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  • Wanneby, Jonathan
    Royal College of Music in Stockholm, Department of Music Education.
    Jag hör inte!: En musikstudie i att lyssna inåt, på andra och ljudexempel2020Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    A vital part of music is to listen, whether someone is a composer, teacher, musician or

    student. Obtaining and recreating the music means that musicians can develop their musicality

    and musical craftsmanship, listening becomes a consequence for development where the

    person is touched but also finds depth at different levels. This study of listening “within”

    herself or himself, the group and external sources is based on the book Deep Listening by

    Pauline Oliveros. The purpose of this study is to investigate whether Oliveros exercises can

    develop the ability to focus his or hers listening and be able to discern different dimensions in

    sound and music. Olivero’s approach to listening in combination with John Dewey’s

    experience perspective forms the theoretical framework for the study. Four informants

    participated in the survey during two lessons. In the survey, the informants had to listen,

    perform exercises and finally write down their experiences.

    The results show that the experiences of the exercises differed between the participants.

    From the experiences written down, it is possible to discern a difficulty for the participants to

    "listen inward", where the participants must produce that musicality simultaneously with "the

    self". It may be due to past experiences, the dynamics of the group or different moods. What

    can be distinguished as a simplicity for the informants was to discern the melody, which may

    also be due to past experiences. Based on the results of the study, there are reasons to consider

    how ear-training can be developed, and how music teachers can generally work with exercises

    to combine experiences, feelings and memories with music theory and ear-training and

    hearing.

  • Johannsson, Tomas
    et al.
    Royal College of Music in Stockholm, Department of Music Education.
    Holmlund, Charlie
    Royal College of Music in Stockholm, Department of Music Education.
    För ökad självständighet i ensemblespel: Gymnasielärares organisering och konstruerande av ensembleundervisning för att möjliggöra läroprocesser utanför lektionstid2020Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    A substantial part of music education takes place outside of scheduled lesson time. This study has been based on the concepts of formal and informal learning. The purpose of the study was to explore how ensemble teachers in upper secondary school's aesthetic program with music orientation organize their teaching to stimulate an increased degree of independence in students. A phenomenographic approach was employed. Qualitative semi-structured interviews were conducted with six ensemble teachers from aesthetic high schools. The material was analyzed, using a phenomenographic method. The results of the study indicate that the teacher's leadership roles varied, depending on the pupils current learning process and degree of independence. The teachers described how they motivated students by working with student-selected repertoires. The results also indicate that homework was rarely given and that students learned a lot by themselves, using strategies such as planking, playing to recordings or via instructional videos on YouTube. According to the teachers participating in this study, the rehearsal method they used during recitals had a correlation with their perception of how pupils learned music on their own. Three types of leading roles were identified: the enabler, the active coach and the controller. The enabler’s intention was to initiate a learning process and then let the pupils manage the recital activity. The active coach was involved in the ensemble activity and contributed to the learning process. The controller managed several ensemble groups simultaneously and divided his or her time between these ensembles to make sure that the pupils work progressed. This study suggests assigned homework such as an extra scheduled ensemble reciting in ensemble education without a teacher present.

  • Karlsson, Benjamin
    Royal College of Music in Stockholm, Department of Music Education.
    Wow! Vilken sångröst!: Definitionen av en ”bra" sångröst2018Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den råder många bud om vad en bra sångröst skulle kunna innebära och alla har vi säkert en

    egen uppfattning om hur den skulle kunna låta. Syftet med den här studien är att komma fram

    till vad en bra sångröst innehåller för beståndsdelar från en objektiv synvinkel. Det kommer

    blir en djupdykning efter rösten som berör oss och vad den innehåller.

    Som medel för att nysta i detta sammelsurium av åsikter har vi bland annat forskning kring

    vad en ”ful” röst innebär. Vi undersöker även huruvida sångteknik och uttryck står sig mot

    varandra, klarar sig det ena utan det andra?

    Olika metoder som använts under studien är en enkät där de svarande fick betygsätta

    sångegenskaper som mer eller mindre viktiga, när de lyssnar till en röst. Enkäten besvarades

    även av fyra sång- och musikpedagoger som blev intervjuade för att ytterligare ge ett mer

    professionellt utlåtande om vad en bra sångröst innebär för just dem.

    En musikalisk analys har också utförts på olika videoklipp för att försöka komma närmre det

    eventuella svaret på en bra sångrösts olika beståndsdelar.

    Både forskning och undervisningslitteratur visar att uttryck och äkthet spelar stor roll när vi

    lyssnar till en sångröst, att det är grundat i riktiga känslor. Detta är en tydlig linje som många

    av resultaten i studien pekar mot och som sammanfattar den på ett bra sätt.

