| 1. |
- Coleman, Lindsay, 1978-, et al.
(författare)
-
Introduction
- 2017
-
Ingår i: Contemporary film music. - London : Palgrave Macmillan. - 9781137573742 - 9781137573759 ; , s. 1-15
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this book is to explore different aspects of contemporary film music through a combination of interviews with important film composers and essays about particular features of those composers’ work. In the interviews the focus is on the practical considerations of film composition, the relationships each composer has with the moving image, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. The essays are written by fellow composers, musicologists and film academics, and explore particular elements of a composer’s output.The Introduction provides a context for the following chapters by discussing how film composition has evolved in the twenty-first century into a period of both repetition and intense experimentation during an eccentric time in the history of the cinema. Seminal works of this period, such as the scores of The Social Network (2010) and The Dark Knight (2008), are used as point of departure for an account of wider trends as a transition to many full electronic/ambient scores in mainstream cinema, overorchestration, the influence of franchises on music, and the present ubiquity of film music well outside of the context of the film itself in other media, or even social media.
|
|
| 2. |
|
|
| 3. |
- Derkert, Jacob, et al.
(författare)
-
Foreword
- 2007
-
Ingår i: What Kind of Theory is Music Theory?. - Stockholm : Acta Universitatis Stockholmiensis. ; , s. 9-10
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 4. |
- Ethnersson Pontara, Johanna, et al.
(författare)
-
Puccini's Tosca and the narrative and performative aspects of music in opera
- 2017
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Research on opera was for a long time focused on either structural or symbolic aspects of the music. The purpose of this investigation is to broaden opera analysis by paying attention to the double role played by music in opera, the narrative and the performative. Drawing on theoretical approaches of film music analysis and performance theory it attempts to develop a method of analysis that takes both of these aspects into consideration. With point of departure in Puccini’s Tosca the paper demonstrates how this double role of the music plays a significant role for the construction of meaning in relation to verbal and visual media.
|
|
| 5. |
- Eulau, Louise, 1966-
(författare)
-
Ulf Björlin - dirigenten, kompositören, arrangören
- 2009
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation deals with the Swedish conductor, composer and arranger Ulf Björlin (1933-1993). As no systematic inventory of Björlin’s work has previously been made, a comprehensive collection of his compositions, arrangements, recordings, concerts and work as a producer has been undertaken here. The accomplishment of such an inventory is the first aim of the thesis. The gathered data has been collected in five appendices with lists of his: 1) musical works, 2) arrangements, 3) phonograms, 4) concerts, and 5) work as a producer. The second aim is to make an examination and description of various aspects of Björlin’s compositions, arrangements, and his work as a conductor. Each of Björlin’s activities is covered in a separate chapter (ch. 2-4), each including documentation of what he achieved in that particular area. A biography of Björlin is given in chapter 1. Chapter 5 takes up questions about Björlin’s position in Swedish musical life. The dissertation is based on qualitative and quantitative research with a hermeneutic method of analysis. The results of the gathering show that Björlin wrote about 110 works and arranged a large amount of music for orchestra. Björlin’s original domain was art music, but lighter forms of music became also a part of his identity. In Björlin’s most successful concerts, in which music with different styles was played, one can see some similarities to the concerts that Leonard Bernstein held in the US and André Previn in the UK. There are tendencies to a modernist style in Björlin’s orchestral music from the 1960s, but the pluralism of styles found in Björlin’s music for film and the stage in the 1960s would in the 1970s characterise his whole way of writing music. The indistinct dividing line between composition and arrangement places Björlin in a historical tradition of composers such as Mozart, Liszt, Satie and Stravinsky.
|
|
| 6. |
- 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.
|
|
| 7. |
- Tillman, Joakim, 1963-
(författare)
-
[11 verkkommentarer]
- 2012
-
Ingår i: Per Nørgård. - Stockholm : Programbok utgiven av Stockholms Konserthusstiftelse. ; , s. 22-41
-
Bokkapitel (populärvet., debatt m.m.)
|
|
| 8. |
|
|
| 9. |
- Tillman, Joakim, 1963-
(författare)
-
Andreas Hallén (1846−1925)
- 2016
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Johan Andreas (Andréas) Hallén, född 22 december 1846 i Göteborg och död 11 mars 1925 i Stockholm, var tonsättare, dirigent, musikkritiker och musikpedagog. Efter studier i Tyskland blev han kapellmästare för Göteborgs musikförening 1872−78, sånglärare i Berlin 1880−82, grundare av och dirigent för Filharmoniska sällskapet i Stockholm 1885−95, 2:e kapellmästare vid Kungl. Operan 1892−97, dirigent för Sydsvenska filharmoniska sällskapet i Malmö 1902−07 och lärare i komposition vid Kungl. Musikkonservatoriet 1909−19. Hallén var en pionjär för den nytyska musiken i Sverige och hans Harald Viking var den första svenska wagnerska operan. Senare avtog detta inflytande samtidigt som Hallén utvecklade en nordiskt färgad stil. Invald i Kungl. Musikaliska akademien 1884.
|
|
| 10. |
- Tillman, Joakim, 1963-
(författare)
-
Avlyssnat: Anders Eliasson
- 2009
-
Ingår i: Nutida Musik. - 1652-6082. ; 52:1-2, s. 92-92
-
Recension (populärvet., debatt m.m.)
|
|
