Publikationer från Kungl. Musikhögskolan
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Frihet under ansvar : Ett relationellt perspektiv på ensembleundervisning
No full textI denna studie har fyra stycken musiklärare i ensembleundervisning intervjuats för att ta reda på hur de balanserar lärarstyrning och elevers ansvarstagande. Studiens syfte har varit att undersöka hur relationella aspekter påverkar undervisningen. Utifrån ett relationellt perspektiv undersöktes lärarnas roll i att skapa en trygg och inkluderande miljö där elever kan utveckla både musikaliska och sociala färdigheter. Resultaten visar att en kombination av tydliga ramar och elevmedverkan stärker delaktighet, ansvarstagande och kreativitet. Studien betonar vikten av att läraren anpassar sin styrning till gruppens behov och använder relationellt arbete för att främja samspel och balans i ensemblegrupper Slutligen diskuteras hur dessa insikter kan bidra till utvecklingen av undervisningsmetoder som stärker både individens och gruppens lärande inom musikpedagogik.
Att skriva och arrangera för mellanstora jazzsättningar : Analyser och eget arrangerande för sextett- och nonettsättning
No full textBecoming a better jazz arranger is challenging to do alone; we need inspiration and guidance from those who came before us. This project explores arranging techniques for medium-sized jazz ensembles through analysis of works by the sextet One For All and The Duke Pearson Nonet. The aim was to understand how instrumentation, harmony, rhythm, and voice leading can shape the overall ensemble sound and to answer questions about the challenges and stylistic elements of arranging for a sextet and a nonet. Based on these studies, I created four original arrangements that apply techniques such as motivic development, use of color tones, and explorations of the acoustic bass’ role in a larger ensemble. The project highlights key differences between historical and modern approaches and has strengthened both my technical arranging skills and artistic voice.Låtlista:1. Minority (1953) Gigi Gryce, Arrangemang - Jonathan Jessen2. The Big Well (2024) Jonathan Jessen3. Spring Can Really Hang You Up The Most (1955) Wolf/Landesman, Arrangemang - One For All/Jonathan Jessen4. The Things We Did Last Summer (1946) Styne/Cahn, Arrangemang - Jonathan Jessen5. The Scene Is Clean (1956) Tadd Dameron, Arrangemang - Jonathan Jessen Medverkande:Jonathan Jessen - KontrabasHenrik Jäderberg - TrummorMalte Boqvist - PianoHåkan Broström - AltsaxofonHampus Adami - TrombonBenjamin Sällström - Trumpet Eskil Larsson - TenorsaxofonMorgan Lindgren - Barytonsaxofon Dante Fritzell - Flöjt</p
Following Wynton's Rhythm: En analys av Wynton Kellys time och dess inverkan på min frasering och interaktion med trummor
No full textThis essay explores the influence of Wynton Kelly's rhythmic precision on my own musical practice, with a particular focus on phrasing, time, and interaction with the rhythm section, specifically the drums. Through a process of internalizing Kelly's solos, I gained a deeper understanding of his rhythmic logic, which helped me develop a more defined and intentional phrasing in my own playing. The work involved transcribing, analyzing, and integrating his rhythmic techniques into my improvisation, allowing me to create more cohesive and structured musical ideas. Additionally, by studying Kelly's subtle use of space and his responsiveness to the rhythm section, I have learned to better engage with my fellow musicians, enhancing both my performance and my ability to connect with the drums. The results highlight the importance of rhythmic precision and musical listening in shaping a more expressive and collaborative playing style. Repertoar:Maestros Of The Community - Isiaiah J. ThompsonOn Stage - Wynton KellyFor All We Know - J. Fred CootsThe Touch Of Your Lips - Ray NobleYoung And Foolish - Albert HagueWhere Are You - Jimmy McHughNow’s the Time - Charlie ParkerMedverkande: Milos Lindegren - PianoFelix Kling - Trummor Jonathan Jessen - BasIsabella Lundgren - Sång</p
Mellanrum i musik : Lärdomar i mötet mellan västerländsk konstmusik och populärmusik
No full textThis project explores the creative intersections between Western classical music and popular music traditions through analysis, composition, and reflection. As a singer and instrumentalist rooted in both African American musical traditions and European art music, I aimed to broaden my compositional methods by studying classical works and translating their techniques into new, original music. Drawing on harmonic structures, thematic development, contrapuntal writing, and symbolism, I created a series of compositions that reflect an integration of classical influences into a popular music context. The process revealed key insights: the power of working from simple, clearly defined ideas, and the importance of keeping aesthetic expression central in theoretically driven projects. Ultimately, the project demonstrates how deep engagement with unfamiliar musical languages can expand a composer's expressive palette and challenge habitual tendencies, resulting in music that is both personally authentic and artistically renewed.Elegy - L. Thinsz JanssonHold Back - L. Thinsz JanssonAt All Times - L. Thinsz JanssonWell Rehersed - L. Thinsz JanssonMost Thingz Can Be Forgiven On a Sunny Day - L. Thinsz JanssonMedverkande musiker:Leonard Thinsz Jansson - Sång/kompositionElmer Stenlund - PianoMarkus Van Alstine - GitarrJakob Einarsson - BasSvante Abbing - Trummor</p
Olles Bebop Big Band : Ett arbete om att arrangera för ett litet storband, med trombon som huvudsolist.