  • Karlsson, Benjamin
    et al.
    Royal College of Music in Stockholm, Department of Music Education.
    Miller, Fredrik
    Royal College of Music in Stockholm, Department of Music Education.
    Design för lärande i en pop-och rockensemble: En studie i en ensembles val av design med notation respektive inspelning som huvudsaklig resurs.2020Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine methods of learning two different songs with sight-reading and by ear as main resources in a pop- rock ensemble. To investigate this, we constructed a band rehearsal consisting of four college students, studying music. Their assignment was to learn two newly composed songs in the pop and rock genre. The whole rehearsal was documented with videocameras and later we interviewed the informants about their experience and approach towards the task. They also got to answer a questionnaire about their musical background and former experience of learning song by ear or reading sheet music. All of the empirical materials has been analyzed through a design theory perspective. The resultat are divided in three main categories; the strategies and designs of the individual, those of the ensemble and the different roles that appeared in the ensemble. Our analysis, regarding the overall design used by the ensemble, is supported by tables giving perspicuous overviews of the learning processes. Our most important results are that notation as well as musical sounds need one other to receive deeper musical meaning. This is shown by the informants as they notate musical sound in different ways as well as make sound of notation in order to help each other in the process. All of the informants used their voice in different ways to learn their individual parts as well as when they helped each other. The approaches to learn each song were also different in the way that the sight reading-song was divided in sections during the rehearsal. Playing by ear, the participants rehearsed the song in a holistic way by playing it from the start till the end multiple times. The result of this study can be used by music teachers in their choice of recourses when teaching students, in a pop/rock ensemble, new songs.

  • STENEBY, MY
    Royal College of Music in Stockholm, Department of Music Education.
    "Nu tänker jag inte ens på att du är kvinna": En studie om kvinnliga dirigenters erfarenheter2020Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Female conductors are in the minority at Swedish concert and opera houses. This study aims to create knowledge about the specific conditions of this group by examining female conductors' experiences from the perspective of this minority position. For empirical gathering, two interviews have been conducted with orchestra conductors who have an established position in the public music life and who identify themselves as women. These interviews were then processed using content analysis. The result shows that the informants have certain similarities and differences in their background, which revolves around talk about opportunities, encouragement and role models. Both informants also share the view that it was not until the entrance to the conducting studies that their gender affiliation emerged as a real problem. A number of different problems during the education period is described in the result, including strong normative conceptions, negative and contemptuous teachers and an insecure learning environment, where the informants' strategies were above all adaptation to norms and to neutralize their gender. About inequality on the podium in general the informants, among other things, highlight conservative traditions and the formation of myths about the conductor. The analysis of the result shows a relational aspect of learning, how identity and representation are characterized by subordination and that one can highlight feminine-associated aspects of conducting to loosen up the male norm.

  • Årman Wallmyr, Ester
    Royal College of Music in Stockholm, Department of Music Education.
    Att inta scenen: En studie kring nervositet inför musikframträdande i högstadiet2020Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen var att få ökad kunskap och förståelse kring hur elever i högstadiet upplever nervositet i samband med musikframträdande på scen. Jag ville ta reda på i hur hög grad de upplever nervositet, om de har redskap för att hantera den och i så fall vilka?

    Svaren söktes genom en enkätundersökning med två musikklasser i årskurs åtta och nio och slutsatserna var att många elever upplevde nervositet, samt att elevgruppen och sammanhanget hade stor betydelse. Eleverna visade sig ha en del redskap för att hantera sin nervositet och lärarens roll var avgörande genom feedback och skapande av en trygg grupp. Forskning finns inom området, framförallt utanför Sverige och inom idrottspsykologin finns mer kunskap att hämta. Studien kan ses som ett första försök att kartlägga ämnet och ge en översiktlig bild av problemet för fortsatta studier.

  • Gullö, Jan-Olof
    et al.
    Royal College of Music in Stockholm, Department of Music and Media Production.
    Thyrén, David
    Royal College of Music in Stockholm, Department of Music Education.
    Music production in Swedish higher education: History and future challenges2019In: Svensk tidskrift för musikforskning, E-ISSN 2002-021X, Vol. 101, p. 185-199Article in journal (Refereed)
    Abstract [en]

    Although there is a growing interest for music production in Swedish higher education, where many students today study the subject, we argue that music production may in many ways still be noticed as a blind spot in research. This paper explores how research and education in music production has emerged, in Sweden but also internationally, against the background of the ongoing research project Searching for Sophia in music production. This project investigates how various aspects linked to music production and music education have contributed to the Swedish music industry’s international achieve- ments. First, the development of music production courses and programmes in higher education is described, from the pioneering years in the 1980s until present. Next, we discuss key concepts in music production including the different phases of a music pro- duction and the role of the music producer. Thereafter we focus on four selected aspects of music production: creativity, innovation, motivation, and entrepreneurship. Further, future implications are discussed concerning the changes in how music is composed and produced, marketed, distributed, and how music is consumed today.

  • Misgeld, Olof
    Royal College of Music in Stockholm, Department of Folk Music.
    On Variation and Melodic Improvisation in Swedish Folk Music2013In: (Re)thinking Improvisation: Artistic explorations and conceptual writing / [ed] Frisk, H., & Östersjö, S. (Eds.), Malmö: Malmö Academy of Music, Lund University. , 2013, p. 177-181Chapter in book (Refereed)