The intention of this artistic research project is to discover how låtspel, Swedish traditional tune playing, might sound and function on the cello. It explores how traditional Swedish fiddle tunes can be translated and performed on the cello, despite the instrument not belonging to a historical folk music tradition in Sweden. The work investigates what characterises Swedish fiddle tune playing, how its qualities can be transferred to the cello, what idiomatic possibilities the cello offers, and how the translation process is shaped by artistic preferences.

The method is practice- and reflection-based, where explorative investigation alternates with analysis through an iterative process. Performative methods include mimicry, playing for dance, improvisation, and ‘high-stakes situation’ (for example concerts), while the reflective methods consist of inventory and analysis, written reflections and mapping.

The results identify qualities such as ease, flow, groove, timbre and intonation awareness, presence, narrative phrasing, and shows how they can be translated to cello, while also aiming to integrate the instruments own idiomatic strengths, for example ‘grit’, bigger contrasts and ringing overtones as drones. The conclusion is that an in-depth understanding is required, both theoretically and bodily, of the qualities of tune playing.

The study shows that translation is both about adaptation as well as discovering new artistic possibilities that emerge through the encounter between tradition and instrument. While focusing on the cello and Swedish fiddle tune tradition, the study offers insights that can contribute to a wider discussion about instrumental translation.

One of my earliest childhood memories is the sound of church bells in the distance. I remember how their abrupt appearance made all my thoughts stop, entrancing me in a sudden awareness of the present moment, how I could feel the sound in great detail, emanating from the church tower at the top of the hill, echoing through each narrow street around it and around me. I remember how the sound would make me stop feeling time as a concatenation of subsequent instants and instead being within time in a continuous flow. This experience of sound has accompanied me throughout my life in various forms. Metal scraping from my hometown's shipyard, reverberating in the warehouses and spreading across the docks, trains screeching and whistling, heard from the hilltop next to my house, ferries blaring their foghorns across the piers on foggy days. In the last few years, I worked to develop a musical practice in an attempt to convey this experience of pure perception of sound, resulting in a type of work which I call the Sound Monument. In this thesis, I discuss how a Sound Monument can be better understood as a process rather than a piece, encompassing both practice and experience, and I show its application through four different Sound Monuments, discussing the methods of composition and the insight I learned through their realization.

This artistic research project explores the development of a personal and efficient warm-up toolbox for French horn playing. As a horn player, I found traditional warm-up routines take way too long and not custom-made to my daily needs and current repertoire. The main goal was to explore how to create a effective warm-up routine that helps essential techniques, i.e. breathing, embouchure, flexibility, legato or tonguing, and harmonics. But at the same time minimizing unnecessary time and avoiding mechanical auto-piloting.

References from different horn essays, masterclasses, and insights from prominent horn players, I selected and systematically tested a range of exercises over one month. Through practical self-evaluation, I discovered the most effective tools for my practice: mouthpiece exercises, Farkas-inspired harmonics series with variations, and targeted breathing work. Other exercises, such as stop horn, proved less essential for daily use.

The research demonstrates that a flexible, awareness-driven warm-up routine can prepare me for demanding repertoire, especially for my examenskonsert. Key findings focuses on quality of preparation over duration, and the importance of conscious awareness.

This project has not only helped my daily practice but also strengthened my artistic confidence and long-term sustainability as a performer. It also offers a model for other brass players searching for more efficient and personal warm-up routines.

This master thesis is part of an artistic project exploring how to portray a narrative based on my personal experience of contrasts between fantasy and reality, through interdisciplinary expressions of art. The project is heavily rooted in my own experience of synesthesia, specifically connections between sonic and visual sensations. I have three main research questions within my master’s project: 1) How can I portray a narrative based on my personal experience of dissonant/consonant relationships between fantasy and reality, within a work of art? 2) In what ways can I combine both sonic and visual expressions in my artistic practice, enriching my abilities to perform and express myself through art? 3) How can I portray my ideas, and which format would do my project justice?

To further explore these questions, I have decided to create music and art simultaneously throughout the project, with the intention to not choose one fixed artistic expression to guide the other – instead, music and visual art have been created on equal terms, inspiring each other. The fuel to my creativity can be found in specific episodes of my life, where my ability to perceive reality has been influenced by, what I would call it, a filter of imagination. For me, the core aspect that transcends both fantasy and reality within these episodes is emotion – and the emotional journeys that I have been experiencing serves as a fundamental inspiration to my artistic project.

My project has taken the shape of an interdisciplinary, audiovisual performance, with five compositions for a chamber choir and two cellists, along with four arrangements of folk chorales originating from Sweden and Estonia. Each composition has a specific color palette, correlating with my synesthetic senses, and it is with these colors I have painted pictures, paired with illustrations and self-portraits, inspired by the emotional dynamics of the narrative.

Den här texten undersöker hur mitt eget komponerande kan ses i ljuset av ett ramverk inspirerat av matematisk modellteori. Att närma mig min musik från detta håll har varit ett sätt att försöka skapa en gemensam plats för mina två yrkesmässiga kallelser: det musikaliska komponerandet och den matematiska forskningen. Via en syntes av Gunnar Valkares definition av musik i termer av subjektiva upplevelser, Erik Clarkes beskrivning av musik som ett rum och Horacio Vaggiones tankar om rundgångskedjor av aktion och perception beskriver jag musiken som ett abstrakt rum av ljud och upplevelser, som konstrueras via kreativa rundgångskedjor. Med detta som bas utforskar jag sätt att närma mig musikens inneboende struktur i mitt komponerande.

In the artistic master project, the focus was to illuminate the generative potential of vagueness within an artistic process. Grounded in an experimental feedback loop of thinking, trying, doing and reflecting, the method was investigated as an open-ended cycle of inquiry inspired by Deleuze and Guattari’s theory of rhizome. By moving away from a purely instrumental attachment to sounding, the ethical pillars of the improvisational process were problematized. The central discovery was that the act of listening functions as a foundational pillar. Listening was investigated mainly through Pauline Oliveros’ concept of Deep Listening but was also examined through several cross-disciplinary perspectives as well as interviews conducted with prominent figures within the field of experimental music. These concepts were implemented in artistic practice through both a double bass solo format and a trio format consisting of double bass, bass clarinet and sustained zither & sine tones. The artistic direction in the trio alternated between Deep Listening and the co-creation of a sound material for low-dynamic structured improvisation. Ultimately, listening was integrated into the artistic process both as a way of attunement and as a creative practice, altering the artistic trajectory away from a result-oriented framework towards a creative process that unfolds over time.

