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- Hambro, Camilla, 1966-
(författare)
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Det ulmer under overflaten. : Agathe Backer Grøndahl (1847-1907). Genus, sjanger og norskhet
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- My dissertation is a problem oriented one. The composer pianist Agathe Backer Grøndahl (1847–1907) has always been a self-evident figure in chapters of Norwegian music history books that cover music, musicians and composers in "Grieg’s shadow". Extensive historical source materials (reception materials connected to Backer Grøndahl’s concerts and compositions; her letters, notebooks, workbooks and sketches) form the basis of the study. The problems studied are what kind of expectations are connected to three intertwined core concepts connected to Backer Grøndahl, namely: "femininity", "genre", and "Norwegianness" (the folk-influenced Norwegian tradition). Musical and material, as well as institutional, sociological and economical, ”Agathe Backer Grøndahl” discourses are examined. The arenas where the three core concepts and discourses unfold, sound, develop, are moulded and understood, are threefold: Musical culture with which the pianist composer and her compositions interacted from 1866–1903. Presentations of her in monographs and music history books. Various attempts to revise this kind of music historiography. The musical analysis starts out from reception materials connected to her performances of her own works and tries to trace the critics’ descriptions in the scores. The works analyzed are: One of her two orchestral compositions, Andante quasi allegretto for piano and orchestra (1869) in sonata form. (I rediscovered this "lost" work in the National Library in Oslo.) The song "To the queen of my heart" (Op. 1/3, 1870), the descriptively titled lyrical piece Wood Nymph’s Dance (1887), the feminist cantata Nytaarsgry (1901) performed at the Scandinavian Women’s Convention 1902 and the singable and (in)famous song "Eventide" Op. 42/7 1899). Performed compositions become performative via the reception materials, hers, the listeners’ and amateur performers "producerly texts" connected to them.
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| 2. |
- Andersson, Anders-Petter
(författare)
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Interactive Music Composition
- 2012
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Doktorsavhandling (populärvet., debatt m.m.)abstract
- This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.
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| 3. |
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| 4. |
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| 5. |
- Strinnholm Lagergren, Karin, 1971-
(författare)
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Ordet blev sång : liturgisk sång i katolska kloster 2005-2007
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The intention of this dissertation is to study the musical praxis and associated conceptions in Catholic monasteries during the early 21st century. The dissertation will analyse the musical life in approximately 20 Catholic monasteries with an emphasis on Gregorian chant. The background for the dissertation is Gregorian chant’s diminished importance after the Second Vatican council (1962-65). The Second Vatican council was a Catholic council that aimed to reform the Catholic Church which also affected the liturgy. The study has been conducted as an ethnomusicological study in which the material is interpreted via the framework of the sociology of knowledge and Cultural Analysis. The theory of the symbolical universe as the place where Gregorian chant exists and is legitimized is central. The empirical data consist of interviews, sheet music and CD recordings gathered during fieldwork visits. The study encompassed monasteries in Sweden, Norway, the Netherlands, Great Britain and Italy, France. The orders that have been studied are Dominicans, Benedictines, Carmelites, Bridgettines and Cistercians. The musical material has been divided into three categories that are analysed using the terms Recreated, Reshaped and Renewed. The Recreated category refers to liturgies that maintained Gregorian chant in Latin, the Reshaped refers to Gregorian chant that have been adapted to be sung in the vernacular language and the Renewed category refers to brand new compositions composed in individual monasteries for their personal liturgies. All three categories can coexist in the same monastery. The music in the Renewed category is modelled after Gregorian chant but the music's theoretical ties are in most cases more ideological in nature than musically traceable. Regardless as to how great an extent the monasteries sing the three different categories, Gregorian chant has a very important role and is the foundation of both liturgical and musical identity of the Catholic monasteries today. Gregorian chant’s role in the symbolical universe is fortified through different legitimization processes, of which the teaching exercise is an important example. The practical and ideological factors behind the unique monastic musical ideal are discussed as are the reasons why so many monasteries chose to record their repertoires on CD. Finally the dissertation discusses a present tendency in the monastic world which sees an increasing use of Gregorian chant in the liturgy, a so called Re-gregorianisation. The most important factors behind this process are the Western world’s great interest in the past alongside a desire for a less divided Catholic liturgy.
