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  • 1.
    Glantz, Katarina
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musikaliska uttryck och funktioner i interaktiva världar: En undersökning av musikanalytiska problemställningar i det interaktiva mediet datorspel2008Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper takes on the field of computer game music for the home computers Commodore 64, Amiga and PC. One chapter is devoted to the early pioneers in computer game music, but the main focus of the study have been to uncover the important functions music, sound, and sound effects, have for the understanding and experience of playing computer games. The issues discussed are: interactivity and game music, recurring musical functions in games, the relation of music and sound to the fictional game world, how an experimental attitude to sound became part of the compositional process on the Commodore 64 and Amiga, and lastly, how music and sound relates to the game becoming part of an audiovisual interpretation. My aim have been to incorporate all the audio aspects of computer games, to see how these relate to each other, as well as the game, where the analysis of computer game music becomes not an analysis of music by itself, but where the music analysis shows the player’s involvement with the game.

  • 2.
    Göranzon, Ingrid
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Från idé till verklighet: Uppsala kommunala musikskola2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Göranzon, Ingrid: From concept to reality - Uppsala Municipal School of Music. Master thesis, 30 credits. Uppsala: Department of Musicology. 2013.

    This thesis aims to explain how and why the municipal school of music (kommunala musikskolan) in Uppsala was formed. Municipal schools of music are a Swedish phenomenon that was formed all over Sweden after the Second World War. Each school is individual since they are entirely controlled at a municipal level. Although several factors have been identified as reasons for the creation of municipal schools of music, research in the area is limited.

    The material forming the basis of the survey is municipal documents from Uppsala city archives. The method that has been chosen to analyze the material is critical ideology analysis. This means that the content of the documents is analyzed in relation to its context, to clarify both the manifest and latent ideologies.

    The study shows that the formation of a municipal school of music in Uppsala was part of a larger movement, both nationally and locally. Sweden went through great changes during the period after the Second World War, politically, socially and culturally. The development of municipal schools of music was influenced mainly by the ideas about education and culture. The guiding idea was that all citizens should have equal access and opportunity. Technological advances such as radio and gramophone had made high culture more accessible, but it also contributed to the spread of what was considered inferior culture. Studies of the time showed that the solution was to give people the knowledge needed to make the right choice. The municipal school of music in Uppsala was created with the aim of forming a culturally educated public.

    Key words: municipal school of music (kommunal musikskola), Uppsala, public education (folkbildning), cultural politics (kulturpolitik), critical ideology analysis, post World War II

  • 3.
    Hedberg, Sofia
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    "Wut is Wut?": En studie av maskuliniteter och sexualiteter inom hiphop-genren2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Sofia Hedberg: "Wut is Wut?" En studie av maskuliniteter och sexualiteter inom hiphop-genren. Uppsala universitet: Institutionen för musikvetenskap. C-uppsats 15 hp. 2013.

    This essay examines how a group of male, homosexual or bisexual African-American rappers from New York City are challenging the norms of hypermasculinity and heteronormativity within the musical genre of hip-hop. The study investigates both visual and textual expressions from Mykki Blanco, Le1f and Zebra Katz, and does so through the artists' videos and lyrics. The artistic expressions are continually compared to those of more traditional rappers, in order to illuminate both similarities and differencies.

    To provide a wider understanding of such terms as masculinity, gender identity and sexuality, a number of theoretical perspectives were taken into account. Queer theory provides the key theoretical perspective, but R.W. Connell's theory about masculinity and Yvonne Hirdman's on the 'gender contract' were also important to the study.

    The essay's result shows that the rappers use different tools to communicate their identities and sexualities, mainly the body, choice of language and by playing with stereotypical gender identities and roles. Although several similarities were found amongst the three rappers, the study showed that they all use the given tools in separate ways, and the fact that they are homosexual or bisexual does not, and should not, place them under any sort of homogeneous category.

  • 4.
    Olsson, Per-Henning
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Petterssons sjunde symfoni: en jämförelse mellan formen i Allan Petterssons symfoni nr 7 och Gustav Mahlers symfoni nr 9, sats 12001Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Olsson, Per-Henning: Petterssons sjunde symfoni. En jämförelse mellan formen i Allan Petterssons Symfoni nr 7 och Gustav Mahlers Symfoni nr 9, sats I. D-uppsats i musikvetenskap, ht 2001. Institutionen för musikvetenskap, Uppsala universitet.

