interrelating it with theoretical and social constructs, hermeneutic interpretation theory and constructivist viewpoint. The object of the research – the process of pupils’ songwriting. The aim of the research is to reveal the peculiarities of pupils’ songwriting process and to disclose songwriting as a phenomenon. In the first part of the work, the conceptual content of artistic creation is analyzed revealing the secrets, concept and peculiarities of artistic creation as a phenomenon. In the context of phenomenology, artistic creation is motivated... [to full text]
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Skeppar, Jonas. "Vad händer om jag stämmer om gitarren? : En studie i att skriva låtar i olika stämningar på gitarren." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74101.
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I mitt examensarbete har jag undersökt hur min låtskrivningsprocess påverkats när jag skrivit låtar i olika stämningar på gitarren. Jag har på senare tid ofta upplevt att jag lätt fallit tillbaka i gamla vanor och mönster när jag skrivit musik. Detta har gjort att låtskrivningsprocessen känts oinspirerande och jag har stundtals haft svårt att ta mig vidare i processen. Mitt syfte med arbetet har varit att se om jag genom att skriva musik i en öppen stämning kan bryta gamla mönster och hitta nya sätt att utrycka mig musikaliskt. Fokuset i arbetet har legat på harmonik, melodi och den kreativa processen. Jag har inte haft mycket erfarenhet i att spela eller skriva musik i andra stämningar än standardstämning innan detta arbete och valde därför att ta tillfället i akt och förkovra inom ämnet. Arbetet har resulterat i inspelningar av tre stycken egenskrivna låtar i stämningarna öppet G, dadgad samt standard stämning. I arbetet går jag igenom processen från låtidé till färdig låt och tar upp vilka problem respektive möjligheter jag funnit i varje stämning samt låtskrivningsprocess. I min stuide har jag hittat flera nya musikaliska utryck och verktyg. Jag har även blivit medveten om vikten av att begränsa sig när det kommer till låtskrivning. Jag märkte att kreativiteten och inspirationen frodades när jag skrev låtar i stämningar jag inte var van att spela i.
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Andersson, Daniel. "Watch Out : En undersökning om hur tid påverkar låtars musikaliska element." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74450.
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I detta arbete har jag undersökt huruvida min låtskrivningsprocess skiljer sig utifrån fem musikaliska element när den skrivs under tidspress. - Melodisk utveckling (omfång/register) - Rytmisk variation - Variation (låtens helhet) - Repetition - Hookar Jag har, utifrån tre bestämda tidsramar, skrivit fem låtar per tidsram, gjort demo-versioner på samtliga och fått de musikaliska elementen betygsatta av en lyssningsgrupp. Dessa betyg har jag sedan sammanställt för att se hur lyssningsgruppen har uppfattat låtarna utifrån elementen och om det då finns några skillnader när jag skriver utifrån de olika tidsramarna. Resultatet visar att det finns en tydlig olikhet mellan den kortaste och de längre tidsramarna, då det finns en påtaglig saknad av de musikaliska elementen vid den kortare tidsramen. Differensen mellan de längre tidsramarna är mer diffus men vid den längsta tidsramen är de musikaliska elementen mer närvarande, hos samtliga element, än vid den näst längsta tidsramen.
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Tiggemann, Marcel. "How Different Are Pop & Punk?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103824.
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A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.
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Bishop, David. "Words make the Music and Music makes the Words' - Exploring and developing my potential as a singer-songwriter." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/407559.
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Literary and linguistic prosody principles can provide a wealth of creative strategies within songwriting. Very often, these strategies are part of the songwriter’s innate, internal process of creation, or when consciously employed are so embedded in the work that they may not be immediately apparent to a listener. This research project attempts to shed light on some of the ways prosody impacts a final work, or body of work, guided by the primary research question: In what ways does literary and linguistic prosody inform songwriting? The vehicle for this inquiry has been my own songwriting practice; a driver has been my ongoing commitment as a musician of over 30 years to continually hone my own songwriting skills and to understand the craft.