Johannes Brahms föddes 1833 i Hamburg i en musikerfamilj. Han skrev under sitt livmängder av musik, bland annat tre sonater för violin och piano. Denna uppsats undersöker hurförsta satsen ur Johannes Brahms sonat för piano och fiol nr 1 i G-dur, Op. 78, kan tolkas ochgestaltas i ett framförande. Studien utgår från Brahms musikaliska stil, hans influenser samtden uppförandepraxis som rådde under hans livstid.Syftet var att undersöka hur en tolkning kan närma sig Brahms egna musikaliska idealsamtidigt som utrymme ges för individuell konstnärlig frihet, och metoden har byggt påböcker och elektroniska källor, samt instudering a verket och egna reflektioner.Resultatet visade att en övertygande tolkning kräver en balans mellan respekt för verketsstruktur och ett personligt uttryck. Studien belyser även tekniska och samspelsmässigautmaningar som kan uppstå under instuderingen.

This artistic bachelor thesis explores how compositional techniques and aesthetic ideas derived from Wayne Shorter can function as creative tools in original jazz composition. The project is based on Shorter’s compositions from the 1960s and focuses not primarily on analytical research into his harmonic language, but rather on how selected stylistic elements can be transformed and applied within a personal artistic process. Through listening studies, readings of existing research, and personal musical analysis, a number of compositional approaches were identified and used in the creation of new music. These approaches include impressionistic harmony, irregular song forms, blues as a formal concept, interval-based melodic writing, wide melodic range, and spontaneous composition with minimal revision. The thesis also examines how composing on the saxophone versus the piano influence musical decision-making and the creative process. The artistic component resulted in five original compositions that were performed in aconcert at the Royal College of Music in Stockholm in March 2026. Throughout the process, it became evident that drawing inspiration from Shorter did not have to result in imitation , but could instead serve as a starting point for developing a more personal musical language. The project also encouraged a freer approach to analysis and composition, where spontaneity, intuition, and improvisational thinking became central aspects of the creative work. The thesis demonstrates how artistic research through practical music-making andcomposition can generate new perspectives on the relationship between analysis, inspiration, and individual artistic expression.

Denna uppsats undersöker och presenterar instudering och tolkning av Fantasia och fuga över Ad nos, ad salutarem undam av Franz Liszt, med fokus på samspelet mellan tekniska, konstnärliga och psykologiska aspekter. Genom en analys av verkets struktur, stil och historiska kontext belyses de krav som ställs på både teknisk skicklighet och musikalisk förstålse i arbetet med ett omfattande romantiskt orgel verk.Tillsammans med diskutionen om tekniska och konstnärliga spekter ägnas en betydande del av uppsatsen åt tillämpning av målteorier med särskild tonvikt på Edwin Lockes målteori. Genom att arbeta med tydliga mål, övningsorganisation och kontinuerlig feedback, analyseras hur motivation, organisation och inlärning kan förbättras.Resultaten visar att tekniska och konstnärliga aspekter är sammanlänkade, samt att ett strukturerat och målinriktat arbetsätt bidrar till en mer effektiv och medveten instudering. Studien betonar vikten av ett helhetsperspektiv där analys, praktik och reflektion samverkar i utvecklingen av en konstnärlig tolkning.

This thesis explores the history of the flute’s connection to myths and spirits and how the composer André Jolivet aimed to describe the relationship between human and spirit worlds through his music. I’m researching Jolivet’s flute works ”Cinq Incantations” and ”Chant de Linos” and analysing compositional and instrumental techniques Jolivet uses to convey his spiritual ideas. The purpose of this work is to get a better understanding of flute’s role in spiritual practices historically and in context of classical music.

Som violinist har jag ett stort intresse av klassisk musik och folkmusik. Jag vill utforska hur jag kan ta med mig folkmusikens lätthet in i min klassiska repertoar. I detta konstnärliga examensarbete valde jag att studera violinisten, kompositören och musikkritikern Moses Pergament (1893-1977). Syftet var att instudera och framföra Moses Pergaments sonat för violin och piano i h-moll från 1918. Metodologiskt användes partitur och inspelningar, övning, loggbok och litteraturstudier. Studiens resultat påvisar att det svåraste momentet under instuderingen var att hålla mig till en bra tidsram. Jag har också haft stor nytta av min kunskap om Pergaments liv i mitt konstnärliga uttryck. Min folkmusikaliska bakgrund har också varit till stor nytta genom hela processen.

Uppsatsen handlar om hur instrumentalister kan bli bättre på attkommunicera känslor och beröra en publik, utöver enbart tekniskskicklighet. Jag utforskar möjligheten att kombinera klassisk retorik frånAristoteles verk Retoriken (konsten att övertyga genom tal) med Plutchikskänslohjul (en modell för känslor) för att ge musiker verktyg att medvetetforma framföranden, förmedla specifika känslor och skapa en djupareupplevelse för lyssnaren. 

In this thesis, I am investigating how the process of composing Western art music can function as a developmental tool for instrumental performers. As a cellist myself, I am executing this study with special focus on the ensemble of cello and piano, by composing my own piece for said ensemble as well as analyzing, rehearsing and performing it side by side with pieces by Siri Eigard, Heidi Sundblad-Halme and Francis Poulenc. Through these processes I am demonstrating that composing deepens understanding of instrument-specific structures, harmonic functions, and ensemble interaction. The compositional process revealed practical insights into motivic development, notation, and idiomatic writing, while the practical rehearsing process exposed technical challenges that required editorial refinement, also present in historical examples such as Pierre Fournier’s role in shaping Poulenc’s Sonata for Cello and Piano. My findings suggest that composing cultivates a more intuitive grasp of musical form, enhances the ability to visualize and mentally rehearse scores, and strengthens communication within ensemble settings. It has also given me more insight into pianistic thinking in interpreting musical scores as well as seeing the connections between the piano and cello parts, which has developed my ability to adapt to this ensemble form. Moreover, the process has given me a heightened sensitivity to harmonic direction, texture, and instrumental balance, which are skills that directly improved my preparation of the other works used as reference material. The thesis concludes that even small-scale compositional practice can significantly enrich an instrumentalist’s musicianship, offering both analytical clarity and creative connections between composing, analyzing, practicing and performing Western classical music repertoire. 

Detta arbete är en del av min masterutbildning vid Kungliga Musikhögskolan i Stockholm.

Arbetet består av en klingande del och en reflekterande, skriftlig del. Det klingande arbetet innefattar instudering, repetition och framförande av valda satser ur körverket Le Cantique des Cantiques av Jean-Yves Daniel-Lesur. Jag har fördjupat mig i tonsättaren Daniel-Lesurs bakgrund och tonsättarskap, samt den samtida musikaliska kontext han influerades av. Jag har även analyserat musiken som den klingande delen består av. I det skriftliga arbetet beskriver jag de metoder jag använt mig av under repetitionsperioden, hur jag har jobbat med dirigeringstekniken, och vilka utmaningarna har varit i processen.