No full textThis project explores the creation of a small big band inspired by the bebop and swing styles of the 1940s and 50s, with the trombone as a central voice. Through transcribing and rearranging traditional big band pieces for a reduced ensemble, the aim was to retain the powerful sound and energy of a full band while allowing for greater musical freedom and individual expression. The process included arranging, rehearsing, and leading the band, culminating in a final concert. The project highlights how a smaller group can achieve both tight ensemble playing and spontaneous creativity through thoughtful arrangement and strong leadership. The project culminated in a concert at KMH which showcased the possibilities of the band and the possible future of it.
Från text till tolkning : En klassisk sångares instudering av Samuel Barbers Knoxville: Summer of 1915
No full textDetta självständiga arbete har utgått från James Agees prosadikt Knoxville: Summer of 1915 och Samuel Barbers tonsättning av den. Som klassisk sångerska ville jag undersöka hur ett grundligt textarbete kan påverka min instudering och tolkning av verket, samt hur jag på ett effektivt sätt kan instudera texten och musiken utantill. Textarbetet utgick från Dr. William Sauerlands stegvisa metod för textanalys. Analysen visade att ett grundligt textarbete gav mig en stark emotionell förståelse för diktens innehåll, vilket bidrog till en nyanserad och personlig musikalisk gestaltning. Jag kunde memorera texten snabbt och kände mig mycket trygg på scen. Jag märkte dessutom att min sångteknik påverkades positivt när jag verkligen menade det jag sjöng, och att jag därmed kunde hålla långa fraser. I diskussionen kom jag fram till att ett metodiskt textarbete påverkade min musikaliska instudering av verket positivt, att det gav upphov till en snabb utantillinlärning och att jag upplevde sångtekniska och mentala fördelar.Programblad Examenskonsert:Gunnar De Frumerie Ebba LindqvistUte i skärenGösta Nystroem Ebba LindqvistUr Sinfonia del Mare: Det EndaGösta Nystroem Bertil MalmbergOrd mot det tommaJean Sibelius Ur op. 88Frans Michael Franzén2. De begge rosorna3. Hvitsippan Johan Ludvig Runeberg 5. Törnet6. Blommans ödeGustaf Nordqvist Karl Gustav OssiannilssonSippornaSamuel Barber James AgeeKnoxville: Summer of 1915Mogens Schrader Gösta StevensSommarnattMedverkande:Siri Krosness, sopranAxel Åkerman, pianoMagnus Svensson, pianoBifogad ljudfil från examenskonsert 13/5-25.</p
Korspollinering : Musikaliska hybridpraktiker, kompositoriska idéer, översättningar, transkriberingar och överlagrade temporaliteter
No full textSyftet med denna text är att undersöka en musikalisk hybridpraktik genom att utforska hur till synes parallella metoder har potential att influera varandra transversalt i fem kompositionsprocesser. I min praktik antar jag ett flertal roller under det musikaliska arbetet: instrumentalist, kompositör, improvisatör, arrangör, ljudtekniker, programmerare och instrumentbyggare. I denna text tittar jag på hur koncept inom de skenbart väsensskilda rollerna kan influera och påverka varandra, och på hur konstnärliga, musikaliska idéer kan transkriberas och överföras. Vidare undersöker jag om detta arbetssätt har potential att definiera en musikalisk identitet. Jag tar även upp varför ett enhetligt uttryck i ens musikaliska praktik kan vara önskvärt att nå, och hur detta i så fall skulle kunna göras. Som utövande musiker och kompositör verksam inom ett musikaliskt fält som, i brist på bättre ord, brukar benämnas som experimentellt har det varit naturligt för mig att med tiden bredda min praktik från en mer ensidig instrumentalistroll till en mer pluralistisk sådan där en varierad verktygslåda genom konstnärlig nöd och på grund av praktiska behov har uppstått. I kärnan av detta finns idén om ett expanderande av det musikaliska instrumentet och att betrakta det snarare som ett system av sinsemellan interagerande entiteter och praktiker snarare än ett ensligt objekt fritt stående från allt runtomkring. Genom transkription och översättning mellan kompositoriska idéer, teknologiska metoder och framförandeformat har jag undersökt hur skillnader i tillvägagångssätt och sammanvävande av roller påverkar det klingande resultatet
Efficiency in Practicing Poulenc Violin Sonata With Reflection on Teaching Methods of Milan Vitek
No full textProfessional musicians are often short of time and playing a musical instrument is not always ergonomic, violin especially. Efficiency in practice is needed to achieve desired results in a relatively short timeframe. I tried to go deeper into this subject with help of prof. Milan Vitek, who is known for his focus on practicing while teaching students. In the thesis I wrote a biography of prof. Milan Vitek to summarize what made him the great interpret and pedagogue he is. He was influenced by violin methodology of Otakar Sevcik, therefore this thesis also contains Sevcik's biography and a description of his teaching methods. I also interviewed prof. Milan Vitek's former students. Later I described a lesson with Milan Vitek, where I played the first movement of Poulenc violin sonata. With help of this collected information I tried to define how to practise efficiently and stay motivated as a violinist. Master's Concert Programme:F. Poulenc: Violin Sonata, FP119I. Allegro con fuocoII. IntermezzoIII. Presto tragicoM. Ravel: String quartet I. Allegro moderato II. Assez vif, tres rythmeIII. Tres lentIV. Vif et Agite</p