Interpreting and reflecting on extensive literature on literary and linguistic prosody has assisted me to highlight the relevance of these areas to my practice. Early in the project I noted discussions about the duality of prosody and developed a personal maxim which has helped to shape this inquiry, that words make the music and music makes the words. Framed by an overarching constructivist worldview, the project adopts a mixed method research design to interrogate and test this maxim. Elements of this research design include artistic research, action research, interviews, participant observation and musical analysis.
The quest to answer my primary, and subsequently identified secondary research questions, has generated a network of themes which I hope will make a contribution to the growing theory and understanding of prosody. More practically, I intend that a detailed analysis of songwriting and composing techniques will offer some guidelines and strategies for my students, and fellow singer-songwriter artists. Finally, I offer my own example of the application of prosody in the CD of original work created to accompany this exegesis. This research album titled Beginner’s Mind will, I hope, illustrate my final opinions and decisions reached by the work within the research project about the centrality of prosody in songwriting – in all its forms.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Jalili, Lemar. "Creative Processes." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-75298.
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Viega, Michael. ""Loving me and My Butterfly Wings:" A Study of Hip-Hop Songs Written by Adolescents in Music Therapy." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/214756.
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Music TherapyPh.D.
The aim of this arts-based research study was to experience, analyze, and gain insight into songs written by adolescents who have had adverse childhood experiences and who identify with Hip Hop culture. This study investigated the aesthetic components of eleven songs including their musical elements, the compositional techniques, the affective-intuitive qualities, and the interaction between the music and the lyrics. An arts-based research design, rooted in the ethos of Hip Hop, was employed to gain a holistic understanding of the songs. My artistic encounters and subsequent analyses of the songs revealed the complex inner struggles and developmental challenges for adolescents who have experienced extreme trauma. Three groupings of songs emerged: Songs that Protect Vulnerability, Songs of Abandonment, and Songs of Faith and Love. Each category reflects a different stage of developmental growth for the songwriters. Employing Fowler's (1981/1995) stages of faith development, a music-centered developmental model of therapeutic songwriting with adolescents is proposed in this study. This model consists of three therapeutic songwriting stages: Imitation, Developing Self-Reflection, and Developing Self-Love. The implications for this study include developing an arts-based method of song analysis for students and professionals, developing a music-centered therapeutic songwriting assessment, developing a perspective for music therapy practice and research rooted in the ethos of Hip Hop, and developing longitudinal arts-based research studies that track the life of songs across various stages of developmental growth.
Temple University--Theses
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Klang, Jakob. "Kreativ transformation : Från musikalisk hantverkare till kreativ musikskapare." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4142.
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Detta masterprojekt handlar om omvandlingen från att ”bara” vara en musikalisk hantverkare till att bli en kreativ musikskapare. Musiken som det här projektet har resulterat i är åtta låtar, i instrumentala genrer med teman och improvisationer. Metoden som har tillämpats är forskning genom konsten. I den inledande fasen av processen fanns det ett icke-dömande förhållningssätt till musikskapandet där fokus låg på att skapa musik utan att ta hänsyn till om musiken som skapades var bra eller dålig. Under resans gång utkristalliserade sig målet till att bli arbete mot en två-dagars inspelningssession tillsammans med en kvintett i studio 1 på Kungl. Musikhögskolan i Stockholm. Genom denna process har åtta parametrar visat sig vara av betydelse för att bli en kreativ musikskapare. Parametrarna är välmående, lekfullhet, struktur, fokus, mål och drivkraft. Studiens resultat påvisar att de verkar samexistera och nära varandra och på det sättet utgör de tillsammans en grund för kreativitet i musikskapandet.This master project is about the transformation from ”only” being a craftsman in the art of music into becoming a creator of music. The music in this case has resulted in eight songs in some kind of instrumental genre with themes and improvisations. The method for this journey is research through the arts. In the initial phase of the process there were a non-judgemental approach to music making where focus layed on the act of creating music, not paying any attention to whether the music was good or bad. As the process moved on, goals outlined themselves into becoming work towards two days of recording with a quintet in the biggest studio in the Royal College of Music in Stockholm. Through this process, eight parameters have shown to be of importance in the act of becoming a creative music maker. The parameters are Well-being, Playfulness, Structure, Focus, Goal and Driving force. They seem to co-exist and feed one another and in that way lay a foundation for creativity in music making.