This thesis explores the possibility of arranging selected folk songs from Upper Silesia for trombone quartet in a way that is both artistically valuable and engaging for performers and listeners. The study is based on two original compositions: Variations on “Karliku, Karliku” and Impressions of “Karolinka”. The work discusses the role of folk music as a source of inspiration in classical composition and presents examples of folk influences in Polish and international music, with particular attention to trombone repertoire.

The thesis also examines the musical heritage of Upper Silesia and the importance of brass instruments in the cultural traditions of the region. Through the analysis of the selected folk songs and the compositional techniques used in the arrangements, the study demonstrates how traditional melodies can be transformed into independent chamber works while preserving their original character and cultural meaning.

The project shows that folk music can successfully serve as a foundation for contemporary artistic creation and that a deeper understanding of the cultural background of folk material can enrich musical interpretation. The presented arrangements contribute to the development of the trombone quartet repertoire and promote the rich musical heritage of Upper Silesia.

This project attempts to construct a portable “best practice” for quartet cellists, using interviews and two recorded rehearsal projects to investigate technical aspects of playing. It touches on matters like seating plans, timing, timbre, and intonation, as well as more elusive elements like initiative and rehearsal technique. It’s also a description of how the project evolved and ended up questioning parts of its original statement of intention, moving towards a more rounded approach to chamber music.

The aim of this thesis is to explore how practicing music therapists work within Swedish pediatric healthcare settings. The study’s research question is: How do three music therapists describe their work within pediatric healthcare, with a focus on aims, theoretical perspectives, practical implementation, and therapeutic relationships? The study is based on a qualitative research approach and consists of semi-structured interviews with three practicing music therapists. The empirical material was analysed using qualitative content analysis with a focus on the manifest content.

The results show that music therapeutic work within pediatric healthcare is described as situation-adapted, where aims, content, and methods are shaped according to the current needs of the child and family. The study participants describe music therapy as a non-demanding context in which improvisation, interaction, and presence are central elements. Parents also emerge as important participants in the therapeutic process, even when the child is described as the primary client. In the discussion, the results are related to previous research on family-centred care, children’s participation, and music therapy within healthcare contexts.

This thesis examines the phenomenon creativity in music therapy. The study explores the question: How do three music therapists experience the concept of creativity and its significance within the framework of the music therapy process? The background section of the thesis presents creativity from selected perspectives, as well as literature related to the fields of music, creativity, and music therapy. Research and limitations of creativity theories are also addressed. The result shows that creativity is a versatile phenomenon in music therapy. In the result chapter, five themes are presented: Creative personality, Creativity as creation, Challenges of creativity, Creativity requires safe space, and Creativity as an enabler. After that the results are discussed under the following headlines: Creative self-image and approach, Human capacity, Creating in the moment: creativity through improvisation and play, Finding yourself and maintaining well-being and Creativity and feeling safe – a mutual dependency? The choice of method is also discussed as well as the importance of the study and my pre-understanding. Lastly recommendations for future research are presented.  

This study examines how worship participants in the Church of Sweden experience the significance of music in worship, and how these experiences can be understood in relation to existential health. The study takes a lifeworld perspective as its point of departure. The analysis of the participants’ narratives is conducted using a framework for existential health based on the work of the World Health Organization. In this study, this serves as an analytical tool comprising eight dimensions. The empirical material consists of semi-structured interviews with four worship participants in the Church of Sweden from different age groups. The material has been analysed using directed qualitative content analysis, in which the framework dimensions have been used as an analytical structure. The results indicate that music in worship is perceived as a significant existential resource, primarily through experiences of recognition, repetition, and continuity over time. Music emerges as a means of creating coherence, stability, and orientation within the recurring structure of the service. The participants’ experiences can be related to several dimensions of existential health, including meaning, wonder, inner peace, wholeness, and belonging, as well as music functioning as a means of sustaining faith or a worldview over time. 

Research on flow in music therapy is limited, and existing research primarilyfocuses on the client’s experience. This study aims to explore music therapists’experiences of flow through the research question: when do music therapistsexperience flow in their work? The study is based on qualitative interviews withthree music therapists working in different fields. The material was analyzedusing qualitative content analysis, which resulted in three main themes:interaction and shared experiences of flow, flow in the safe therapeutic encounter,and obstacles and challenges. One of the most prominent findings is that musictherapists’ experiences of flow often emerge when the client is in a state of flow.The findings suggest that flow in music therapy may be understood as a relationalphenomenon emerging through trust, shared musical engagement, and therapeuticpresence. The discussion section examines the results in relation to previousliterature, while the methodology discussion critically reflects on the choice ofmethod, flow theory, and the researcher's pre-understanding. Finally, thesignificance of the study and directions for future research are discussed.

 Having an eating disorder can have negative consequences for the individual in both the short and long term. Both body and mind can be affected to the point that the condition becomes life-threatening. This work aims to illustrate how music therapists experience their work with children and young people diagnosed with anorexia nervosa and other eating disorders within Child and Adolescent Psychiatry (CAP) in Sweden. This work is a qualitative interview study based on three semi-structured interviews with music therapists who are actively working within CAP. The result shows that music therapy has a great potential as a form of treatment within CAP due to its non-verbal approach. The results show that music therapists feel that music therapy can strengthen mentalizing abilities in patients suffering from an eating disorder diagnosis, primarily anorexia nervosa. The results also shows that comorbidity can be viewed as high for this target group. The medical context in which the music therapist finds themselves within CAP can be problematic as the psychosocial profession does not receive as much space as medical interventions. This makes the collaboration between the music therapist and other professions important for the therapeutic process. Finally, music therapy's multifaceted approach enables a holistic view of the patient - in other words, music therapy is for the person and not just the diagnosis. Music therapy and mentalization can build bridges between who you once were, who you are now and who you want to become.

This study explores the role of music therapy in paediatric healthcare in relation to the Convention on the Rights of the Child, with a particular focus on children’s participation and right to express themselves. The aim of this study is to shed light on the ways in which the Convention on the Rights of the Child is reflected in the work of some music therapists within paediatric care. This is addressed through the research question: How do three music therapists perceive the role of music therapy in paediatric healthcare in relation to the principles of the Convention on the Rights of the Child?

The background is based on previous research on the significance of music for health and wellbeing, as well as children’s rights in healthcare, indicating that children’s voices are not always given sufficient space in practice.

The study adopts a qualitative approach and is based on semi-structured interviews with professional music therapists. The data has been analysed using qualitative content analysis from a life-world perspective.

The results show that music therapy can function as an arena for children’s expression, where non-verbal forms of communication enable children to make their voices heard. Furthermore, children’s participation is shown to depend on relational and contextual factors, and the presence of family members, as well as the interaction between child and therapist, is of great importance. The Convention on the Rights of the Child appears to be present in practice, but often implicitly rather than explicitly.

