| 1. |
- Hedelin, Fredrik, 1965-
(författare)
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Levande musik : Ritornellen och musikens skapande
- 2017
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Many years of working with electroacoustic music evoke the question in what sense one can talk about life in music. The question does not concern traces of the composer's life in the work, vivifying performances or musical experiences full of life, but rather the life of music itself.In order to find an answer to the question I examine three solo concertos in the light of the philosophy of Deleuze and Guattari. The concertos, for flute, violin and piano respectively, with chamber ensemble, were composed within the frame of the dissertation and emanate from the ritornello form as found in Vivaldi. The ritornello concept is also present in Deleuze and Guattari, especially in the book A Thousand Plateaus, in which it serves as a collector and transformer of forces and connections that affect its surroundings. With the ritornello as a bridge between this philosophy and the music, I undertake a close reading of the three solo concertos with the philosophy as a companion.With the ritornello and other related concepts in Deleuze and Guattari, such as assemblage, chaos, territorializing and deterritorializing, I force my way past the musical structure in order to uncover the creational forces of music. In the flute and the flute concerto it is about establishing a fragile point in chaos; in the violin and the violin concerto all is centred around the ground, the earth and the territory; and in the piano and the piano concerto it is a matter of a single drawn-out leave-taking. These three moments -- entrance, deepening and dissolution -- simultaneously operate at a large number of levels, and together they form a single large ritornello of musical life.Contemplating music and musical instruments through the ritornello gives several new perspectives on the music and the composing, among them a view of instruments as upholders of different aspects of the ritornello, the composer as a preserver of the creational forces of music, and the musical structure as a network of forces and connections.
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| 2. |
- Jullander, Sverker, 1951-
(författare)
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Gustaf Carlman (1906–1958)
- 2016
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Annan publikation (populärvet., debatt m.m.)abstract
- En biografisk artikel, med verkförteckning, om tonsättaren, organisten, körledaren och musikpedagogen Gustaf Carlman.
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| 3. |
- Jullander, Sverker, 1951-
(författare)
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Herman Asplöf
- 2016
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Annan publikation (populärvet., debatt m.m.)abstract
- Biografi med verkförteckning över tonsättaren och organisten Herman Asplöf (1881–1959).
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| 4. |
- Jullander, Sverker, 1951-
(författare)
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Oscar Blom
- 2015
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Annan publikation (populärvet., debatt m.m.)abstract
- Biografi med verkförteckning över tonsättaren och organisten Oscar Blom (1877–1930).
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| 5. |
- Jullander, Sverker, 1951-
(författare)
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Otto Olsson (1879–1964)
- 2016
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Annan publikation (populärvet., debatt m.m.)abstract
- En biografisk artikel, med verkförteckning, om tonsättaren, organisten och musikpedagogen Otto Olsson.
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| 6. |
- Jullander, Sverker, 1951-
(författare)
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Ruben Liljefors (1871–1936)
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- En biografisk artikel, med verkförteckning, om tonsättaren och dirigenten Ruben Liljefors.
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| 7. |
- Jullander, Sverker, 1951
(författare)
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The Ultimate Authority? Possibilities and Problems in Composers’ Organ Recordings
- 2012
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Ingår i: THE ORGAN IN RECORDED SOUND: HISTORY, SOURCES, PERFORMANCE PRACTICE. - Göteborg : University of Gothenburg. - 9789197261203 ; , s. 77-96
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Recordings, says the musicologist Richard Taruskin, “are the hardest evidence of performance practice available.” With this in mind, can we imagine a more authoritative statement on the performance of a musical work than the composer’s own recorded version, providing us with a rich source of direct, first-hand information on his intentions and practices? We become enlightened, not only on many aspects of performance that the composer chose not to enter into his score, but also on subtle details that could never be conveyed in written form. But the presence of a recording by the composer may also give rise to questions and doubts. Whereas a recording ideally serves to supplement and clarify the information given in the score, it may also – at least seemingly – contradict it, thereby raising the question of whether the ultimate authority resides in the score or in the recorded performance. If we are eager to know about a composer’s intentions, we must reflect on the intentions behind the recording as well as on how they are mirrored in the performance. Is it reasonable to use a composer’s recording as an authoritative model for performers, laying down in detail the “correct” way of performing a piece? And if such an authorial intention is presumed, the question still remains of the composer’s success as a performer in realizing his intentions, not to mention the possible distortions caused by the constraints of the technical medium used.
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| 8. |
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Liturgical Organ Music in the Long 19th Century : Preconditions, Repertoires and Border-Crossings
- 2017
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The essays in the anthology Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings deal with various forms of liturgical organ music and liturgical organ-playing in the long nineteenth century: solo repertoires, accompaniment of congregational singing, plainchant and other liturgical vocal music, as well as non-liturgical organ music echoing liturgical practices. Important thematic strands in the volume include: Historical preconditions: the forms and practices of organ music in relation to the various kinds of liturgical singing, influential liturgical and aesthetic ideals, as well as theological, philosophical, ideological and social contexts; Border-crossing: how liturgical-musical practices and repertoires transcended confessional, regional and national boundaries. Special attention has been given to the central, northern and eastern regions of Europe.
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| 9. |
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The Organ in Recorded Sound: History, Sources, Performance Practice
- 2012
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- “The Organ in Recorded Sound: An Exploration of Timbre and Tempo,” was a three-day conference held at the School of Music at Arizona State University January 11–13, 2002. A number of scholars, musicians and recording experts presented research concerning the history of organ recordings in an attempt to document this legacy of sound and to uncover avenues for further investigation. The conference also marked the availability online of an impressive database of organ recordings that is being compiled and maintained by the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden. The database exists to facilitate locating organ recordings, so that these resources may befully exploited by those researching organ history and performance. The study of organ recordings is a pioneering discipline comprising various strands that bring together different groups: organists, of course, but also sound engineers, audiophiles and musicologists. The contributors to these proceedings reflect these interrelated fields in their articles, drawing upon organological and discographic information and situating this within particular historical and aesthetic contexts.
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| 10. |
- Berg, Jan, et al.
(författare)
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The influence of room acoustics on musical performance and interpretation : A pilot study
- 2016
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Ingår i: 140th Audio Engineering Society International Convention 2016, AES 2016. - New York.
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Konferensbidrag (refereegranskat)abstract
- Concert hall acoustics is an important factor that influences musical performance. Different acoustics lead to different musical results. For a musical performer, the artistic impression of a performance is paramount. Therefore, it is essential to study the relation between concert hall acoustics and musical performance. Such studies might also be relevant for architects and acousticians. A pilot study was devised, enabled by a unique concert hall with mechanically variable acoustics. A musician played the grand piano at four trials, each having a distinctive acoustic condition. The trials were recorded for later analysis. The performances were assessed by experts and the pianist himself. The results show that clear as well as subtle differences in interpretation and performance between the trials existed.
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