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Jurthe, Rick. "Parasite Future : Creation of an audio record and critical reflection on the production process with remarks on applying time management methods on creative work processes in music production." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4116.
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The overall aim of this master project was to create an audio record consisting of seven tracks that are both cohesive and very individual at the same time. The pieces are thought to showcase the diversity of my creative identity as a composer and music producer and will represent my individual way of composing and producing music freed from all external influences in the best way possible. This written part of the thesis is a documentation and critical reflection as well as investigation of the creation process: from sorting out the original material, writing, producing and arranging over to mixing and mastering. The observations I make are the essential part of investigating my own creative identity as a music producer and composer. In addition to the audio record and its critical reflection, this thesis will also state remarks on three time management methods I apply onto my creation process in order to observe their effects on my working routine.Det övergripande målet för detta examensarbete var att skapa en ljudinspelning bestående av sju låtar som är både sammanhängande och mycket individuella samtidigt. Låtarna ska presentera mångfalden av min kreativa identitet som kompositör och musikproducent och ska representera mitt individuella sätt att komponera och producera musik befriad från alla yttre influenser på bästa möjliga sätt. Denna masteruppsats är en dokumentation och kritisk reflektion samt en undersökning av skapandeprocessen: från att sortera ur originalmaterialet, skriva, producera och arrangera till mixning och mastering. Observationerna jag gör är den väsentliga delen av att undersöka min egen kreativa identitet som musikproducent och kompositör. Förutom ljudinspelningen och dess kritiska reflektion kommer denna masteruppsats också att ge kommentarer om tre metoder för time management som jag använder under min skapandeprocess för att observera effekterna på min arbetsrutin.
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Read, Daniel. "WHY WE SING ALONG: MEASURABLE TRAITS OF SUCCESSFUL CONGREGATIONAL SONGS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/102.
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Songwriters have been creating music for the church for hundreds of years. The songs have gone through many stylistic changes from generation to generation, yet, each song has generated congregational participation. What measurable, traceable qualities of congregational songs exist from one generation to the next?
This document explores the history and development of Congregational Christian Song (CCS), to discover and document the similarities between seemingly contrasting styles of music. The songs analyzed in this study were chosen because of their wide popularity and broad dissemination among non-denominational churches in the United States. While not an exhaustive study, this paper reviews over 200 songs spanning 300 years of CCS. The findings of the study are that songs that have proven to be successful in eliciting participation all contain five common elements. These elements encourage congregations to participate in singing when an anticipation cue is triggered and then realized. The anticipation/reward theory used in this study is based on David Huron’s ITPRA (Imagination-Tension-Prediction-Reaction-Appraisal) Theory of Expectation.
This thesis is designed to aid songwriters and music theorists to quickly identify whether a CCS can be measured as successful (i.e., predictable).
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Callander, David. "Ett ord säger mer än tusen bilder : En konstnärlig undersökning om att skriva text utifrån karaktärer, scener och känslor från en film." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95945.
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Syftet med detta arbete var att undersöka hur man skulle kunna gå till väga för att skriva låttexter genom att ha en film som inspirationskälla. Jag har skrivit tre låtar baserade på filmen ”The Curious Case of Benjamin Button”. Jag kollade igenom filmen två gånger och valde sedan ut scener och karaktärer att jobba vidare med. Det kunde till exempel vara scener med mycket substans att skriva om, samt scener som väckte min egna nyfikenhet. Materialet jag fick utav denna process resulterade i specifika, tidskodade scener och citat från filmen som jag delade upp i separata anteckningar. Detta arbete resulterade i tre låtar där låt 1 har mest fokus på en karaktär, låt 2 har mest fokus på en historia och där låt 3 har mest fokus på en känsla. Musiken är intuitivt skriven och har som syfte att backa upp texten. Jag lärde mig hur viktigt det är med förarbete, och att just ha en metod när man skriver text. Har man det så har man också alltid något att gå tillbaka till. Förhoppningen är att denna metod skall kunna upprepas oavsett vilken genre man helst jobbar med som låtskrivare.
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Sigurjónsson, Jóhannes. "Reference Music As Guidelines : Using reference music to create better songs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.