In the discussion, the potential of music therapy to strengthen a child-centred approach is highlighted, while also emphasizing the need for increased awareness of the Convention on the Rights of the Child within healthcare. The study contributes knowledge on how music therapy can support children’s right to participation in care settings.

This thesis examines stylistic characteristics of contemporary London Jazz and how these can be applied in a compositional context, with a focus on harmony, rhythm, and the role of the guitar. The study combines analytical and practice-based methods, including transcription, active listening, and original composition.

The analysis identifies central traits such as a static approach to harmony, a strong emphasis on rhythm, loop-based forms, and the importance of sound and production. These elements are understood in relation to influences from both traditional jazz and other musical styles, including Afro-diasporic traditions, hip hop, and electronic music.

The practical component consists of three original compositions that explore these stylistic features. The results show that London Jazz is characterized by flexibility rather than fixed conventions, where rhythm, sound, and ensemble interaction often take precedence over harmonic development. The study also indicates that the guitar has a flexible role within the genre, adapting to both traditional and more experimental contexts.

Ceylon Wallin var en nyckelharpsspelman som levde mellan 1922-1984. I den här studien ska jag utforska Ceylons låtspel, musikaliska frasering, klangfärgning, samt stråkmönster och ornament.

Mina frågor motiveras av upplevelsen att Ceylons spel skiljer sig från mitt eget spel som bildar en kontrast mot andra förebilder som jag influerats av. Vad händer med stråken i hans spel? På vilket sätt rytmiserar han? Hur formar Ceylon sina fraser i spelet? 

 This master's thesis in the subject of music is about exploring qualities in traditional Swedish fiddle music in an eletroacoustic musical context.  It takes its starting point in my own performance style in playing instrumental folk music (termed ‘spelmansmusik’ in Swedish) from northeastern Dalarna but also the interaction between me and another fiddler in traditional two-part fiddling. The focus has been on rhythm, timing and gestures and on concretely measuring beat lengths, including data about physical gestures with motion sensors. I have then analyzed the collected data and used it as a basis for composition in an electroacoustic abstract context. Specifically, analog synths have been used, since for me there are inspiring idiomatic similarities in analog synths and the fiddle. Here I have also used sonification to be able to listen to the collected data from a different perspective. In addition to the concrete measurements of timing, I have also discussed other artistic values ​​and asked questions about what is tradition and practice in spelmansmusik including the contribution of the fiddler as an artist. The purpose of my research has been to identify and research some for me central qualities in spelmansmusik and see if these qualities can be used in other stylistic musical contexts, specifically electroacoustic music, and what happens with these stylistic qualities and the expression when separated from their original, stylistic context. My work ended with a concert where I used all the techniques I had researched during the work. Here I also added visuals that were shown in sync with the music. My hope is that my work can contribute to exploring what traditional music can be and how to relate to different stylistic contexts in music.   

This master’s project explores the melodies used during the Fast of Nineveh in the Chaldean Church of the East. The study aims to analyze the musical structure and distinctive characteristics of these traditional melodies, as well as to investigate their potential as a source of inspiration for new musical compositions. The project also examines how these melodies can be performed on the oud in an improvisational style, allowing the oud to function as the main performer that conveys the spiritual and melodic character of these chants. 

The main research questions focus on how these melodies can be transcribed into musical notation, how their melodic structure can be analyzed, and how they can be performed on the oud. In addition, the project explores possibilities for composing new music inspired by this traditional material. The methodology combines musical analysis, transcription into notation, and creative artistic practice. A selection of melodies associated with the Fast of Nineveh was transcribed and analyzed in terms of melodic patterns, musical structure, and performance practice.

The results show that the musical tradition of the Fast of Nineveh in the Chaldean Church of the East is rich in distinctive melodic elements that reflect deep spiritual and cultural significance. The project demonstrates that transcribing, analyzing, and performing these melodies on the oud can contribute to preserving this musical heritage while presenting it in contemporary musical contexts.

Det som följer är en väg in i mina processer. En snårig väg som både blottar och gömmer. Som ringlar sig runt sig själv och som söker sig mot någon form av kärna, som kanske inte ens går att nå. Enklaste sättet att se på den här texten är kanske ur ett mer poetiskt perspektiv. Där jag med en svag ficklampa letar efter de saker som kan kastar skuggor. Följ med mig så målar jag oss en väg in i kretsar och komposition.

This thesis project explores how different types of creative constraints affect the songwriting process in music production. The purpose of the study is to investigate how limitations related to time, inspiration, instrumentation, and chance influence perceived creativity, the feasibility of the songwriting process, and satisfaction with the final result. The project was conducted as a practice-based artistic study over a period of ten weeks, during which one song was written, produced, and published each week. Each song was created using a specific predetermined creative constraint. The creative processes were documented continuously through a reflective logbook, which later served as the basis for analysis. The results indicate that creative constraints had a clear impact on both the creative process and the artistic outcome. Constraints that provided direction during the initial stages of songwriting, such as inspiration-based methods, were experienced as particularly effective. More restrictive or technically demanding constraints were, in some cases, perceived as limiting creativity. The findings also suggest that experiences of flow were strongest when there was a balance between structure and creative freedom. The study demonstrates that creative constraints can function as valuable tools in the songwriting process by creating focus, direction, and new creative possibilities, provided that they do not limit artistic freedom to an excessive degree. 

Denna kandidatuppsats grundade sig i att undersöka begreppet musikalisk interpretation. Syftet med uppsatsen var att undersöka hur ideal kopplat till musikalisk interpretation har förändrats över tid och hur jag som utövande musiker har kunnat inspireras av äldre ideal för interpretation av den musik jag ska framföra på examenskonserten. I arbetet analyseras passager ur Richard Strauss andra hornkonsert och Griegs pianosonat op. 7 med utgångspunkt i både äldre och modernare inspelningar av dessa verk komparativt. Verken analyserades även genom att analysera verkens urtext. Uppsatsen resulterade i definieringen av några typiska ideal inom musikalisk interpretation som var vanligare i de äldre musikinspelningar än i de mer moderna inspelningarna som analyserade. Mer konkret så var dessa skillnader främst kopplade till agogik, frasering, samt rytmisk betoning och timing. Resultatet kan vara av intresse för att synliggöra några aspekter av hur musikalisk interpretation har förändrats de senaste hundra åren.

