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- Björnberg, Alf, 1953
(författare)
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En liten sång som alla andra: Melodifestivalen 1959–1983 : A little song like all others: The Melody Festival 1959–1983
- 1987
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- With the exception of three years, the Swedish Broadcasting Corporation has been a steady participant in the Eurovision Song Contest since 1958. Except for the first year, all Swedish entries have been selected by means of a televised national qualifying event. The aim of this thesis is to examine the 201 songs presented during the period 19591983 in this qualifying competition, named the Melody Festival, and to discuss the factors determining the stylistic limitations and changes observable in the material. The musical analysis constituting the main part of the study is concerned with general stylistic characteristics of the competition songs and stylistic changes over the investigation period. The analysis results are presented in graphic form, showing the variations in the frequency of occurrence of different musical elements. In terms of musical style, the changes in the material over the period consist in a gradual transition from a comparatively wide range of musical styles, with influences from 40's and 50's jazz music playing an important part, towards a more homogeneous style, to a large extent based on stylistic traits from 50's and 60's rock music, although in a more or less modified form. This increasing homogeneity, together with an increasing stylistic vagueness in relation to other popular music genres, makes speaking of a specific musical style peculiar to the contest increasingly justified. The song lyrics are examined by way of a quantitative content analysis analogous to the musical analysis. Love themes dominate throughout the period, but various changes in thematic content and mode of presentation appear in the material. Largely, these changes indicate the same stylistic influences as the musical changes, however, they are less pronounced and appear later in time than in most contemporary popular music. Among the factors arguably contributing to these developments are a general shift of emphasis from education to entertainment in the Broadcasting Corporation policy, the ambition to adjust the programme to its large and heterogeneous audience and the gradual institutionalization of the event. The increasing predictability and unimportance of the music is accompanied by a shift in the public interest towards the extramusical aspects of the event. These aspects are illuminated by regarding the contest as a mass media ritual and analysing the various symbolic meanings expressed in the programme. The songs presented in the Festival being a sample of extremely mainstream-oriented popular music, the changes in music and lyrics may be analysed as signifying changes in the dominant ideology in society. Such ideological changes which can be deduced from the analyses put forward include an increasing dominance of a chronometric time sense typical of industrialized society, a shift from 'deferred' towards 'instant gratification', and changing views on sexuality, individual identity and social relationships.
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- Hermansson, Mats d, 1958
(författare)
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From Icon to Identity. Scottish Piping & Drumming in Scandinavia
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In the 1960s, a few individuals in Scandinavia got so interested in Scottish Highland piping and pipe band drumming that they started to play themselves, although there was no existing tradition for this music in Scandinavia, and they formed a small community of dedicated pipers and drummers. The major objective of this thesis is to analyse the background to why and processes through which the marginal culture of Scottish piping and drumming spread to and developed in Scandinavia as well as to interrogate what use and function this genre of music may have in Scandinavia. Highland piping emerged as part of the clan chiefs power structure in the Gaelic clan society of the Scottish Highlands in the sixteenth century. Later, the Great Highland Bagpipe was adopted by the British army where it retained its function of representing political power, further strengthened by the formation of bands of pipers and drummers in the nineteenth century. The bagpipe also became a strong romantic icon of Scotland, an image spread over the world by the British army and later by mass media, making the Great Highland Bagpipe the bagpipe. Many of the Scandinavian pioneers acquired their interest at the encounter of the impressive appearance of a pipe band. In the thesis, the mechanisms behind the formation of an interest as a fantasy and its realisation are discussed against a framework of psychoanalytical concepts related to identity and personal identity choices facilitated and required by modern Western society. The Scandinavian enthusiasts met with a very strong tradition of Scottish pipers and drummers who were more than willing to share their knowledge and culture. By means of books, recordings and a few lessons, a number of Scandinavians managed to learn and develop their playing, gradually copying the Scottish tradition. The initial interest of the pioneers was directed both towards the music and the iconic extramusical aspects of the genre, but today the music and the competitive aspects of the genre are at the centre of interest for most players. The general audience in Scandinavia still sees the genre as an icon of Scotland or as something exotic. The pioneers sought an identity in the icon of an exotic genre of music but found an identity as members of a small world-wide community of like minded musicians.
