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Träfflista för sökning "WFRF:(Jullander Sverker 1951 ) "

Sökning: WFRF:(Jullander Sverker 1951 )

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31.
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32.
  • Jullander, Sverker, 1951- (författare)
  • Max Reger : ett 100-årsminne
  • 2016
  • Ingår i: Kyrkomusikernas Tidning. - 0281-286X. ; 82:12, s. 4-6
  • Tidskriftsartikel (populärvet., debatt m.m.)abstract
    • Artikeln behandlar Max Regers liv och verk, med betoning på den kyrkomusikaliska produktionen för orgel och kör
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33.
  • Jullander, Sverker, 1951- (författare)
  • Ord och ton mellan död och evighet : John Henry Newmans och Edward Elgars "Gerontius dröm"
  • 2020
  • Ingår i: Svensk pastoraltidskrift. - Uppsala : Svensk Pastoraltidskrift. - 0039-6699. ; 62:4, s. 101-106
  • Tidskriftsartikel (populärvet., debatt m.m.)abstract
    • Artikeln behandlar Edward Elgars verk för kör och orkester, "Gerontius dröm" (1900), baserat på John Henry Newmans diktverk från 1865 med samma namn. En bakgrund och kontext ges till såväl dikten som musikverket och diktverkets innehåll sammanfattas. Elgars textbearbetning och tonsättning, inklusive användning av ledmotiv, beskrivs och karakteriseras, liksom huvuddragen i receptionen av verket i samtid och eftervärld.
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34.
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35.
  • Jullander, Sverker, 1951- (författare)
  • Oscar Blom
  • 2015
  • Annan publikation (populärvet., debatt m.m.)abstract
    • Biografi med verkförteckning över tonsättaren och organisten Oscar Blom (1877–1930). 
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36.
  • Jullander, Sverker, 1951- (författare)
  • Otto Olsson (1879–1964)
  • 2016
  • Annan publikation (populärvet., debatt m.m.)abstract
    • En biografisk artikel, med verkförteckning, om tonsättaren, organisten och musikpedagogen Otto Olsson.
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37.
  • Jullander, Sverker, 1951- (författare)
  • På väg mot en perfekt symbios? : Om gregoriansk sång och svenskspråkig sjungen tidegärd under 1900-talet
  • 2021
  • Ingår i: Årsbok för svenskt gudstjänstliv. - Skellefteå : Artos & Norma bokförlag. - 0280-9133 .- 2001-5828. ; 96, s. 53-96
  • Tidskriftsartikel (refereegranskat)abstract
    • The study dels with different approaches to the use of Gregorian chant with Swedish texts in the Divine Office, from the 1920s onward, with particular focus on psalmody. In 1924, the clergymen Arthur Adell and Knut Peters published Evangelisk tidegärd, the first modern Swedish-language service order for the Office using exclusively Gregorian melodies. The official Vesperale and Psalterium of 1925, using mainly Gregorian melodies, was severely criticized by Peters, who, together with Adell, sought to establish principles for the use of Swedish texts to Gregorian psalmody.How such principles ought to be formulated and applied was discussed intermittently in the following decades. While all prticipants in these debates agreed that using Gregorian chant to Swedish texts entailed special difficulties, opinions on how to handle these problems varied widely, and, especially from the 1980s, it was questioned whether the Swedish language was at all suitable for Gregorian chant. The Laurentius Petri Society, founded by Adell and Peters, maintained that original Gregorian melodies could – and should – be used, whereas the Roman-Catholic diocese in Sweden advocated a modified psalmody, albeit still based on the traditional psalm tones. These differences, reflected in the respective editions, still perist as different ideals and principles, although a converging tendency may be observed in recent years.
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38.
  • Jullander, Sverker, 1951- (författare)
  • Retaining the Fine Bouquet : Otto Olsson’s Use of Plainsong in Organ Music
  • 2017
  • Ingår i: Liturgical Organ Music in the Long Nineteenth Century. - Helsinki : Sibelius Academy. - 9789523290914 - 9789523290921 ; , s. 209-244
  • Bokkapitel (refereegranskat)abstract
    • Otto Olsson (1879–1964), professor of organ at the Conservatory ofthe Royal Academy of Music, Stockholm, and a prolific composer of organ and choral music in particular, was the first – and for a long while, only – Swedish composer to use Gregorian and other medieval church melodies in organ music. Olsson used plainsong material in two collections of short pieces (Gregorianska melodier and Six Pieces on Old Church Songs) as well as in two larger works (Ten Variations on the Dorian Plainsong ‘Ave Maris Stella’ and the second organ symphony, Credo Symphoniacum), all composed between 1910 and 1918. Olsson’s use of plainsong themes, largely unknown in Sweden at the time, can be related to international developments in church music aesthetics originating in the nineteenth century, which saw an increasingly important distinction between sacred and secular music. Both the use of melodies from the Old Church and their musical setting were central to Olsson, whose goal was to create music that could be recognized as ‘church music and nothing else’. Olsson’s settings vary considerably in form and character, ranging from free recitative to strict polyphony, and even attempts to combine the two approaches. The free treatment of the chant melody in the Ave maris stella variations (probably the first of his ‘Gregorian’ works) stands in contrast to the unchanged cantus firmus in the other compositions. In most pieces, text-related musical symbolism is not prominent, the exception being Credo Symphoniacum, in which the composer makes varied use of eight melodies to represent the Christian Creed and the Trinity.
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39.
  • Jullander, Sverker, 1951- (författare)
  • Revival, Improvement, Fidelity : Aspects of Organ-Related Transcriptions of J. S. Bach’s Music in the 19th and Early 20th Centuries
  • 2017
  • Ingår i: Organ Prospects and Retrospects. - Luleå : Luleå University of Technology. - 9789175838557 - 9789175838564 ; , s. 119-138
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • The chapter discusses organ-related transcriptions as an aspect of the Bach reception of the 19th and early 20th centuries, departing from three key concepts: revival, improvement (related to the idea of general progress current in the 19th century) and fidelity. The three main figures discussed represent different approaches to transcribing, while sharing the same basic attitudes and beliefs. Franz Liszt's organ-related transcriptions show a varied picture; in some of them, he observes extreme fidelity to the letter of the original, whereas in others he makes substantial additions and changes. Ferruccio Busoni not only published his own transcriptions for piano of many of Bach's larger organ works; he also developed pedagogical methods and principles for such transcriptions, believing these works to be an indispensable part of the pianist's repertoire. Sigfrid Karg-Elert transcribed Bach for the organ, in particular some of the larger clavier works, since he saw the 'modern organ' of his time as the ideal instrument for conveying the expressive qualities of these compositions. The transcription activities of each of the three composes is discussed using the three keywords as probing tools. 
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  • Resultat 31-40 av 64

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