Mixröst är ett vanligt förekommande begrepp inom sång och sångpedagogik, särskilt inom genrer som pop, musikal, soul och annan contemporary commercial music (CCM), men även inom klassisk sång. Trots den omfattande användningen av begreppet förekommer många olika definitioner och beskrivningar av vad mixröst innebär, både inom praktik och i litteratur, samt på internet och sociala medier. Syftet med föreliggande studie är att undersöka hur väletablerade sångpedagoger på avancerad nivå definierar och uppfattar fenomenet mixröst. Detta hoppas vi kan bidra till en djupare förståelse av dess fysiologi och innebörd. Studien bygger på kvalitativt insamlade data i form av semistrukturerade intervjuer, vilka har analyserats genom en fenomenografisk forskningsansats.

Resultatet visar att mixrösten kan förstås och beskrivas på flera olika sätt. Analysen identifierade tre övergripande sätt att förstå fenomenet: i) mix som fysiologisk balans mellan register och mus funktioner, ii) mix som täta stämband och iii) mix som en funktionell, grundläggande och pedagogisk röststrategi. Resultatet visar även att kontroll av lufttryck och stödfunktion beskrivs som centrala förutsättningar för ett hållbart användande av mixrösten. Placering och manipulering av röstens resonans framträder också som centralt. Vidare framkommer att mixrösten står i nära relation till andra sångtekniska faktorer, såsom twang och belt, samt att dessa sångtekniker ofta samverkar.

Sammanfattningsvis visar resultaten att mixrösten är ett komplext och delvis svårdefinierat fenomen som kan förstås ur flera olika perspektiv samtidigt. Ett fokus på individuellt anpassande framträder också som centralt. Studien kan därmed vara av betydelse i och med att den bidrar till en fördjupad förståelse av hur mixröst kan beskrivas, användas och undervisas inom modern sångpedagogisk praktik. Den ger också en inblick i hur begreppet florerar i den sångpedagogiska världen, tack vare urvalet av informanter.

This project examined my artistic expression, role, and technical execution as a music

producer in the transition from solo loop-based vocal production in a DAW to collective choir

configurations in a studio environment. Three production projects were carried out: vocal

doubling with individual singers and groups, a smaller vocal ensemble, and a large choir of

twenty-five participants, alongside two experiments exploring monitoring methods. Data was

collected through logbooks and questionnaires, and the project follows the principles of good

research practice. The results show that the producer role changes qualitatively with ensemble

size: from direct instruction in individual doubling, to delegation and systems thinking with a

large choir. Communication works best when it is physical and concrete, and the producer's

confidence directly transfers to the singers' performance. The choice of monitoring affects not

only intonation but also singers self-confidence and artistic presence. No universal solution

was identified, however combining headphone listening with one ear off proved an effective

middle ground, particularly with inexperienced singers. Formation concretely influences

collective listening and expression, with block formation strengthening intonation while a

semicircle was experienced as more expressive. The study demonstrates that the transition

from solo DAW work to collective recording involves a negotiation of creative vision, where

loss of control is not solely a limitation but also a source of musical qualities that cannot be

planned or replaced.

This project investigates the possibilities and limitations of reducing arrangements written for larger ensembles, such as big bands and nonets, for piano trio. The main body of work in the project is a select number of arrangements by famous larger bands that get reworked for a piano trio and later presented in the form of a concert. Examples of orchestral piano playing opposed to a pianistic approach are presented and we get more in-depth examples of how to emulate different timbres, dynamics and styles on specifically ”The Star-Crossed Lovers” by Billy Strayhorn for the Duke Ellington orchestra, ”Choose Now” by Tadd Dameron, and Dave Brubeck’s ”The Duke”, arranged by Gil Evans. The result is a closer look on how different dramatic effects translate to piano trio, what parts of an arrangement can be excluded and still maintain the musical characteristics of the original score, and what performing the music in this medium can add to the arrangement.

Detta självständiga arbete undersöker musikteorilärares beskrivningar av framgångsrik musikteoriundervisning i relation till praktiska musikaliska kunskaper. Studien genomfördes genom ett antal semistrukturerade intervjuer med musikteorilärare som undervisar antingen på estetiska programmet på gymnasiet, musiklinje på folkhögskola, på musikhögskola och/eller universitet. Analysen av intervjuerna gjordes med begreppen musikande, enjoyment, curriculum-as-practicum och musikerskap, hämtade ur David J. Elliotts praxiala musikpedagogiska filosofi. Resultatet visar att musikteorilärare beskriver framgångsrik musikteoriundervisning som en undervisning som omvandlar formell kunskap till procedural, vilket utvecklar musikerskap. Omvandlingen av formell till procedural kunskap uppnås genom musikande, det vill säga i lektioner med praktiskt musikaliska aktiviteter. Arrangeringsuppgifter som leder till ett uppförande beskrevs särskilt vara stimulerande och utvecklande. Praktiska färdigheter i pianospel hos elever beskrevs som centrala för musikteoretisk förståelse. Undervisning som utmärktes av tillfällen med enjoyment, definierat som nyfikenhet och intresse hos studenter, beskrevs också framgångsrik även om kopplingen till ett utvecklat musikerskap var svag. Mätbara resultat, som godkända tentor och prov, beskrevs också som framgångsrika, dock var kopplingen till utvecklat musikerskap svag. Resultatet visar på ett spänningsfält mellan de olika framgångsbeskrivningarna. De framgångsaspekter där utvecklingen av musikerskap inte var framträdande är i resultatet underordnade. Författarna yrkar på en musikteoriundervisning där utvecklandet av musikerskap är i fokus.  

Utgångspunkten för detta självständiga arbete ligger i en upplevd diskrepans mellan traditionsenlig pianopedagogik och de förväntningar som arbetsmarknaden ställer på keyboardister där idealet är en bred musiker med hög teknisk kompetens inom ljuddesign och fler klaverinstrument. Dessa är kompetenser som i vår erfarenhet ges relativt lite utrymme i enskild pianoundervisning. Därför undersöker det självständiga arbetet vilka diskurser som konstrueras i pianolärares utsagor i gymnasieskolan om inkludering av andra klaverinstrument som synth, orgel och Clavinet i den enskilda pianoundervisningen.Det självständiga arbetet vilar på en kvalitativ grund med semistrukturerade intervjuer som materialinsamlingsmetod. Deltagarna bestod av fyra pianolärare verksamma eller tidigare verksamma på estetiska gymnasium i Sverige. Materialet analyserades genom diskursanalys och tolkades genom socialkonstruktionism och positionsteori.Detta resulterade i tre diskurser. En nyttodiskurs där den breda och tekniskt kompetenta keyboardisten framställs som ett ideal, samtidigt som den traditionella pianisten också tillskrivs ett högt värde. En autonomidiskurs konstruerades utifrån en spänning kring huruvida andra klaverinstrument är lärares ansvar eller något eleven förväntas utforska själv. Slutligen lyfts en resursdiskurs som visar hur materiella förutsättningar påverkar vad som ges utrymme i utbildningen.Sammantaget visar det självständiga arbetet en spänning mellan den traditionella pianoundervisningen och samtidens krav på teknisk och musikalisk bredd. Det självständiga arbetet pekar även på ett behov av fortsatt vidare forskning då området uppfattas tämligen outforskat.

Syftet med det har arbetet har varit att undersöka vilka teckensystem elgitarrlärare som undervisar elever i åldern 16–19 år använder i undervisning av rytm, samt vilka teckensystem som förekommer samtidigt. Det empiriska materialet har samlats in genom tre strukturerade observationer som har tagit plats i individuell undervisning i elgitarr i gymnaiseskolan och kulturskolan. Kress teori om multimodalt lärande har använts i arbetet för att analysera observationerna. Teorin bygger på ett socialsemiotiskt förhållningssätt där kommunikation tar sig uttryck via gemensamma kulturella erfarenheter. Resultatet av studien visar att elgitarrlärare använder, och verkar vara beroende av att använda flera olika teckensystem i undervisningen av rytm i elgitarrundervisning. Dessa består främst av det talade språket, ljudande av rytmstavelser med munnen, kroppsliga tecken och resurser som håller puls, och visuella teckensystem som handrörelser, nickningar och blickriktning för att rikta uppmärksamhet. Områden som är särskilt genomsyrade av flera teckensystem är i lärarens inräkning där; stamp med foten, verbala instruktioner, ljudande med munnen och pekande med fingret mot notbilden, i flera olika kombinationer kan förekomma samtidigt. 

Denna studie har ämnat att bidra med ökad förståelse och kunskap omför hur trumpedagoger med flera års erfarenhet som har undervisat i enskild undervisning, med flera års erfarenhet, använder och beskriver sin användning av rösten som förebildande verktyg i enskild undervisning. Det empiriska materialet har samlats in genom fyra kvalitativa semistrukturerade intervjuer samt genom fyra ostrukturerade observationer av undervisning. Med denna metod som kallas för metodtriangulering harvägs informationen vägts från de olika metoderna samman för att ge en så fyllig och heltäckande bild som möjligt vid analysen av materialet. Studien utgår ifrån ett sociokulturellt perspektiv där rösten ses som ett verktyg för att stödja elevernas utveckling. Resultatet visar att beskrivningen och användandet av rösten som förebildande verktyg används i fyra olika sammanhang: inför att eleven ska spela, under tiden eleven spelar, efter att eleven har spelat samt i situationer orelaterade till elevens spel. De metoder som identifierades i observationerna inkluderade imitation och räknesystem med siffror, i medan intervjuerna beskrev informanterna även lyfte framanvändandet av ramsor och rytmstavelser som pedagogiska redskap. Resultatet visar även att pedagogerna främst uppgav räkning av puls som den vanligaste metoden för nybörjare, snarare än att be eleverna sjunga. Direkt jämförbar forskning om rösten specifikt som förebildande verktyg i trumpedagogik är bristfällig, vilket begränsar möjligheterna till djupgående jämförelser. Studien bidrar därmed till ett underforskat område inom musikpedagogisk forskning och som belyser behovet av vidare studier inom detta fält.

With an ever-growing amount of information circulating the world wide web, requiring little to no effort to access, evaluations of source information become increasingly critical. The information may aim to enlighten individuals according to the specific “search” performed and in some instances may or may not provide said individual with concepts or knowledge which gives the individual a false sense of “know how”. In cases of piano education sources such as Youtube, TikTok and others seek to provide a “quick fix” on how to master certain elements of instrumental mastery, perhaps without explaining why or how the results are accomplished. These digital sources of information will be grouped as a larger concept, which will be referred to as digital media. This study aims to explore how piano teachers experience and respond to this phenomenon in their teaching. Based on qualitative interviews with five piano teachers analyzed through the scope of phenomenography, we aim to provide a deeper understanding of if/how digital media may or may not have a role in modern piano education. We concluded that piano teachers perceive digital media to have a wide range of usage in piano education. The usage of digital media ranges from inspiring and guiding the teacher him/herself to acting as an underlying support to students in their own studies. Certain challenges arise for the teacher in guiding students to what information is valid and applicable to suit the student's needs, as well as pedagogical challenges in translating information supplied by digital media to the student in teaching situations. 

Denna studie utforskade och undersökte den musikpedagogiska undervisningspraktiken inom musikaliskt uttryck i elgitarr. Målet var att definiera vad musikaliskt uttryck innebär och undersökte hur pedagoger beskriver sin undervisning med det. Undervisningspraktiken ställdes sedan i relation till aktuella styrdokument för gymnasieskolan. Genom intervjuer med tre gitarrpedagoger aktiva på gymnasieskolans estetiska program definierades begreppet musikaliskt uttryck, hur pedagogerna beskriver sin undervisning inom området och hur de relaterar undervisningen till aktuella styrdokument. Den sociokulturella teorin har använts som teoretiskt utgångspunkt med mediering och stöttning som centrala begrepp. Resultatet visar att centrala punkter för ett starkt musikaliskt uttryck är medvetenhet, kontroll och förståelse för det musikaliska sammanhanget. Psykologiska medierande verktyg såsom förebildning, metaforer, imitation och samtal kring andras gitarristers uttryck beskrivs som arbetsområden för det musikaliska uttrycket. Även materiella medierande verktyg i form av effektpedaler och förstärkare beskrivs som användbara i utvecklandet av ett musikaliskt uttryck. Individanpassningar och mentala förberedelser som stöttande medel är centrala för studiens resultat. Studien visar även att gitarrpedagoger i stor utsträckning kopplar arbetet med musikaliskt uttryck till styrdokumenten, dock delas en uppfattning om att läroplanerna är otydliga och tolkningsbara. Detta ses däremot som något positivt, särskilt i relation till Lgy25 enligt studiens resultat, då det råder konsensus om den frihet i undervisningen det ger.

This master’s project explores communication between musicians and improvisation based on descriptions and drawings of musical elements. A compositional method has been created to explore different ways to connect through musical improvisation, with associations as a base. The method involves analysing the elements in nature - water, wind, earth, and fire - and translating their characteristics and movements into inspiration for musical scores. Communication around the material has influenced the artistic outcome and supported new creative approaches, integrating painting, poetic writing, and figuration to understand and portray these elements in a musical context. This project has also highlighted the difficulties in notation and ensemble leading and the challenges to balance freedom and clear instructions within improvised music. Through the process, a deeper connection to artistic practice has been developed, along with tools for using associations in improvisation and songwriting. Studies at various institutions, as well as encounters with teachers and musicians, have provided methodological inspiration that has been applied in the work. Experiments with sound and dynamics have shaped vocal expression and technique, while compositional challenges have strengthened confidence, developed the ability to write for larger ensembles, and opened new possibilities. 

Denna studie undersöker hur egenvalda begränsningar och frihet kan samspela och påverka upplevd kreativitet i en konstnärlig process. Studien bygger på tidigare forskning av begränsningar samt egna erfarenheter av kreativ låsning för att hitta nya vägar inom komposition och musikproduktion. Arbetet utgår från fyra varierande metoder med startpunkter som skiljer sig från tidigare arbetsprocesser, därefter tillåts musiken att utvecklas fritt. Dessa fyra metoder förhåller sig till vokalarrangemang, livetrummor, analoga syntar och instrumental produktion. Undersökningen visar att begränsningar i kombination med fritt skapade kan resultera i nya idéer och att nya impulser framträder, däremot bidrog den valda metoden inte till ett ökat kreativt flöde. Metoden ledde till många låtstarter som sedan inte färdigställdes på grund av kreativa låsningar. Studien utesluter inte att metoden kan gynna kreativitet under andra omständigheter eller för andra musikskapare. Avslutningsvis diskuteras kreativitet och hur den förhåller sig till och kan hindras av sin inre kritiker och personliga förväntningar på skapandet.

I detta självständiga arbete undersöktes två olika typer av arbetsprocesser när de applicerades för konstnärligt skapande inom musikproduktion och audiovisuellt arbete. Det ena arbetssättet byggde på luststyrt skapande utan tidsramar, medan det andra arbetssättet var en disciplinerad arbetsprocess som följde fasta och strikta tidsramar. Vardera arbetsprocess pågick under två veckor och applicerades på mitt audivisuella konstprojekt drumboii. Målet med undersökningen var att se hur dessa olika arbetsprocesser påverkade kreativiteten, effektiviteten och arbetsbelastningen, samt hur gränsen mellan arbete och fritid eventuellt förändrades beroende på arbetsprocess. Undersökningen utgick från två frågor: ”Vilka positiva respektive negativa konsekvenser kan en disciplinerad arbetsprocess få för kreativitet, effektivitet och arbetsbelastning?”, samt ”Hur kan en disciplinerad arbetsprocess påverka gränsdragningen mellan arbete och fritid i ett kreativt skapande arbete?”. Arbetet resulterade i två audiovisuella produktioner samt en fristående musikproduktion. I diskussionen ges personliga reflektioner på hur de olika arbetsprocesserna fungerade i förhållande till resultatet. Slutsatsen dras att ett disciplinerat arbetssätt fungerade mindre bra, men att frågan är högst individuell och beror på flera faktorer.

The purpose of this study is to investigate how my role as a music producers is affected by collaborating with two different artists, and what it does to the music. Qualitative methods have been used to observe and document the creative process during the studio sessions with the artists. Various stages of the collaborations have included recording, production and postproduction. Results and analysis demonstrate a strong connection to leadership theories, where different roles within music production have influenced my technical and artistic working methods throughout different stages. In the discussion, connections are drawn between leadership and flow, which shows that difference in competence and leadership in the creative process has a positive or negative effect on the workflow and music. The study shows that the artists, in this project, also act as producers. My role as a producer have had to navigate through this, throughout the entire process. The diverse in expertise, within different areas in the creative process, points toward a constructionist approach. Durin recordings, I’ve maintained a dominant role, applying my artistic identity to the music through technology. In the production stage, the role of a producer was shared. The project has resulted in three songs: Lullaby, Fertilize me and Stormen. My research questions are answered and discussed, in connection to result, music and previous research, in the discussion chapter. The study shows that my role as a producer is affected by collaborating with different artists and that leadership and roles has different effects on flow, the creative process and music, depending on the stage in the music production. This study is aimed at producers, musicians and artists, who’s working in the same field.

This artistic master’s thesis explores how the role of the producer and the interplay between musicians is affected by recording with all musicians playing in the same room. The study compares a historical documentary approach to recording with a modern producing one and discusses ensemble play, interplay and how they are affected by rooms and recording methods. It starts with a personal background were producing by computer has been seen as normal and recordings with many musicians in the same room as novel and exciting. The method consists of three ensemble recordings done in three rooms, with one song each. The ensembles were recorded playing together in the same room, without headphones or metronome. These recordings have been analysed during mixing and postproduction and data regarding the process has been gathered through a form sent to participating musicians and a recorded conversation with a producer colleague, both of which has been analysed thematically. The study has found that working this way is inspiring but hard and requires trust, planning and a loss of control for the producer. The participating musicians experienced a loss of detail in what they heard but felt good cohesion, dynamics and interplay. The difference in sound on the recordings was noticeable but not crucial. With that said the process as a whole has impacted the songs in unique ways and can be seen as valuable in a world where everything is possible. 

This artistic research project investigates approaches to arranging jazz standards for octet, with a focus on the vocalist. Drawing inspiration from the cool jazz era and arrangers such as Marty Paich, the study explores how harmony, voicing, texture, dynamics and form can be used to support both the musical and narrative aspects of vocal performance. The project combines transcription, analysis and original arranging. Selected recordings were transcribed to examine interaction, balance, and textural clarity between voice and ensemble. These insights informed the creation of original arrangements for an octet, which were performed in a final concert.

Emphasis was placed on repertoire selection, choosing songs with expressive lyrical content to explore how arrangements can enhance storytelling. The results show that balance between voice and ensemble is best achieved through clear role distribution, careful register placement, and restraint in orchestration. Arrangements that avoid competing musical layers allow the voice to remain prominent.

The study also demonstrates that simple musical devices, such as form, repetition, and dynamic contrast, are often more effective than complex textures in supporting vocal expression.

This practice-based artistic research project "Coming Home — Music Production Through Inner Resonance" explores the dynamic interplay between music production and human emotional experience. It examines how awareness of the neuroscience of music cognition can significantly enhance music production processes. Drawing on research into the neural underpinnings of musical experience, the study investigates how the producer's emotional responses, sensory perceptions, and mental imagery shape creative decision-making. Central to this research is the concept of Inner Resonance - the embodied awareness of how emotions, sensory perception, and mental visualization converge to inform and guide the music production process. The project is based on the creation of seven original folk-electronic compositions developed between January 2025 and April 2026. These works function both as artistic outputs and as primary research material, alongside reflective journaling used to capture and analyze the creative process. Drawing on phenomenology, autoethnography, and practice-based research frameworks, the study explores how internal experiences are translated into musical form, sound design, and production choices. Particular attention is given to the relationship between emotional states and musical elements, the role of auditory imagination and sound design, and the interplay of perception, memory, and sonic textures. The findings suggest that Inner Resonance acts as a unifying force through which emotion, perception, and imagination are shaped into music. Music production is therefore understood not only as a technical activity but also as a reflective and personal practice, closely connected to the creator's identity and lived experience. This understanding has practical implications for how producers approach their creative work and develop their artistic voice. This research contributes to bridging the gap between scientific music cognition and the tacit knowledge of music producers by translating neuroscientific concepts - such as embodied cognition, emotional processing, and sensory perception - into practical, experiential frameworks. By making these internal processes explicit through autoethnography and reflective practice, the research offers producers a vocabulary and awareness that connects scientific understanding to their everyday creative decisions.

