| 22711. |
- Knust, Martin, 1973-
(författare)
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Sven-David Sandström (1942–2019) : Ein Nachruf
- 2019
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Ingår i: operapoint. - : Verein zur Pflege klassischer Musik durch Musikliebhaber. ; 19:4, s. 15-17
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 22712. |
- Knust, Martin, 1973-
(författare)
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The Dissemination of the ‘Gesamtkunstwerk’ around 1900 A survey : A survey
- 2009
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Ingår i: Música em Contexto. Revista do Programa de Pós-Graduação Música em Contexto da Universidade de Brasília. - Brasília : Universidade de Brasília. - 1980-5802. ; 1:1, s. 27-52
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Tidskriftsartikel (refereegranskat)abstract
- The article explores the reception of Richard Wagner’s work (1813-1883) and especially the concept of the ‘Gesamtkunstwerk’ within the European context around 1900, in Germany and Austria as well as in France, Italy and Nordic Countries such as Sweden and Finland. It also discusses the relationships between Wagner and Brazil especially those established with D. Pedro II, as well as the Wagnerian reception within the Latin-American context.
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| 22713. |
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| 22714. |
- Knust, Martin, 1973-
(författare)
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The Impact of Continental Art Music upon Nordic Composers : An acculturation study
- 2010
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Ingår i: International Forum for Young Musicologists 2010 in Yokohama. - Tokyo : The Musicological Society of Japan. ; , s. 82-89
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Konferensbidrag (refereegranskat)abstract
- From the middle of the 19th until the 20th century it was essential for Nordic composers to have studied ‘on the continent’. The institutions they chose for their education were mostly located in Leipzig, Berlin, Paris or Vienna. From here they exported musical techniques into their native countries to develop a characteristic national idiom according to the nationalistic spirit of that time. To outline the impact of German music upon Nordic national composers like Edvard Grieg, Jean Sibelius or Hugo Alfvén and vice versa to show their ambitions to establish their acculturated music on the continent is the main issue of my paper. It will show how crucial the origin of a composer was for the reception of his music in the positive and the negative meaning. Thus my study could serve as a model for studies of the reception of music among other nations in general, e.g. the reception of European art music in Asia respectively the reception of Asian art music in Europe. The leading questions will be: Is there really a national tone, for instance a ‘Nordic tone’, which can be stated objectively for instance by analyzing music? Or is this merely an attitude of reception? Which strategies of acculturation and demarcation were used by the composers? Were there maybe specific kinds of freedom or limitation for the first composers who took contact to the music of another nation? Which rôle played the politics of a country to encourage or prevent such cultural contacts? How did the music-exporting nations react to the successes of ‘their’ composers? Were there maybe some kinds of cultural hegemonies which were not corresponding to the political situation? Were there maybe musical genres created deliberately to be supranational? And finally: How important is it today for the reception of a work to know where its composer was born?
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| 22715. |
- Knust, Martin, 1973-
(författare)
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The Rôle of Gesture in the Genesis of Wagner’s Dramas
- 2011
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Ingår i: Proceedings of the International Conference ‘Consequences of Wagner / Consequências de Wagner’, Lisbon, Portugal – November 26 – 28 2009. - Lissabon : Centro de Estudos de Sociologia e Estética Musical (CESEM), Universidade Nova de Lisboa. - 9789899773202 ; , s. 83-89
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 22716. |
- Knust, Martin, 1973-
(författare)
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The Stage Gesture of the Wagner Era
- 2019
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Ingår i: Mettere in scena Wagner. - Lucca : Libreria Musicale Italiana. - 9788870969795 ; , s. 37-48
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the historical informed performance practice has gained attention not only concerning music research but also concerning the other arts which are involved in performing music theatre. Among others, the light and stage design, including costumes, as well as the stage technology of the past has been investigated. What has been omitted is the body language of the actors which was very different from modern customs. Especially in the case of Wagner the role of the gesture is an important issue. Wagner had the habit to create his music often in close connection with the physical delivery of the singer. Some parts of his scores turn out to be enlarged contemporary theatre gestures and he was eager to rehearse the gestural embodiment of his characters thoroughly with his singers. For illustrating the historical distance of modern theatre to the gesture of the Wagner era, I will present musiciconographical, verbal and filmic sources which allow us to get a glimpse of the performance practice in the 19th century. Understanding the characteristics of 19th-century acting means to understand both central aspects about the shape and the aesthetics of Wagner’s works.
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| 22717. |
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| 22718. |
- Knust, Martin, 1973-
(författare)
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Towards a Social History of Music in Ancient Angkor : The Iconography of Music on the Bayon Temple Carvings
- 2013
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Ingår i: Music in Art : International Journal for Music Iconography. - New York. - 1522-7464. ; XXXVIII:1–2, s. 127-143
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Tidskriftsartikel (refereegranskat)abstract
- The culture of ancient Angkor – a medieval empire that ruled a large part of the Southeast peninsula for about four centuries – remains still to be puzzling for researchers due to the lack of written sources. The excavations, which took place in Cambodia since the late 19th century, have revealed and are still revealing many new and sometimes astounding facts about this dense populated kingdom and its cities. Archeology and iconography play a crucial role if it comes to gain information from the preserved artifacts and buildings, for instance, about the division of Angkor’s history into different periods. In this context the iconography of music can contribute with valuable additional observations which allow us even to go so far to outline a social history of Angkor. The largest variety of pictures of musicians in Angkor Thom – the former temple town of the Angkor capital, nowadays located at the city of Siem Reap – can be found on the Bayon temple, which was erected at the end of the 12th century. I will present a first iconographical evaluation and interpretation of the depictions of musicians on this unique and mysterious building. My paper will describe the different sorts of instruments – of which some are still in use today in Southeast Asia –, ensembles, and audiences which were carved skillfully on the walls of the Bayon. From these bas-reliefs we can get an idea about the former musical life of the different social classes.
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| 22719. |
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| 22720. |
- Knust, Martin, 1973-
(författare)
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Urged to Interdisciplinary Approaches : The Iconography of Music on the Reliefs of Angkor Wat
- 2010
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Ingår i: Music in Art. International Journal for Music Iconography. - New York : Research Center for Music Iconography (RCMI). - 1522-7464. ; 35:1-2, s. 37-52
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Tidskriftsartikel (refereegranskat)abstract
- About one millennium ago Angkor used to be one of the mightiest empires in the world. However, there is only scarce information available about its culture, because there are hardly any literal sources left except one contemporary report by a Chinese trader, Zhou Daguan, written at the beginning of the fourteenth century. Because of the almost total lack of “classical” written sources, the stone-carvings of musicians in Angkor could have a crucial function in research about this ancient culture. Of course, they can only be interpreted if results of other disciplines are taken into consideration, mainly those of ethnology and archaeology. But also the research results from these disciplines are still quite limited, what implies that the music iconography could serve as a central part of Angkor research, which is per se urged to interdisciplinary approaches. Music iconography can shed light on the ethnic and social structures of Angkor as well as reconstruct the place music had in that society. The context in which musicians are represented on bas-reliefs of Angkor Wat are military ensembles. A musician is never depicted alone, but always within an ensemble of three to thirteen musicians, playing percussion and often brass and/or woodwind instruments.
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