String Intonation : Personal Expression and Pedagogical Challenges
No full textIn string performances of Western classical music, melodic intonation has generally been considered an expressive tool. However, empirical studies investigating performance intonation have often related intonation to different tuning systems, leaving music-contextual aspects of intonation rather unexplored. This work aimed to understand string musicians' perceptual intonation preferences and their performance intonation, and how such expert knowledge is pedagogically transferred to future generations of string players. This doctoral dissertation comprises four original publications: (1) a quantitative study on higher-education music students' perceptual preferences regarding melodic intonation, (2) a mixed-methods study about concertmasters' (highly skilled violinists') intonation preferences in perception and in performance, (3) a survey study of string teachers' experiences in teaching intonation at elementary and pre-college levels, and (4) a text study focusing on prominent string musicians' verbal communication surrounding expressive intonation in performance. Hence, each of the studies investigates a different aspect of the main aim. The findings of the first study suggest an expertise-related connection between violinists' intonation preference and meter. The results in the second study indicate that concertmasters' average leading-tone intonation was sharper than in both equal tempered and just intonations, in performance as well as in their perceptual preferences. In the third study, practising string teachers showed a rich variety of creative teaching strategies to make intonation apprehensible and accessible to children. The fourth study demonstrated how string pedagogues seemed to struggle with their verbal communication regarding intonation practice in expressive performance. By shedding light on the application of expressive intonation in successful string musicians' performance, this work discloses parts of musicians' implicit knowledge concerning their contextually based intonation practice. These new insights may have implications for teaching intonation, inspiring to more efficient communication surrounding expressive performance in instrumental music education
In the Beat of Chris Dave : En studie av Chris Daves trumspel och metoder med fokus på analys, transkribering och integrering
No full textHow can one integrate Chris Dave’s drumming style into one’s own playing? What will happen when I study Chris Dave in detail? What will happen with my musical expression when I study his approach to time? How does my groove affect the ensemble? My work is based on what happens with my artistic expression and my playing after thoroughly studying Chris “Daddy” Dave’s artistic expression and creative playing style. A master-drummer and pioneer that many try to follow. By studying interviews, research papers, concerts and performances, transcriptions, exercises and Dave’s own methods, this work investigates how a drummer can approach his very specific playing-style. The findings suggest interesting insight into Dave’s playing, such as his use of motivic development in comping, his use of micro timing and how one can implement and further develop his ideas and methods into one’s own playing. This work also opens further areas of exploration and shows a way of analysing that can be applied on any musician of interest worth studying.Repertoar:”All Matter”- Robert Glasper, Bilal (2009)”Think of One”- Thelonious Monk, Robert Glasper (2009)”Fuck Yo Feelings”- Robert Glasper, Yebba (2019)”Better Than I Imagined”- Robert Glasper, HER (2022)”Foreverland”- Keyon Harrold, Laura Mvula (2024)Ensemble:Sebastian Jokela – trummorJakob Einarsson – elbas, kontrabasEmanuel Wickström – keyboard, ambienceMilos Lindegren – pianoSiri Klinth – sångMaja Gardemark – sångMiranda Pérez Hernvald - sångLänk till examenskonsert:https://kunglmusikhogskolan-my.sharepoint.com/personal/mattias_alldahl_kmh_se/_layouts/15/stream.aspx?id=%2Fpersonal%2Fmattias%5Falldahl%5Fkmh%5Fse%2FDocuments%2FDela%20ut%2F250318%20Sebastian%20Jokela%20x%20KS%2Ewav&nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJPbmVEcml2ZUZvckJ1c2luZXNzIiwicmVmZXJyYWxBcHBQbGF0Zm9ybSI6IldlYiIsInJlZmVycmFsTW9kZSI6InZpZXciLCJyZWZlcnJhbFZpZXciOiJNeUZpbGVzTGlua0NvcHkifX0&ga=1&referrer=StreamWebApp%2EWeb&referrerScenario=AddressBarCopied%2Eview%2Ebf28c39d%2D2b70%2D440d%2D9f51%2D6d3d9a022aef</p