Change search
Refine search result
1 - 16 of 16
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Granberg, Anita
    Royal College of Music in Stockholm.
    Det måste få ta tid: En studie av musikterapeuters verksamhet i skolan2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    x

  • 2.
    Hagerman, Frans
    Royal College of Music in Stockholm, Department of Music Education.
    ”Det är ur görandet tankarna föds” – från idé till komposition : En studie av kompositionsprocesser i högre musikutbildning.2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    “Doing gives birth to ideas”. From ideas to composition: a study of composition processes in higher music education. Recent technological developments have challenged the historical methods of composing music for acoustical instruments using traditional scores. However, composers in the Western art music traditionstill continue to use them when they explore the realm of sounds intraditional instruments and possible ways to communicate their intentions. The aim of the present study is to describe the development process in the composition of score-based music intended to be performed by a mixed ensemble of wind, string and percussion instruments. Three composer students from an undergraduate program in Western art music composition each participated during two semesters in the data collection. The data consists of a series of composition sketches, qualitative interviews, voice logs, music recordings and observations of rehearsals and concerts. The analysis focused on shedding light on the participants’ ways of developing the content as the processes of composition unfold. The main methods of analysis were to compare different versions of the same composition and, on the basis of this comparison, to ask analytical questions of the participants. A result common to the three participants, is the conclusion that they start with rudimentary structures and gradually elaborate them so that they become more detailed and sophisticated, for example, more varied in instrumentation. This elaboration is supported by the use of written notes – scaffolds – that guide the development of the structure in different directions. Seven types of scaffolds, that represent different strategies to formulate and solve compositional problems, were found in the empirical data. The study contributes to wider understanding of the importance of making handwritten sketches throughout the process of developing musical ideas. Despite recent technological developments, there is evidence that hand-sketching still serves as an intuitive tool for meaningmaking, in combination with other tools such as acoustical instruments and new music technology.

  • 3.
    Kaladjev, Stojan
    Royal College of Music in Stockholm.
    Ergonomi i musikutbildningen: ergonomiska och kognitiva aspekter på instrumentalspel2000Doctoral thesis, monograph (Other academic)
  • 4.
    Rostvall, Anna-Lena
    et al.
    Royal College of Music in Stockholm.
    West, Tore
    Royal College of Music in Stockholm.
    Interaktion och kunskapsutveckling: en studie av frivillig musikundervisning2001Doctoral thesis, monograph (Other academic)
  • 5.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Kurbits-ReBoot: svensk folksång i ny scenisk gestaltning2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.

  • 6.
    Paulander, Ann-Sofie
    Royal College of Music in Stockholm.
    Meningen med att gå i musikterapi: En fenomenologisk studie om deltagares upplevelser2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward. 

  • 7.
    Falthin, Annika
    Royal College of Music in Stockholm, Department of Music Education.
    Meningserbjudanden och val: en studie om musicerande i musikundervisning på högstadiet2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Abstract

    Affordance and choice: performing music in lower secondary school

    The purpose of this study is to elucidate affordances and meaning-making processes where students in Compulsory lower secondary education learn to play music together in music class. The data consists of a series of observed music lessons, performances and stimulated recall interviews in two 8th form classes, video recorded in the course of one term.

    The analysis focuses on students’ and their teacher’s musical interaction and sign making during music class. In order to explore multimodal aspects of sign making in teaching and learning, the study rests on a theoretical framework of social-semiotic multimodality and design theory of learning. Nine students, strategically selected, were observed more frequently than the rest. Excerpts of their singing and playing music on different occasions were transcribed into scores in which musical notation together with other graphic signs and written descriptions represent the events. The scores visualise mul- timodal aspects of musical interaction, which made a 'fine grained' analysis of meaning-making processes possible. Further, an analysis was made of how the students and their teacher expressed themselves about the playing and learning and how this related to their observed actions.

    The result reveals how the teacher’s physical and verbal communicative sign combinations and choice of repertoire conveyed several layers of mean- ing by means of instructions for playing and by references to different dis- courses and genres. During lessons the principle of recognition was present in all of the teacher's sign making but it might be expressed in different modes including expected actions that surprised, amused and helped students to link different musical parameters together. Through transmodal transla- tions of the teacher’s signs, students, linked short fragments of their parts together, and taking turns with the teacher, made longer musical lines. It was found that students’ activities and utterances indicated that a shared sense of meaning and acceptance took precedence over personal musical wishes and preferences.

    The study contributes to a close insight and understanding of how young people's meaning-making processes may be manifested in music 'teaching- and-learning' in heterogeneous classes, as well as of the significance of teachers’ sign-making in that process. The results of the study warrant a discussion of how musical learning is made possible and is restricted de- pending on how music teaching in schools is designed.

    Keywords: music teaching, musical interaction, meaning making, semiotic resources, re-design, transmodality, dialogue 

  • 8.
    Holgersson, Per-Henrik
    Royal College of Music in Stockholm.
    Musikalisk kunskapsutveckling i högre musikutbildning: en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.