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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.
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Bastos, Maria Clara. "Processos de composição e expressão na obra de Itamar Assumpção." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032014-153837/.
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Este trabalho estuda a obra de Itamar Assumpção, investigando os principais procedimentos de composição musical utilizados, bem como a relação que possuem com suas vivências pessoais de aprendizagem musical e teatral. Sua obra promove algumas sínteses de materiais musicais e poéticos da tradição popular brasileira e internacional, referencias que são reelaboradas no processo de criação de suas canções. São demonstradas e analisadas a confluência e a atrelagem que existe entre a ação da performance e oito matrizes composicionais identificadas ao longo das diferentes fases de sua obra.This paper studies the music of Itamar Assumpção, exploring not only the compositional procedures employed, but also their relation to the artist\'s musical and theatrical life experiences. Assumpção\'s work harmonizes musical and poetic material from the Brazilian and international popular tradition, a synthesis that is reconstructed in the process of songwriting. This paper demonstrates and analyzes the confluence and interconnection between the act of performance and eight compositional structures identified throughout different phases of his work.
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Eriksson, Hult Elina. "Kreativt samarbete och individuellt skapande : En jämförande studie om samtida musikproduktion och låtskrivning." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3581.
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Syftet med detta projekt var att jämföra individuellt arbete och samarbeten med andra, och studera hur de olika arbetsformerna mentalt påverkat oss som deltagit i detta arbete. Metoden som använts är genomförandet av tre delstudier som omfattat projekt där jag dels skapat musik tillsammans med andra och dels individuellt, samt en intervjuundersökning. En erfarenhet från detta projekt är att, när det kommer till samarbete och individuellt arbete inom kreativt skapande, är varje situation unik. Ett resultat av arbetet är att skillnaderna mellan hur de olika arbetsformerna upplevs är beroende av olika faktorer. Dessa faktorer är bland annat vilka som deltar, vilken uppgift som ska lösas, relationerna mellan deltagarna i en grupp och vilka tidsramar som gäller. För mig har en viktig insikt varit att jag fungerar allra bäst när jag både arbetar individuellt och samarbetar. För att kunna genomföra musikproduktioner och nå mina konstnärliga mål behöver jag, social gemenskap, dela och skapa idéer med andra, samt möjligheten att arbeta individuellt för att kunna skapa helt fritt utan att ta hänsyn till någon annan.The purpose of this project was to compare individual and collaborative work, and to study how the different forms of work methods mentally affected me and the participants. The method used is the implementation of three sub-studies which included projects where I created music with others and individually, as well as an interview study. One experience from this project is that, when it comes to collaborative and individual work within music creation, each situation is unique. One result is that the differences between how the various working methods are experienced, depends on several factors. These factors include, who is participating, what task is to be solved, the relationship between the participants and what time frames apply. For me, an important insight has been that I prefer working both individually and collaboratively. To be able to make music productions and achieve my artistic goals, I need to, socialize with others, share and create ideas with different people, as well as the opportunity to work individually to be able to create music freely without taking anyone else into consideration.
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Melander, Hanna. "Var ska jag börja? : En konstnärlig undersökning kring utgångspunktens betydelse vid låtskrivande." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100844.
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Detta arbete handlar om min låtskrivandeprocess, och om hur den skiljer sig när jag skiftar min utgångspunkt mellan text, melodi + ackord och beat. Syftet med arbetet har varit att ta reda på vilken metod som fungerar bäst för mig när jag skriver låtar till mig själv som artist, för att kunna bli en mer effektiv och strukturerad låtskrivare i framtiden. Jag har skrivit totalt sex låtar. I två av låtarna har jag börjat med att skriva text, i två av låtarna har jag börjat med att skriva ackord och melodi, och i två av låtarna har jag börjat med att producera ett beat. Jag har fört loggbok under arbetets gång, och utifrån den sedan beskrivit processen och bedömt resultatet av låtarna. I en diskussion har jag sedan kommit fram till att den metod som fungerar bäst för mig är att börja med beat, eftersom jag då upplever att jag får som mest frihet och inspiration till att skriva låtens topline.
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Fantuzzi, Fabio. ""All the Way from New Orleans to New Jerusalem": Norman Raeben e Bob Dylan." Doctoral thesis, Università degli Studi Roma Tre, 2020. https://hdl.handle.net/10278/5007482.
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Artista e insegnante di pregio e fine teorico, Norman Raeben è conosciuto soprattutto per l’influenza esercitata su Bob Dylan, il quale ne frequentò l’atelier nel 1974. L’assenza di materiali e la carenza di studi sul pensiero e l’opera raebeniani hanno fatto, però, di questa influenza un mistero quarantennale della critica. Obiettivo della tesi è colmare questo vuoto di studi.
Nella prima sezione si ricostruiscono la vita e l’opera di Raeben, del quale si studiano il pensiero e le metodologie didattiche. Della complessa teoria artistica raebeniana sono approfonditi i temi di maggiore importanza: la ricerca di un principio di sintesi tra la tradizione ebraica e la filosofia euroamericana, l’ideale dell’Art for Life’s Sake, le teorie su tempo, spazio, metafora e palinsesto, e come queste si traducano nella sua pittura unendo le lezioni del Realismo americano e del Postimpressionismo francese.
La seconda sezione esamina diacronicamente la produzione di Dylan, mettendo in luce soprattutto il ruolo che le lezioni raebeniane hanno avuto sull’evoluzione della sua poetica. Lo studio prende le mosse dalle considerazioni dell’autore stesso, che affermò a più riprese di essere riuscito, proprio grazie a Raeben, a riconnettersi con le Muse dopo un lungo periodo di crisi artistica. L’analisi si concentra in particolare sull’uso dell’immagine, della metafora e del palinsesto, sull’influsso della cultura ebraica e afroamericana e sulle sperimentazioni sul tempo. Dalla disamina emerge come tali ricerche contraddistinguano i dischi degli esordi fino all’incidente del 1967 e quelli successivi al 1974, ma vengano invece meno nella produzione intermedia risalente al ritiro a Woodstock. Tramite un’analisi dettagliata delle opere e delle interviste successive alle lezioni si dà conto del fatto che Dylan comprende e impugna la propria poetica giovanile, perfezionandone e padroneggiandone le modalità compositive in maniera più matura e misurata. Ciò dipende in parte anche dal fatto che, basandosi sulla metodologia raebeniana, Dylan elabora un vero e proprio modus scribendi, che sperimenta per la prima volta nei libretti su cui compone l’album Blood on the Tracks e che continua a impiegare e a perfezionare nei decenni a seguire. Un approfondimento specifico è dedicato anche alla produzione pittorica di Dylan, di cui si rilevano gli elementi di continuità e di discontinuità rispetto ai precetti del mentore. Sono infine affrontati il problema del canone e del rapporto con le fonti e con la tradizione e le sperimentazioni sul tempo, temi a loro volta fortemente influenzati dalle lezioni raebeniane.
Se con la riflessione di Raeben la tradizionale contrapposizione tra Atene e Gerusalemme studiata dalla critica si arricchisce di un binomio nuovo, che ruota attorno a Parigi e New York, la ricerca di Dylan risponde a sua volta a due diversi princìpi, simboleggiati, come appare in Blind Willie McTell, da New Orleans e ‘New Jerusalem’: quello afroamericano, rappresentato dalla città simbolo dell’incontro tra musica africana e occidentale, e quello ebreo americano, incarnato dalla ‘Nuova Gerusalemme’. In entrambi i casi si tratta di un’arte della diaspora, la cui concezione messianica del processo artistico fa delle loro produzioni delle opere intermediali, aperte e in continua evoluzione.
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Lima, Roberto Gabriel Guilherme de. "Sou dessas mulheres que s? dizem sim : As mulheres descritas na poesia de Chico Buarque de Holanda." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16153.
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Previous issue date: 2009-03-20This dissertation approaches the question of gender as a vehicle of identity in contemporary discourse. It attempts to (de)construct the hegemonic masculine discourse, breaking with the binarism masculine/feminine and uses premises of the queer theory, which proposes post-modern literary discourses in relation to the notion of gender identity. In this context, we focus the discourses present in Chico Buarque s songs taken as feminine representations they contrast with songs of former songwriters trying to understand the break of the dichotomy masculine/feminine
Esta disserta??o aborda a quest?o do g?nero como ve?culo de identidade no discurso contempor?neo. Tentando (des)consturir o discurso hegem?nico masculino, rompendo com a binaridade masculino/feminino e consagrando as premissas da teoria queer que pressup?e discursos p?s-modernos no que tange ? id?ia da identifica??o do g?nero. Neste contexto, apresentam-se os discursos presentes nas can??es buarquianas femininas - que se contrap?em ?s can??es de compositores anteriores a ele - buscando compreender a ruptura da dicotomia masculino/feminino
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Ruffato, Demirse Marilva. "Bob Dylan : versões brasileiras de 1968 a 2008." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/66300.
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O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico.The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.
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Lundmark, Simon. "“Det gäller ju även om Benny Andersson skulle vilja söka kursen” : En sociokulturell studie om hur undervisning i låtskrivande kan bedrivas på olika utbildningsnivåer." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64089.
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Syftet med studien var att bidra till ökad kunskap inom låtskrivningsundervisning. I studien undersöktes hur låtskrivning kan bedrivas på olika utbildningsnivåer. Med en hermeneutisk vetenskapssyn och ett sociokulturellt perspektiv genomfördes en kvalitativ intervjustudie av fyra deltagande lärare som undervisar i låtskrivande på grundskola, gymnasium, kulturskola, folkhögskola och högskola. Resultatet gav en inblick i dessa fyra olika lärares praktiker och synsätt och kan ses som relevant för yrkesverksamma musiklärare som vill utöka sina kunskaper i låtskrivningsundervisning i relation till kreativitet. Utifrån tidigare forskning om musikskapande, undervisning och kreativitet presenterades ett mångfacetterat resultat där lärarnas syn på och medvetenhet kring kreativitet ansågs påverka den undervisning som bedrevs i större utsträckning än vad lärarnas egna låtskrivande antyddes göra. Lärarens betydelse, vikten av medvetenhet kring kreativitet som företeelse, att synliggöra skapandeprocesser och att kommunicera dessa med eleverna går också som en röd tråd genom resultatet. Svårigheterna i att bedöma låtskrivande i olika kontexter framkom utifrån studien som ett ämne för vidare forskning.
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Ghio, Maria. "Le rap français. Désirs et effets d'inscription littéraire." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030095/document.
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Cette thèse propose d’étudier le rap français à partir de l’analyse littéraire, c'est-à-dire en détachant les textes de leur rôle de témoignage d’un contexte social et en portant un regard attentif à la façon dont ils revendiquent le soin porté à la langue et la mobilisation des références culturelles. Si leurs thèmes sont indiscutablement rattachés au réel sociohistorique, les stratégies déployées pour la représentation de ce réel méritent pour nous une analyse approfondie. Cette étude explore alors la façon dont les textes de rap expriment le désir de qualités et d'effets esthétiques, et leurs liens, conscients ou non, avec des œuvres littéraires de référence. A partir de ce désir d’inscription littéraire dont nous constatons l’existence dans le rap français, cette thèse se penche sur tous les aspects de l’écriture, c'est-à-dire sur la forme des textes, les figures et les tons employés ; ce désir se voit comblé par un travail scriptural rappelant celui des textes de création littéraire. Le rap français apparaît alors comme s’étant développé dans une toile d’intertextualité tissée entre des textes très classiques de la culture française et d'autres écritures des plus contemporaines. Ce recours permanent à la culture lettrée prend à contrepied l’idée de « ghettoïsation » que l’on attribue souvent au rap quant aux références culturelles qu’il véhicule et à son positionnement face à la grande culture française. Car par la mobilisation de ces références, le rap chercherait, et avec lui les rappeurs, une reconnaissance, non pas tant dans le monde de la musique, que dans celui de la culture lettrée. Ainsi, cette étude ne vise pas à rattacher les textes de rap à la littérature, mais à mettre à jour un geste qui apparaît à nos yeux d’ordre littéraireThis thesis endeavors to study French rap from the point of view of literary analysis, setting aside the texts' intent to bear witness to a social context, in order to focus very carefully on the way they lay claim to an elaborate use of language and an engagement with cultural references. While the subject matter is indisputably embedded in socio-historical reality, the strategies deployed for the representation of this reality call for advanced analysis. The present study therefore explores the way in which rap texts express a desire for aesthetic qualities and effects, and their relations – conscious or otherwise – with literary works of reference. Having acknowledged that a desire for inscription within the literary can be found in French rap, this thesis examines all aspects of the writing of its texts, their form, the stylistic devices and rhetorical figures they deploy; the desire in question is fulfilled through complex work akin to literary creative writing. Thus, French rap appears to have developed within an intertextual web woven between classic texts of French culture and other, more contemporary writings. The constant resort to written and literary culture challenges the frequent perception of rap as “ghettoized”, in its use of cultural references and its stance regarding high French culture. Indeed, through the use of such references, rap and the rappers themselves seem to be seeking recognition, not so much in the music world as in written and even possibly literary culture. All in all, this study does not make the claim that rap texts belong to literature; it aims, however, at highlighting a gesture which appears to be of the literary kind
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Zimoch, Amélia. "Approche psychodynamique de la création de chanson(s) : au carrefour de la création artistique et de la création art-thérapeutique." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0335.