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| 6. |
- Hambro, Camilla, 1966
(författare)
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Det ulmer under overflaten. Agathe Backer Grøndahl (1847-1907). Genus, sjanger og norskhet
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Abstract Ph.D. dissertation at Göteborg University, Sweden, 2008 Author: Camilla Hambro Title: Det ulmer under overflaten. Agathe Backer Grøndahl (1847–1907), genus, sjanger og norskhet English title: What smoulders beneath the surface. Agathe Backer Grøndahl (1847–1907), gender, genre and Norwegianness Language: Norwegian, with an English summary Department: Department of Culture, Aesthetics and Media Series: Skrifter från musikvetenskap, Göteborgs universitet, nr 91, 2008 ISSN 1654-6261 ISBN 978-91-85974-07-8 My dissertation is a problem oriented one. The composer pianist Agathe Backer Grøndahl (1847–1907) has always been a self-evident figure in chapters of Norwegian music history books that cover music, musicians and composers in "Grieg’s shadow". Extensive historical source materials (reception materials connected to Backer Grøndahl’s concerts and compositions; her letters, notebooks, workbooks and sketches) form the basis of the study. The problems studied are what kind of expectations are connected to three intertwined core concepts connected to Backer Grøndahl, namely: "femininity", "genre", and "Norwegianness" (the folk-influenced Norwegian tradition). Musical and material, as well as institutional, sociological and economical, ”Agathe Backer Grøndahl” discourses are examined. The arenas where the three core concepts and discourses unfold, sound, develop, are moulded and understood, are threefold: •Musical culture with which the pianist composer and her compositions interacted from 1866–1903. •Presentations of her in monographs and music history books. •Various attempts to revise this kind of music historiography. The musical analysis starts out from reception materials connected to her performances of her own works and tries to trace the critics’ descriptions in the scores. The works analyzed are: One of her two orchestral compositions, Andante quasi allegretto for piano and orchestra (1869) in sonata form. (I rediscovered this "lost" work in the National Library in Oslo.) The song "To the queen of my heart" (Op. 1/3, 1870), the descriptively titled lyrical piece Wood Nymph’s Dance (1887), the feminist cantata Nytaarsgry (1901) performed at the Scandinavian Women’s Convention 1902 and the singable and (in)famous song "Eventide" Op. 42/7 1899). Performed compositions become performative via the reception materials, hers, the listeners’ and amateur performers "producerly texts" connected to them.
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| 7. |
- Nelson, Karin, 1960
(författare)
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Improvisation and Pedagogy through Heinrich Scheidemann's Magnificat Settings
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- ABSTRACT Doctoral dissertation in musicology, artistic-creative programme, University of Gothenburg, Sweden 2010, 302 pages Author: Karin Nelson Title: Improvisation and Pedagogy through Heinrich Scheidemann’s Magnificat Settings. Language: English Department: Department of Cultural Scienses Series: Skrifter från musikvetenskap, Göteborgs universitet, Nº 96 ISBN 978-91-85974-12-2. ISSN 1654-6261. © Karin Nelson, 2010 Keywords: Alternatim, Amsterdam, composition, Hamburg, improvisation, Luther, Magnificat, notation, Paumann, pedagogy, Scheidemann, St. Catharinen, Sweelinck, Weckmann. The general topic of this thesis concerns the purpose of musical notation in an historical period during which organists were famous predominantly for their improvisational abilities. The aim of the study is to determine how the 17th century organist in North Germany learned to improvise, and to compare this method to our method today. As a case study, Heinrich Scheidemann’s Magnificat settings from the 17th-century manuscript Ze1 have been analyzed. The verses in Scheidemann’s Magnificat settings demonstrate a variety of improvisational techniques, and they have a clear structure that is easy to copy. It is proposed in the thesis that these verses were meant to be used pedagogically, in contrast to the two anonymous settings which lack this regular structure. The process of teaching improvisation and a musical style by means of notated compositions was common in the 17th century. Jan Pieterszoon Sweelinck’s keyboard composi¬tions also are advanced in the study as possible educational materials. Different uses of notation are considered, including the practice of a number of prominent com¬posers to begin their creative process by departing from the notated score of another composer. The history of the Magnificat, its context and use in the early Lutheran church is also discussed. Different approaches to improvisation are described, both from a historical perspective and from the author’s point of view, including her collaboration with other musicians. The conclusion of this study is that Scheidemann’s Magnificat settings in Ze1 were intended as pedagogical models, which could be used to demonstrate improvisational techniques over the Magnificat theme as well as improvisation in general. It is also concluded that the two anonymous Magnificat settings in Ze1, which until now have been attributed to Scheidemann, are not written by him. The study shows several similarities and differences between the way organists in the 17th century in North Germany learned to improvise in comparison with contemporary improvisers.