  • 9.
    Ahlbeck, Bengt
    Royal College of Music in Stockholm.
    Musikdirektör Anders Sidner: Musikundervisning och musikliv i skolstaden Härnösand 1840-18701998Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    The present study, together with my licentiate's dissertation, Music education and examination at the Royal Academy of Music during "the Pehr Frigel Era", 1796-1842, constitutes my doctoral dissertation. In the chapter Preludes, the relation between the two studies is accounted for.

    The study deals with Anders Sidner's work and career, and his influence on the teaching of music and music life in Härnösand. In my licentiate's dissertation I examined the music education and examination at the Royal Academy of Music during the first half of the nineteenth century. I pointed out, from a cultural-theoretical perspective, that the work of the Academy probably promoted cultural solidarity in a socially developing manner. Anders Sidner was one of around eighty graduates who were examined during this period. The aim of this study is to map out and critically examine Sidner's work and career in Härnösand, as well as to observe what effects his work has had.

    The structure of the study is mainly chronological. The understanding of Sidner's work, ideas and actions is based to a great extent on the knowledge of his personal situation and living conditions.

    Sidner's music studies, which were pursued parallel with his academic studies at Uppsala, are characterised by self-tuition, learning from friends and active participation in choirs and orchestras.

    After his academic studies at Uppsala and the graduation from the Royal Academy of Music, Sidner worked in Härnösand for twenty-eight years as a music teacher at grammar school and teacher training college. In both types of education, choir singing was an important part of the teaching. Sidner took the initiative in founding a musical society, and was its leader for a number of years. In the 1860s he initiated a collaboration between the musical society and a great number of the town's young male and female musicians. Sidner also engaged young female instrumentalists in the student orchestra. Both these initiatives can be considered unique.

    In relation to the town population, a remarkably great number of people attended the wide variety of musical events. The fact that the school's spacious music hall was used as a concert hall and that the music teacher as well as a number of other teachers were active in the local music life probably contributed to the active participation of many young people.

    The examination of Anders Sidner's teaching methods and his ideas on musical-aesthetic issues shows that his work was in line with the widely spread values of his time.

    My study indicates that Sidner's contribution to the teaching of music and music life in Härnösand promoted an increasing cultural solidarity. It is evident that his work also was to form part of a continuous process of secularisation. The music life in school was integrated with non-ecclesiastical activities to an ever increasing extent.

  • 10.
    Gullö, Jan-Olof
    Royal College of Music in Stockholm.
    Musikproduktion med föränderliga verktyg - en pedagogisk utmaning2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

  • 11.
    Uddén, Berit
    Royal College of Music in Stockholm.
    Musisk pedagogik med kunskapande barn: vad Fröbel visste om visan som tolkande medel i barndomens studiedialog2001Doctoral thesis, monograph (Other academic)
  • 12.
    Uddholm, Mats
    Royal College of Music in Stockholm, Department of Music Education.
    Om professionella aktörers musikpedagogiska definitionsmakt: En kulturhistorisk studie av samband mellan musikpedagogisk teori och definitionsmakt2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to illuminate which role theories of music education can have in the dialectic between discourse and competence in the practice of music pedagogy. The thesis stems from a problem-oriented project that resulted in the formulation of the following research question: how can the connection between music education theory and the power of definition be described and problematized from a cultural-historical perspective using Vygotsky's thesis of Semiotic Thinking? In his research on the dual function of language Vygotsky makes a distinction between the usage of concepts and conceptualization. In this study this distinction has been crucial to determining the relationship between music education theory and the power of definition as practised in music pedagogy. The research project comprised a background study and three sub-studies. The focus of the background-study was the conditions for musical learning and development in persons with severe cognitive dysfunctions. The first sub-study dealt with how social workers in this area of special education conceptualise their view of music in relation to their understanding of music activities in their own practice. The second sub-study aimed to explore which concepts music-therapists use in their meta-reflections on musical situations in this area of special education. The purpose of the third sub-study was to formulate a theoretical perspective on the relationship between music education theory and the power of definition using Vygotsky's hypothesis of semiotic thinking. The main conclusions are: first, that music education theory can be understood as a structural coupling between the power of definition that is embedded in music-pedagogical discourse as a whole, and the power of definition possessed by music pedagogues; second, that the development of the power of definition in the practice of music pedagogy is a creative process that in turn entails a critical questioning of music education theory.

  • 13.
    Einarsson, Anna
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    Singing the body electric: Understanding the role of embodiment in performing and composing interactive music2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Almost since the birth of electronic music, composers have been fascinated by the prospect of integrating the human voice with its expressiveness and complexity into electronic musical works. This thesis addresses how performing with responsive technologies in mixed works, i.e. works that combine an acoustic sound source with a digital one, is experienced by participating singers, adopting an approach of seamlessness, of zero – or invisible – interface, between singer and computer technology. It demonstrates how the practice of composing and the practice of singing both are embodied activities, where the many-layered situation in all its complexity is of great importance for a deepened understanding. The overall perspective put forward in this thesis is that of music as a sounding body to resonate with, where the resonance, a process of embodying, of feeling and emotion, guides the decision-making. The core of the investigation is the lived experiences through the process of composing and performing three musical works. One result emerging from this process is the suggested method of calibration, according to which a bodily rooted attention forms a kind of joint attention towards the work in the making. Experiences from these three musical works arrive in the formulation of an over-arching framework entailing a view of musical composition as a process of construction – and embodied mental simulation – of situations, whose dynamics unfold to engage musicians and audience through shifting fields of affordances, based on a shared landscape of affordances.

