SwePub - sökning: WFRF:(Berglund Per)

Numrering	Referens	Omslagsbild	Hitta
1.	Historiska perspektiv på tekniköverföring, 1800-2000 2006 Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
2.	Berglund, Sara, et al. (författare) Gömd, glömd och fördömd 2002 Ingår i: Öresundsbron på uppmärksamhetens marknad. Regionbyggare i evenemangsbranschen. - 9144040784 Bokkapitel (övrigt vetenskapligt/konstnärligt)
3.	Roos, Fredrica, 1988- (författare) Scoring the World: The Musical Imagery of Orchestration in Gustav Mahler's Symphonies no. 4 and 5 2023 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract Gustav Mahler’s comment to Sibelius in 1907 that a symphony must be like the world is one of classical music’s most cited and has functioned as a crucial springboard for interpretations of the composer’s works. However, these have mostly centred on autobiographical, programmatic, or narrative aspects, with a focus on temporally unfolding plots or generic and semiotic connotations. In this study, I use the ‘world’ concept in exploring Mahler’s music as a ‘sound-world’ and its imaginative production through listening, with a particular focus on the often-bypassed features of timbre and orchestration. This investigation proceeds from the theoretical framework of world-making and narrative, although references to theatre and film are also made. The ‘storyworld’ notion and the related possible worlds theory form the vantage point for examining ‘world’ from various perspectives. Together with the constructional categories of space and temporality, content matters of voice, virtual agency, and gesture are analytically applied to Mahler’s Fourth and Fifth Symphonies, which represent generic worlds of fairy tale and realism, respectively. The results of the study show that it is Mahler’s rich and shifting orchestral combinations that generate the multitude of different worlds and their continuous interrelationships. By means of spatial and temporal mobility, the listener is actively integrated in the sound-world as an actual agent, perceiving it from alternating positions determined by instrumentation. Through his particular treatment of timbre, Mahler expands the symphonic genre into a sort of intermedial drama in sound, while suggesting other approaches to musical narration based on textual simultaneity and expressive mode. Hearing his symphonies as worlds also permits new means of analysing musical works, making analysis a more dynamic process highlighting the imaginative and structural possibilities of sound.

Roos, Fredrica, 1988- (författare)
Scoring the World: The Musical Imagery of Orchestration in Gustav Mahler's Symphonies no. 4 and 5
2023
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Gustav Mahler’s comment to Sibelius in 1907 that a symphony must be like the world is one of classical music’s most cited and has functioned as a crucial springboard for interpretations of the composer’s works. However, these have mostly centred on autobiographical, programmatic, or narrative aspects, with a focus on temporally unfolding plots or generic and semiotic connotations. In this study, I use the ‘world’ concept in exploring Mahler’s music as a ‘sound-world’ and its imaginative production through listening, with a particular focus on the often-bypassed features of timbre and orchestration. This investigation proceeds from the theoretical framework of world-making and narrative, although references to theatre and film are also made. The ‘storyworld’ notion and the related possible worlds theory form the vantage point for examining ‘world’ from various perspectives. Together with the constructional categories of space and temporality, content matters of voice, virtual agency, and gesture are analytically applied to Mahler’s Fourth and Fifth Symphonies, which represent generic worlds of fairy tale and realism, respectively. The results of the study show that it is Mahler’s rich and shifting orchestral combinations that generate the multitude of different worlds and their continuous interrelationships. By means of spatial and temporal mobility, the listener is actively integrated in the sound-world as an actual agent, perceiving it from alternating positions determined by instrumentation. Through his particular treatment of timbre, Mahler expands the symphonic genre into a sort of intermedial drama in sound, while suggesting other approaches to musical narration based on textual simultaneity and expressive mode. Hearing his symphonies as worlds also permits new means of analysing musical works, making analysis a more dynamic process highlighting the imaginative and structural possibilities of sound.

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