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- Berg, Daniel, 1971
(författare)
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Concertino for Marimba and Strings
- 2017
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Ingår i: Gehrmans Musikförlag, Stockholm. - Stockholm : Gehrmans.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The Swedish composer Lars-Erik Larsson wrote in the late 40’s 12 Concertini – twelve smaller solo concerts for various instruments accompanied by string orchestra, all composed to be performed by amateur orchestras while the solo parts made higher demands on the instrumentalists’ skill. With inspiration from Lars-Erik Larsson, Daniel Berg has written a piece in two movements for a virtuoso solo marimba in combination with a soft string timbre – in classical style, but with clear elements of jazz harmonics. Daniel has, along with experienced string teachers, written parts that can be played by amateur orchestras along with a skilled marimba soloist. In his Concertino for Marimba and Strings, Daniel wants to highlight the marimba as a melodic percussion instrument, and at the same time inspire young musicians to discover classical percussion.
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| 3. |
- Berg, Daniel, 1971-
(kompositör, creator_code:cre_t)
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Second Concerto for Flute and Percussion
- 2019
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Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- In 1939 the American Lou Harrison composed his First Concerto – a classical and fantastic work for flute and two percussion players. Influenced by this piece, Daniel Berg now wants to continue in the same atmosphere with a second concerto. The first movement is very much inspired by the groove and swinging syncopated rhythms from the concerto by Lou Harrison.In the four other movements Daniel Berg enters a world of different techniques for the flute like air tones, tongue pizzicato and Tongue Ram. Every moment is dedicated to a fantastic flute player Daniel worked with during the years – for example Björn J:son Lindh who was an excellent composer and a master in playing singing and percussive flute.For the percussion part Daniel uses traditional instruments like drums and wood blocks, but also toy electric bell, marimba, vibraphone and a tuned bottle. The Concerto is written for two percussionists, however it’s possible to be played by one player (both parts in first movement and only the marimba in the last) – just like the First Concerto for Flute and Percussion by Lou Harrison.
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| 4. |
- Hedås, Kim
(författare)
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Linjer : Linjer: Musikens rörelser – komposition i förändring
- 2013
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Title: Linjer. Musikens rörelser – komposition i förändringEnglish title: Lines: Music Moving – Composition ChangingAuthor: Kim Hedås Language: Swedish, with an English SummaryUniversity: The Academy of Music and Drama at the Faculty of Fine, Applied and Performing Arts, the University of Gothenburg, Box 100, SE-405 30 Gothenburg, SwedenKeywords: music, composition, relationship, connection, motion, movement, identity, time, memory, space, change, transformation, reflexivity, voice, meaning.ISBN: 978-91-979993-6-6 This dissertation takes the shape of a DVD, comprising the music in sixteen compositions, and a book, comprising the dissertation text. Lines: Music Moving – Composition Changing is a dissertation that focuses on relationships in music. The main question posed in this dissertation is: How does music relate to what is not music? Through an artistic inquiry, where a reflexive movement between the different parts produces the method used, the dissertation addresses the act of composing with particular focus on how music moves and how relations in music change. Results are also in motion, and traces – lines – move, change direction, and connect the music with what is not music. This inquiry embraces the following five themes: movement, identity, time, memory and space – which all relate to each other, and which, through composition, change, transform and reshape meaning as well as expression. The aim of this study is to demonstrate the changes that arise as a result of the relationships that are activated between music and what is not music, since an understanding of how these relationships work enables opportunities for the composition of new music.
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