The mixing process in music production is often perceived as complex and difficult, particularly for less experienced producers. This study aims to make the practice of mixing more visible and to investigate it through a combination of practical exercises, theoretical perspectives, reflection, dialogue, and feedback. The study is guided by questions concerning how mixing decisions can be understood more consciously without relying solely on trial and error. It also examines how different perspectives influence the mixing process.

Methodologically, the study is based on four main approaches: Dividing and delimiting the mixing process according to how the brain processes analytical and creative tasks, goal-oriented mixing through the use of reference listening and the development of a mixing vision, a dialogue-based mixing process between producers inspired by the Critical Response Process, and an experimental approach in the form of “backwards mixing.”

The findings indicate that a structured division of mixing tasks contributes to greater precision in listening and decision-making, as well as a clearer understanding of the relationship between technical and artistic choices. The study also highlights how language, social relationships, perception, and frames of reference influence the interpretation of sound and music.

The conclusion suggests that mixing can be understood as an interplay between analysis and intuition, where increased awareness of underlying processes facilitates navigation within what is otherwise experienced as a “dark room.” The study thereby offers perspectives that may be valuable for producers, musicians, and educators in the field of music production.

This master’s thesis explores the relationship between vision and hearing by investigating how cross-modal correspondences can serve as a framework for musical composition through sonification. Central to this project is the question of how the mapping process is shaped by the interplay between artistic and technical decision-making within a sonification framework. An algorithm was designed and evaluated, titled HueGaze, which translates visual attributes from digital images into musical parameters grounded in human perception. Developed in Python and SuperCollider, the algorithm uses the CIELAB colour space to extract perceptual data such as colours, lightness and entropy from an image. These values are mapped to acoustic parameters such as pitch, amplitude, and timbre, inspired by established cross-modal correspondences. Research through Design was applied as the overarching methodology, enabling theory, technical implementation, and artistic reflection to interact iteratively throughout the process. The results demonstrated that the algorithm transformed static images into dynamic musical compositions, realizing the project's concept of the image as a visual score. In doing so, a central tension surfaced between the scientific objectivity traditionally required by sonification and the artistic judgment inherent in compositional decision-making. More broadly, this reflects a methodological challenge within cross-modal research, where neither strict empirical nor purely artistic approaches alone can adequately address questions rooted in shared subjective experience. The primary contribution of this work is to frame this tension, not as a limitation to overcome, but as the working ground in which cross-modal design takes place. Through what is articulated as the aesthetic filter, this project presents a set of design principles for navigating the interplay between technical and artistic judgment. By applying these principles, the image is treated less as raw data, and more as a musical score to be read. 

Då jag undervisar i piano brukar jag tidigt fråga mina elever varför vi ens sitter där på vår lektion. Vissa har inte hunnit bygga upp någon egentlig relation till musiken än, men de flesta svarar; ”för att lära mig spela”. Min motfråga blir såklart direkt; ”men varför vill du det?”

Ett narrativ kan ses som en kedja av händelser och allt vi gör, tänker och är med om påverkar dess riktning. Inget kan förbli oförändrat eller opåverkat över tid och har därmed alltid en uppkomst, en progression och ett slut.

När jag spelar för min elev genererar jag inte enbart ett ljud. Det är en rent fysisk sensation då vibrationerna färdas genom luften och resonerar inom dennes kropp, nervsystemet reagerar och framkallar en känsla. Ur den föds tanken och ur tanken ett behov för uttryck. Nyfikenhet, skratt, tårar, våld, flykt, närhet och isolering är alltså bara resultat av ett väl fungerande narrativ. Ur en förkärlek för ords ursprung har ordet resonans en mångbottnad betydelse i denna studie och bör därför läsas med detta i åtanke. Kan resonans och narrativ vara två ord som beskriver samma företeelse?  

Jag har velat undersöka vad det är som kan få oss att resonera till musik, hur det skiljer sig mellan individer och vad narrativet då fyller för funktion.

Här studeras inledningsvis hur filosofi och ideologi har påverkat det kompositionstekniska hantverket över tid. Därefter sker konstnärliga analyser av Maurice Ravels Daphne et Chloé och Alban Bergs Wozzeck för att undersöka min subjektiva resonans till deras musikaliska narrativ. I kvalitativa intervjuer med Tommie Haglund och Johan Hammerth ges även en inblick i hur yrkesverksamma tonsättares resonerar kring ett musikaliskt narrativ.

Avslutningsvis undersöks hur min musik resonerar med andra genom en mindre kvalitativ enkätstudie där personer med olika musikalisk bakgrund fått respondera på min pianotrio Bitter Aska, vilket är ett particellutdrag ur min kommande opera Demisia.

Arbetet beskriver komponerandet av en cellokonsert i barockstil, och undersöker därmed förhållandet mellan musikteori och komposition. Musikteoretisk litteratur appliceras som hjälpmedel i processen och för att tolka förlagor ur repertoaren.

Därpå följer reflektioner kring det färdiga stycket, om hur metod, tonspråk, intention och sammanhang påverkar hur konserten kan förstås i relation till begrepp som skolmusik, pastisch, och post- eller antimodernism.

 The purpose of my research has been to explore a methodology for my own use which will deepen and enrich my expressive faculties while expanding my repertoire. The process begins with finding a model to emulate; a source of inspiration that moves me. Searching various vocal traditions that appeal to me musically, I find particular singers whose interpretations resonate with me, and I select individual recordings that contain qualities that touch me deeply, challenge me technically and awaken a curiosity to explore and learn.

Questions arise that prompt further investigation. Why am I so moved by this? Is it the voice, is it the expression, is it the vocal style, is it the music? Can I sing like this? Can I recreate the subtleties of vocal expression, both the technical aspects and the inner essence of that individual’s performance? Can I create something new from what I’ve found, using those qualities that inspire me, but with my own vocal character? What happens when my old repertoire meets this new material?

Approaching these questions, I have begun to define the trait that resonates within me, in written descriptions and symbols, and which I regard as being shared in common by all the singers in my study and I describe that quality as singing from the source.

By attempting to embody and mimic closely another singer’s singing style and songs, the source and reference point, I have found new ways back to my own, revealing how I can relate to different songs and contexts. Through this study and the methods, I tried out, I feel I ́m more established in myself as a singer and performer and have found new ways to express my inner musical world.