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  • 1.
    Alchalabi, Hayfaa
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för design (DE).
    Your Exotic, Your Victim, Your Terrorist.: Visual storytelling to challenge the Western stigma of Arab women living in areas of conflict.2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [en]

    This thesis aims to explore how illustrative storytelling can challenge the western stigma of Arab women in areas of conflict. This exploration will be done through an analysis on the history and the current visualization of Arab women in the west and a series of illustrations I will be creating that propose a narrative opposing this visualization. My study will show how the visual references used for my research have had a major effect in shaping the image of the Arab women in the west. The aim of this project is to use the same characteristics that fall under the stereotypical visualizations of Arab women to challenge the stigma of classifying these women as; the terrorist, the exotic, and/or the oppressed. The purpose of my project is to create a change in the way the western audience perceives Arab women in areas of conflict. I will therefore analyze in this essay how western media and art have shaped the collective view the west has on Arab women. Furthermore, the essay will explain how storytelling proposes a rejection to the static depiction of Arab women in western media and introduces instead an element of an evolving story. This project proposes a sustainable way of looking at gender and conflict in the Arab world provoking questions around the visualization of these women and creating discussions about the accuracy of the perception the west has created. This in turn re-contextualizes the visualization of the identity of Arab women in the west with the aim of breaking the objectification these women.

  • 2.
    Amartinesei, Andrei
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande.
    Fokus på treklanger: En studie i jazz-improvisation2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Jazzimprovisation är ett moment i min övning som jag till och från upplever som omöjligt att behärska. Särskilt svårgreppat kan det kännas då alla lärare jag haft mer eller mindre antytt att konsten att improvisera är ett oändligt uppdrag. Den generella uppfattningen verkar vara att man aldrig blir färdig, helt enkelt.

    Mitt mål var att i alla fall att höja nivån och min stilkännedom inom grenen genom att noggrant studera något som alltid dyker upp när man diskuterar jazzimprovisation (och all annan musik också för den delen). Nämligen treklanger.

    Jag har utformat ett övningsschema som består av egna förslag på hur man kan närma sig treklangerna för att skapa en vokabulär som är gångbar inom just jazzen. Jag har också fått med mig en del gitarrteoretiska/tekniska moment som garanterat kommer att gynna mitt spel i framtiden. Exempel på sådana är nya fingersättningar samt en bättre förståelse för melodisk riktning i form av överlagringar och måltoner.

  • 3.
    Andersson, Lydia
    Kungl. Musikhögskolan, Institutionen för klassisk musik.
    Trauermusik: Att gestalta ett av violarepertoarens mest omtalade verk2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
  • 4.
    Floryd, Karin
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).
    Ingenting är enkelt2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20hpOppgave
  • 5.
    Gräns, Tobhias
    Kungl. Musikhögskolan, Institutionen för jazz.
    Examen på distans2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
  • 6.
    Jonsson, Linnéa
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    THE REACH2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [en]

    We walk through most of our everyday life without constantly thinking of what we are doing in that exact moment. I mean, that would be absolutely exhausting. Left foot, right foot, left foot, right foot. Hand to cup, grab, lift and onwards to the mouth. But what is interesting is that we refer to these actions and doings as nothing. They seem to have no value to us at all. What have you been doing today? Nah, nothing. Nothing at all. As well in our commute to work. Sometimes we step onto a bus or train and when we take off our coat at work we almost don’t even know what happened between point a and point b. Does it seem familiar?  My work has come to evolve around our everyday routines. How in those moments of unconscious nothingness we actually do so many things and most of all encouter so many objects. When we walk through a door, pick up a tool, open a box, we grab a handle and the bodily encounter is made through the hand. I’ve come to explore how it seems that the hand has its own life when we are in this state. How the objects in our everyday call for the hand, directs the hand, makes a choreography for the hand. I have recorded the hands movement in different media in order to get a new view of something familiar and try to find new realities to what we think we know.  What happens when the hand and a handle meet in a routine? What does it actually look like? Why is it important to become aware of?  I believe by changing our attitude to things in our environment, we can also change the attitude to people around us. Changing perspectives on the most ordinary everyday chores can generate new thoughts about the commonplace and like the butterfly effect also create a more permissive society.  

  • 7.
    Löfstedt, Simon
    Kungl. Musikhögskolan, Institutionen för jazz.
    Gå på feeling: Att ta det osäkra före det säkra2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [en]

    In ”Gå på feeling – att ta det osäkra före det osäkra” guitar player Simon Löfstedt investigates intuitive musical composition with the guitar in focus. Löfstedt describes his previous compositions as detailed and complex. In this project het akes a step away from this, letting himself being ruled by intuition when composing music. He achieves this by using simple, short fragments of music, playing these with a selected group of musicians. A thorough description of the process describes choosing musicians, rehearsals and listening to recordings of these rehearsals. Here Simon outlines the fragments growth from embryos to full compositions during/post rehearsals and how the other musicians affect the final outcome. He also describes setbacks during the process in form of doubt and inner conflict. Simon describes himself being determined in finding a way of mixing different types of guitar techniques and genres while still maintaining a focused artistic approach. He also describes his musical background, which mainly derives from rock’n’roll, and how this has a major influence on the final outcome. Löfstedt’s focus on guitar sound is constantly present and he presents a thorough description of guitars, effects and amplifiers. Here he explains the choices that he makes when putting together his final setup, which is customized for the final musical result. In the final reflection Löfstedt describes his musical journey from past to present and the conclusions that he has made finishing this project.

  • 8.
    Polikarpov, Yaroslav
    Kungl. Musikhögskolan, Institutionen för klassisk musik.
    Timing: Jacques Delécluse, Étude 12017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [sv]

    I mitt arbete undersöker jag vikten av timing i det vi gör som musiker när vi spelar. Genom min analys av Douze Études 1, med både egen övning och digitala verktyg, har jag kommit fram till hur timing kan skapa olika sound. Mitt arbete kommer täcka olika metoder av övning med digitala verktyg.

    Första delen av arbetet är en formanalys av etyden, då jag kommer gå igenom olika delar i stycket för att få en grundläggande översikt. Därefter går jag igenom min övningsprocess där jag detaljerat beskriver de problem som jag har stött på. Avslutningsvis dedicerar jag ett kapitel om övning med digitala verktyg där jag även kommer att ta upp logistiken och mentaliteten bakom övningen. 

  • 9.
    Probert, Dominic
    Kungl. Musikhögskolan, Institutionen för klassisk musik.
    Sammartinis Blockflöjtskonsert och ornamentationen under barocken2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
  • 10.
    Sigurdardóttir, Anna Gréta
    Kungl. Musikhögskolan, Institutionen för jazz.
    Exploring musical space in the absence of a bass player2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Abstract [en]

    The project Exploring Musical Space in the Absence of a Bass Player was my graduation project in the spring of 2018. The main goal of this project was to see in what ways the absence of a bass player affects the band members playing and musical communication, and if removing an instrument would allow the bandmembers to move away from the traditional roles we are used to in a jazz ensemble and enable them to explore the music in a new light. The band consisted of myself on piano, Karl-Henrik Ousbäck on drums and Sölvi Kolbeinsson on saxophone. The concert took place on March 20th in Nathan Milsteinsalen at the Royal College of Music in Stockholm and together we played my compositions. Half of the compositions was specifically written for this occasion while the other half was material that already existed.

    There are some challenges that come with removing an instrument from the band. When removing an instrument that usually has the role of providing both rhythmic and harmonic stability, all of the band members have to take more responsibility for both rhythm and time as well as the direction of the music. Sometimes the piano would” take on the role” of the bass player by playing bass notes in the lower register of the piano, sometimes the saxophone would do the same. The goal of the project was that all instruments could be both melodic, rhythmic and harmonic instruments and could go in and out of the bassplayer role as fitted the music best, or no one would take on that role. Removing a bass from the band did make it easier to play rubato in a way that is more associated with classical music from the romantic era, and it did bring out the melodies that each instrument created.

  • 11.
    Wirén, Martin
    Kungl. Musikhögskolan, Institutionen för jazz.
    Martin Wirén - Bear Garden: Martin Wiréns Examensarbete2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
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