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- Jakobsen Barth, Verena, 1970
(författare)
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Die Trompete als Soloinstrument in der Kunstmusik Europas seit 1900 mit besonderer Berücksichtigung der Entwicklung ab 1980 am Beispiel der Solisten Håkan Hardenberger, Ole Edvard Antonsen und Reinhold Friedrich
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation focuses on the historical causes for the development in acceptance of the trumpet as a solo instrument from the beginning of the twentieth century, when as a solo instrument it was played mainly in the entertainment genre, to the present day, where it is respected and used more and more in the field of ‘art music’. The starting point is the instrument’s ambiguous position and the resulting tension: on the one hand it is laden with the out-dated symbolic content of an earlier royal culture, and on the other hand it is associated with nineteenth-century light entertainment. In the course of the century under discussion the instrument has gradually been linked to new elements of content. As the trumpet has been used in other genres as well, new clichés have been formed, which expand the trumpet’s range of expression and influence the expectations of its audience. Several factors added to its emancipation as a solo instrument of art music: the newly gained interest in baroque music, the rediscovery of Joseph Haydn’s trumpet concerto, and the influence of a few charismatic soloists, such as Adolf Scherbaum and Maurice André. The 1980s saw the beginning of a considerable process of development for the trumpet as a solo instrument. Consequently, it became possible for many trumpet players to play more often as soloists. A compensation for the gap in romantic repertory was created by important contemporary composers in the field of art music, who, by their compositions, were able to enlarge the attainable number of trumpet concertos and therefore helped to raise the esteem of the instrument. The increasingly more important focus on a personal profile is made clear in the examples of the soloists Hardenberger, Antonsen, and Friedrich. The analysis of three trumpet concertos demonstrates that the historical references lead to a conscious treatment of tradition and, consequently, its relationship with the trumpet’s idiomatic language.
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- Norrback, Johan, 1966
(författare)
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'A passable and good temperament': a new methodology for studying tuning and temperament in organ music
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Playing Johann Sebastian Bach's organ chorale O Lamm Gottes, unschuldig (BWV 656) on an organ tuned according to a historic temperament raises questions about the role of temperament in organ music. From the interpreters point of view it would be desirable to be able to compare different temperaments effect on the music, and based on that draw conclusions about the temperaments role in the interpretative process. Since a historical instrument cannot be retuned, a new methodology, based on ... merdigital technology and MIDI was developed, to enable the comparison of several temperaments in a musical context. An investigation of relevant contemporary theoretical sources and information available about temperaments used in "Bach organs" form the basis for choosing relevant temperaments to compare. Out of twenty-six discussed temperaments, eight were selected: 1/4 syn tonic comma mean-tone, Harald Vogel's reconstruction of Heinrich Scheidemann and Jacob Praetorius recommendation in Bremen 1641 (modified mean-tone); Georg Andreas Sorge's 1748 description of Gottfried Silbermann's temperament (1/6 Pythagorean comma mean-tone); Andreas Werckmeister's third temperament (1681/1691); Johann Georg Neidhardt "Für ein Dorf" (1732); Johann Georg Neidhardt "Für eine kleine Stadt" (1732); Johann Georg Neidhardt "Für eine grosse Stadt" (1732); Johann Georg Neidhardt "Für den Hof" (1724/1732, Equal temperament). The organ in Abbenrode (close to Goslar, Germany), built by Christoph Contius in 1708, was recorded and sam pied. A digital instrument was created, and sound examples of excerpts from O Lamm Gottes, unschuldig (BWV 656), Canzona (BWV 588), the Prelude in B Minor (BWV 544), the Toccata in F Major (BWV 540), the Prelude in Eb Major (BWV 552), and the Fantasia in G Minor (BWV 542) in all temperaments were prepared and discussed. Based on the discussion a style sheet for integrating the aspect of temperament in interpretation was proposed. 1) A thorough understanding of the construction of temperament, for example: How are the fifths tempered? Is there a wolf? Which intervals and keys have the best and poorest intonation respectively? 2) Observing the historical con text of the music with regard to both written sources and instruments. For example, investigating what historical temperaments are described in the sources, and what historical temperaments were used in organs? 3) Analyzing the composition from the perspective of temperament. For example: Does the music exceed the tonal con tent of the temperament? Is any harmonic or melodic material affected by the temperament? 4) Making interpretative decisions with regard to articulation, phrasing, choice of tempo, registration, etc. Decisions made by the interpreter (organist) can mitigate or emphasize the effect of the temperament trough articu!ation, phrasing, choice of tempo and registration.
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