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Cette thèse, référée à une approche psychodynamique, se propose d’explorer etd’interroger les processus psychiques impliqués dans la création de chanson(s), parl’association de deux volets différents et complémentaires : d’une part, par le biais de rencontres avec des auteur(e)s-compositeur(rice)s-interprètes s’exprimant à propos de leur travail de création artistique de chanson(s) (étude théorico-clinique) ; et, d’autre part, à travers l’initiation d’un atelier thérapeutique hebdomadaire de création de chanson(s), l’atelier « créachan(t)son(s) », avec des personnes âgées valides vivant en institution (recherche-action). Elle s’inscrit ainsi dans une démarche oeuvrant pour une application pratique des recherches dansles domaines de la psychologie clinique et des psychothérapies à médiation(s) artistique(s). En référence aux écrits de Grimbert (1996, 2002) et à l’aune du modèle théorico-clinique du Moi-Peau développé par Anzieu (1985), cette recherche met en lumière la mobilisation des différentes fonctions du Moi-Peau à travers la création artistique comme la création artthérapeutique de chanson(s). Tout en soulignant la multidimensionnalité intrinsèque et singulière du médiateur qu’est la chanson. Il en résulte de multiples perspectives d’avenir : autant dans le domaine de la recherche, par les nécessaires enrichissements d’un corpus théorique afférent à la création artistique de chanson(s) qui reste à découvrir et à construire ; que dans le champ de la pratique clinique, par l’initiation de propositions alternatives originales et pertinentes quant à l’accompagnement psychothérapeutique des sujets âgés résidant en EHPAD, la création artthérapeutique de chanson(s) en constituant résolument une.Des considérations donc d’importance, pour le présent comme pour l’avenirThis thesis, based on a psychodynamic approach, will explore and ask the psychicprocesses involved in songwriting, through two different but complementary sections. On the one hand, through the exploration of the very act of creating by means of meeting singerssongwriters while trying to explain the creative process (theoretical-clinical research) ; on the other hand through the practice of weekly songwriting music therapy sessions with elderly people living in nursing home (practice research). This thesis is part of a global approach which works for a practical application of the researches in clinical psychology and art-psychotherapy domains. In reference to Grimbert (1996, 2002) and to the Skin-Ego theoretical-clinical model developed by Anzieu (1985), this research highlights the different uses of the Skin-Ego functions through artistic creation and art-therapeutic creation, and emphases the singular and intrinsic multidimensionality aspects of the song media. It brings also future prospects. In the research domain, it shows the needs to complement the dedicated songwriting theoretical corpus and in the clinical practical domain, it opens original and alternative possibilities of therapeutic way to care for the elderly people living in nursing home ; therapeutic songwriting being definitively one of them
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Molina, Sergio Augusto. "A composição de música popular cantada: a construção de sonoridades e a montagem dos álbuns no pós-década de 1960." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12052015-002336/.