  • 14.
    Liljas, Juvas Marianne
    Royal College of Music in Stockholm.
    "Vad månde blifva af dessa barnen?": En studie av David Björlings pedagogik och dess bakgrund i äldre sångundervisningstraditioner2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation's title is: "What is to become of these children?", a study of David Björling's way of teaching and the background to it in older traditions of teaching singing.

    During the first decades of the 1900s, David Björling formed a singing school for children with his sons. Teaching started at a sensationally early age. David Björling's methods were controversial, and were questioned. David Björling himself asserted that his methods of teaching the children were serious and would give good results, and at the same time he emphasised that teaching singing was part of the musical upbringing he wanted to give his children.

    The aim of the dissertation is to deduce the methods David Björling applied to his sons. In the study, I investigate how David Björling taught, how it was recieved and which vocal pedagogical and didactic traditions David Björling can have been inspired by in his teaching of singing.

    The presentation is based on the tradition of hermeneutical interpretation and first and foremost on Paul Ricoeur's hermeneutics.

    The results show that the school was formed in accordance with the pedagogical model we understand today as the Suzuki method. Björling is also found to have been inspired by theories of teaching children singing that were proposed at the beginning of the last century. According to the analysis of the results, David Björling is found to have roots in an older Italian tradition. The results point to recurring similarities between David Björling's methods and the Lamperti school's didactic principles.

  • 15.
    Ryner, Birgitta
    Royal College of Music in Stockholm.
    Vad ska vi sjunga?: En musikpedagogisk diskurs om tiden mellan två världskrig2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The thesis contains an analysis and interpretation of the school music debate that was particularly lively during the 1930s. The debate started with an article in Stockholms-Tidningen – Stockholms Dagblad entitled Why not sing popular songs in music classes? The author was Knut Brodin, a music teacher at Olofskolan, a school run in accordance with the principals of educational progressivism, inspired by John Dewey.

    The debate developed into a confrontation between tradition and renewal. The foundations of music teaching, indeed of school education as a whole, both form and content, were at stake. The debate also raised questions about values in view of the increasing popularity of popular music and its potentially harmful effect on morals.

    The purpose of the thesis is to describe and interpret the Swedish discourse on music teaching during the 1930s. The main question is: What educational and other ideas were expressed in this discourse and what was their origin?

    The theoretical and methodical framework of the thesis is discourse analysis. The material studied consisted of texts in the form of statements about music and music teaching. The analysis reveals a struggle for power, i.e. the power to win the right to interpret and define the basic elements of the discourse.

    Music and music teaching emerge in a broader social context in connection with the analysis of the discourse. The terms music and music teaching turn out to be variable and ambiguous. The same applies to other terms such as children and education. The period studied here witnessed a marked professionalization of music teachers which sharpened the ideological struggle between different groups. The discourse was marked by the incompatibility between traditional and progressive tendencies.

  • 16.
    Lindeborg, Ronny
    Royal College of Music in Stockholm.
    Örats skolning: Radiokonservatoriet och musikbildningsarbetet2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation has the main purpose of analysing the biggest single musical educational project in Sweden, so far, Radiokonservatoriet (the Radio Conservatory) from an educational perspective. The project was planned and carried out in 1965–68. This was a time of change in Swedish society. The economy was stronger than ever which had made it possible to let education expand explosively.

    At the same time, the subject of music in schools was in trouble since the previous and obvious religious legitimacy had faded with secularisation. A lack of music teachers and a lack of relevant higher education in music were well known problems. The expectations were high on an educational project that was going to use media and new methods. Musicology was supposed to build the core of music teaching. In spite of the tough education with three new programmes every week, 132 students managed to conclude all the three courses and were awarded a diploma.

    In the analysis, I have used concepts from the theory of distance education. With great distance between teacher and pupil, the former has to create strong ”structure” and explicit declarations of how the material is formed in the sense of selection and progression. On the other hand, great distance creates a free space where the pupil can choose autonomously: where, when, and what to study.

    The Radio Conservatory was well aware of the pedagogic imperatives of the time: ”activity” and ”integration”. The included exercises show different activities of registering, analytic and creative kinds. Singing and playing instruments were not included as ”activities”. The integration of the project consisted of the fact that the three courses were given simultaneously. This gave advantages, but made the education extensive and disregarded the intention of blending different school subjects, which was the established pedagogic intention.

    The essentialistic striving to create a music subject built on musicology was fruitless. In the 1970s the interest in material theories and teaching content was marginalised in favour of formal theories. My proposal is that both these sides of interest, the material and the formal side of music education, should be balanced.

1 - 16 of 16
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf