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- Basegmez, Virva, 1963-
(författare)
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Irish Scene and Sound : Identity, Authenticity and Transnationality among Young Musicians
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland.The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes.The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected.This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.
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- Evertsson, Maria
(författare)
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”Så vittna du om min mandom!” : Wilhelm Peterson-Bergers konstfilosofi och könsuppfattning, med särskild hänsyn till åren 1896-1913
- 2015
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall purpose of this study is to elucidate Wilhelm Peterson-Berger’s perception of gender and how it is manifested in his philosophy of art. His perception of gender also incorporates conceptions of history, music and nationality. The research question is analysed primarily by reviewing Peterson-Berger’s writings from 1896 to 1913. The research is intended to shed new light on a previously overlooked area of research, using gender theory and discourse analysis. Peterson-Berger and his work have not been examined previously from a gender theory perspective. The research shows that Peterson-Berger was influenced in large measure by the prevailing ideals of his time, although he was in some ways more innovative than many of his contemporaries. Around the turn of the 20th century there was a great deal of focus on biology, with a clear distinction drawn between femininity and masculinity[1] . Masculinity was held up as an ideal, in contrast to femininity and effeminacy. Peterson-Berger advocated this distinction, and emphasized the biological distinction between [2] masculinity and femininity. However, a man need not always have all the characteristics that were considered typically masculine for his time, nor was it necessary for a woman to possess all the feminine characteristics typical of the female gender. According to Peterson-Berger, a woman could have a masculine soul, and vice versa. And although he often took a negative view of women, he granted musical recognition to singers who realized music in what was, to him, a masculine way. Moreover, the majority of Peterson-Berger’s close friends were women, and he dedicated many of his works to women.Theories of race and human evolution were circulating at the turn of the century, and clearly influenced Peterson-Berger. This study has shown that he pursued the writings of [3] Chamberlain[4] and Nietzsche. Incorporating elements of old Gothicist theories with ideas from the two aforementioned thinkers, Peterson-Berger constructed his own racial theory. He asserted that all peoples originated from the Nordic region, which he believed to be the birthplace of the entire human race. According to his theory, southern peoples were inferior[5] , with one exception, the Greeks, towards whom he was very positively disposed. This had to do with the ancient music drama, which Peterson-Berger believed had been created by inhabitants from the north who had migrated to Greece.Peterson-Berger’s notions about peoples from the north versus peoples from the south were interwoven with theories of sexuality. He believed that Germanic peoples were more sexually abstemious than southern Europeans, and that peoples who lived in the south were sexually dissolute. To indulge one’s sexuality was, in his view, a character flaw. Conversely, Peterson-Berger viewed asexuality as a masculine ideal, and believed it to be more common in the north. A number of contradictions have emerged in his perceptions of race and sexuality. A number of his perceptions with respect to gender roles, sexuality, nationalism and philosophy[6] are portrayed in his opera Arnljot, as are the contradictions inherent in them. For instance, the character Arnljot has many of the typical masculine characteristics held up as ideal, but nevertheless exhibits both weaknesses and deficiencies. This is reflected in both the music and the opera libretto.
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Franz Berwald : Belysningar och reflektioner
- 2016
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Franz Berwald (17961868) är utan tvekan en av Sveriges mest betydande tonsättare. Allra mest framförs hans symfonier och hans stråkkvartetter. Men hans musikaliska produktion är väsentligt större än så och framför allt mer varierad.1962 inleddes arbetet med att ge ut Franz Berwalds samlade verk i kritiska editioner: Franz Berwald. Sämtliche Werke(Bärenreiter-Verlag). Första bandet kom 1966, sista 2012. För att markera den unika Berwald-utgåvans fullbordan hölls den 1 oktober 2014 ett symposium i Kungl. Musikaliska akademien. Denna bok innehåller symposiebidragen i omarbetad form. Bokens redaktör är professor Gunnar Ternhag, ledamot av Kungl. Musikaliska akademien.
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- Garberding, Petra, 1965-
(författare)
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Musik och politik i skuggan av nazismen : Kurt Atterberg och de svensk-tyska musikrelationerna
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis deals with relations between music and politics in Sweden and Germany during the 1930s and 40s. I study how music was used as a political tool, and the ideas that existed about musical expression of national and ethnic identity and about “good” and “bad” music. I argue that these conceptions became a driving force and were important to Swedish relations with Nazi Germany. The study focuses on material by and about the Swedish composer Kurt Atterberg (1887–1974). Atterberg was a central figure in the world of Swedish music during the first half of the 20th century and his life gives a glimpse of the spirit of the time. The theoretical platform arises from a critical discourse analysis combined with theories about modernity, nationalism and ethnicity. The empirical basis of the thesis consists of material from Swedish, German and Austrian archives, newspaper articles, radio programmes and interviews with composers of today. My study shows how Sweden and Germany inspired each other in the musical relationship. Both countries encountered similar problems. In the first half of the 20th century, modernisation accelerated in Europe, which also meant dramatic changes in musical life. Music could be spread to a greater extent without the composer’s control. New techniques, for example the sound movie, left many musicians unemployed. New musical styles appeared and challenged establishments. I argue that different ideas about national identity and its musical expression were important for the development of relations between Sweden and Nazi Germany. For many composers and musicians an engagement in Nazi Germany was interpreted as a contribution to the establishing of a strong national identity and the improvement of their own national musical life. Swedish-German musical relations were also influenced by different views on music and politics. For Nazi politicians music and politics ran together and music was to give expression to Nazi ideology. In Sweden music and politics were to be kept apart. Different perspectives on music and politics made it possible for Swedish composers and musicians to be active in Nazi Germany and to define their engagement as purely musical work. The Nazi government could for its part use Nordic composers and music to confirm Nazi ideas on race biology and to spread Nazi propaganda.
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