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Este trabalho propõe uma fundamentação teórica para investigação de determinadas técnicas de composição de música popular cantada que surgiram e se consolidaram a partir da década de 1960. Considera-se que o desenvolvimento tecnológico desse período permitiu à música popular cantada, a partir de então, realizar operações composicionais por processos de montagem, diretamente em fita. Adaptando para o campo da música formulações cunhadas originalmente por Mikhail Bakhtin para o discurso verbal, propomos um entendimento do álbum de fonogramas como um gênero complexo do discurso musical que se organiza na forma-momento. Considerando cada fonograma como um momento distinto no sentido sugerido por Stockhausen estuda-se, especialmente, a construção das sonoridades em contraste, tendo como referência as ferramentas de análise propostas por Didier Guigue para a música do século XX. Nesse contexto, discutem-se, também, as interações rítmicas de base que particularizam a música popular das Américas, resultantes do embate entre os ciclos assimétricos herdados da música tradicional africana e os compassos simétricos da música europeia dos séculos XVIII e XIX. Como conclusão, as ferramentas apresentadas são aplicadas na análise da montagem do álbum Minas, de Milton Nascimento.This work puts forward theoretical grounds for an investigation into some musical composition techniques to sung popular music introduced and consolidated since the 1960s. It is believed that technological advances in the period enabled sung popular music artists to begin to explore new compositional approaches by physically editing recorded tapes. Transposing concepts of verbal discourse introduced by Mikhail Bakhtin into music, we advance the understanding of a recorded album as a complex genre of musical discourse organized in a moment form. Assuming each phonogram to be a self-contained moment as suggested by Stockhausen , we primarily study the weaving of contrasting sonorities by using Didier Guigues analytical framework for the music of the 20th century as reference. In this context, we also discuss the rhythmic interplay so characteristic of popular music in the Americas, which arises from the clash between the asymmetrical patterns inherited by the African music tradition and the symmetrical measures of Europe-based music of the eighteenth and nineteenth century. In conclusion, the proposed tools are applied to the analysis of the editing of Milton Nascimentos album Minas.
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Heitmann, Bo-Lennart. "Full-stack musik : En studie om back-end, front-end och full-stack terminologi inom låtskapande och musikproduktion." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4058.
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Syftet med det här examensarbetet är att presentera process och erfarenheter från mitt konstnärliga musikproduktionsprojekt som genomförts under mitt sista år av min masterutbildning. Genomförandet har bestått av att skapa ett svenskt popmusikalbum där låtar har skapats enskilt, genom samarbeten och tre verk har blivit slutförda och distribuerats på streamingtjänster så som Spotify och YouTube. Vidare är syfte att presentera en modell med hjälp av mitt konstnärliga arbete där det prövas potentiella omformuleringar för yrkesroller inom låtskapande. Dessa termer ska i sin tur underlätta rolldefinition inom låtskapande och även ge utrymme för att förtydliga den ideella rätten som medverkande i ett konstnärligt verk har. Med utgångspunkt till att musikproducenten ofta hamnar i en multikompetent position så har jag valt att låna begrepp från systemutvecklarens yrkesvärld för att skapa modellen. Begreppen jag valt att låna består av back-end, front-end och full-stack och avsikten är att bryta upp paraplybegrepp såsom ”låtskrivare, producent och performer” och även kunna bidra till tydligare rekryteringsprocesser för samarbeten inom låtskapande.The purpose of this master’s thesis is to present the process and experiences of my music production project that was carried out during the last year of my masters’ studies. The project’s creative content is a Swedish pop album which created through collaborative and independent work. Three single releases and one music video have been released and distributed through the course of the project on streaming platforms such as Spotify and YouTube. In addition to the making of the album I have chosen to create a model to use as a frame for potential recruitment instances of creative collaborations, improve role definition and develop a more accurate method to credit rights holder’s moral credentials as a contributor to an artistic work. The root cause of this model is that a music producer often finds themselves as a multicompetent keyperson in creative collaborations where the lines between different professions overlap. The model is inspired of the software developers job terminology and aims to break up umbrella concept roles such as “songwriter, producer and performer” to facilitate the recruiting process of creative collaborations within the crafting of songs. The terminologies inspired out of the software developer’s professions are back-end, front-end and full-stack.