    Uppsatsen syftar till att belysa Allan Petterssons symfonikomponerande, med avseende på form. Detta görs genom en jämförelse mellan Pettersson och Gustav Mahler. Mahler tas ofta upp i samband med Pettersson, varför jag har funnit det intressant att undersöka relationen mellan tonsättarnas musik. I uppsatsen jämförs formen i Petterssons Symfoni nr 7 med formen i Mahlers Symfoni nr 9, sats I.

    I uppsatsen tecknas en bakgrund till Pettersson, och de båda verken presenteras översiktligt. I uppsatsens centrala kapitel, "Jämförelse", diskuteras och jämförs verkens form.

    Både Mahlers Symfoni nr 9, sats I och Petterssons Symfoni nr 7, har en form som är flertydig. Men flertydigheten innebär olika saker: Första satsen av Mahlers Symfoni nr 9 är dubbeltydig, den kan tolkas antingen som en dubbelvariation eller en sonatform, medan det i Petterssons Symfoni nr 7 till och med kan diskuteras vilka symfonins huvudavsnitt är.

    Om man jämför med formen i tidigare symfonier (av t.ex. Beethoven och Brahms), är ordningen i både Mahlers Symfoni nr 9, sats I, och Petterssons Symfoni nr 7 uppbruten. När Mahler skrev sin nionde symfoni var vanligen första satsen i sonatform, och dubbeltydigheten var kanske för honom ett sätt att skriva någonting nytt. Pettersson har till och med uttryckt tanken om en ny form: "No one in the 50's noticed that I am always breaking up the structures, that I was creating a whole new symphonic form". Det är svårt att enkelt beskriva formen i Petterssons Symfoni nr 7. Formen är upplöst, tonsättaren har "brutit upp strukturerna". Men det går att även i Petterssons Symfoni nr 7 se spår av sonatformen. Avsnitt av Petterssons symfoni fyller samma funktion som delar av sonatformen. Och man kan hitta grundläggande idéer (något som kan kallas "formfunktioner") från sonatformen: en polarisering etableras i början, den intensifieras i mitten, och upplöses i slutet.

    Hos Mahler finns sonatformen kvar, men satsen kan även tolkas som en dubbelvariation. Hos Pettersson är det inte lika tydligt, men sonatformen finns kvar i form av "formfunktioner", grundläggande idéer.

  • 5.
    Schildt, Maria
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Karl XI:s kröning 1675: Musiken, musikerna och två anonyma festkompositioner ur Dübensamlingen / Maria Schildt2004Independent thesis Basic level (degree of Bachelor), 30 credits / 45 HE creditsStudent thesis
    Abstract [sv]

    Abstract saknas.

  • 6.
    Sirman, Berk
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Music vs Words: Exploring the Problematic State of Semantic Meaning in Music2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Musical language does not carry obvious semantic meaning. The question of whether music has semantic meaning, or how it does, has been an age old question in musicology. This paper is a case study of musical analyses from Lawrence Kramer and Constantin Floros, and it discusses how they interpret semantic meaning into the Beethoven and Mahler pieces they analyze. Their analyses are then discussed against Nicholas Cook's model of musical meaning, and the formalist approach of Leonard B. Meyer. Even though these offer some insight to the difficulties faced in Kramer's and Floros' methods, some major problems with associating semantic meaning into music remain.

  • 7.
    Vickers, Nicole
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Feel It In Your Body: Hybridization of Musical Habitus in Swedish Cultural-Educational Tourism to Ghana2014Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    On the surface the practice of African musics and dances in Sweden seems to be evidence of otherization and exoticization of African cultures. However, those Swedes of non-African background who do African musics and dances are genuinely engaged with the practice in the sense that they participate wholeheartedly and seem to both value and feel positive outcomes from their participation. This thesis explores how the body meets new ‘other’ musics and acquires new musicking practices, and how this is influenced by the body’s musical habitus as well as its own individual life experiences and emotional context. Additionally I look at the body’s role as an integral part of music, rather than as external to it. To illustrate this I use a case study of a group of Swedes on a cultural-eduational tourism trip to Ghana and my own first- hand experience with them learning choreographed dance based on traditional movements and rhythms, and Ewe polyrhythmic drumming. I show how discourses of difference resulting from historical contact, and previous individual experiences influence the encounter with new music, and how the body through social interactions perceives and acquires new musical practices, integrating them with known musical practices to form a kind of hybrid or new musical practice. 

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