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| 9. |
- Bergman, Åsa, 1972
(författare)
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Växa upp med musik - Ungdomars musikanvändande i skolan och på fritiden
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is based on an ethnographical study carried out with 29 pupils in a secondary school class. The purpose is to investigate how young people use music to create identity and develop musical knowledge and skills in different everyday situations. From a symbolic interactionistic point of view, identity is discussed as something created in interactive situations. With a socio-cultural perspective as a starting point, knowledge is seen as something socially situated. The main research methods used are observations and interviews. Observations were made both in school and during leisure-time activities. The study shows that music is important for the identity process in quite a few ways. In their musical games, young people present themselves and become confirmed as individuals. Music is also used to change or confirm emotional states, which can lead to an increased self-understanding. By means of a “personal” musical taste young people distinguish themselves as unique individuals, in line with an individualistic norm. Musical taste can also be seen as something both continuously evolving and stable. The kind of music that is used to express identity is, for example, relative to the social or cultural context young people relate to in a specific situation. Musical knowledge and skills are generated in all situations where young people play, listen to, or talk about music, both in formal learning practices and in informal situations. The kind of knowledge that is useful in school is also discussed. One effect of organizing music education in an informal way is that pupils with experiences from playing in rock bands tend to dominate the lessons. Being able to manage the instruments and the tasks is not just a question of having the “right” skills for the situation. It also requires “doing masculinity” in a hegemonic way. This is a gender problem that needs further investigation. Key words: music, young people, identity, music listening, media, musical knowledge, music lessons, secondary school, longitudinal, ethnographical, symbolic interactionism, socio-cultural theory, gender perspective, teenagers
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| 10. |
- Blanton, Robin, 1976
(författare)
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Johann Andreas Stein’s 1781 Claviorganum and the Construction of Art in Eighteenth-Century Augsburg
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The latter half of the eighteenth century saw the piano’s rise in popularity in Europe, and alongside it many one-of-a-kind keyboard instruments that used the new technology of the hammer action in innovative ways. Recent scholarship revises the older view of these inventions as bizarre “dead ends,” suggesting that like the piano, they filled contemporary musical needs. The conditions that shaped keyboard innovation during this period, however, have not been completely explored. Johann Andreas Stein of Augsburg (1728-1792) invented a number of instruments that his contemporaries called “works of art.” These included an organ-piano (claviorganum) from 1781, first owned by Patrick Alströmer of Gothenburg and now held by the Gothenburg City Museum. This dissertation explores how Stein’s claviorganum functioned in its role as a “work of art.” It juxtaposes the physical material of the claviorganum with descriptions of Stein’s other inventions, and places instrument and texts in the context of the conversations and institutions that defined “art” in Augsburg during Stein’s lifetime. Writings by Stein’s contemporary, the Augsburg historian Paul von Stetten the Younger, evidence an ideologically charged concept of art that preserved the word’s older meaning of skilled craft, while encompassing newer ideas about the nature and privileged position of the recently described group of the fine arts. That idea of art, and the local political and social structures that supported it, conditioned both the form and the reception of Stein’s claviorganum. Like Stein’s other inventions, the claviorganum was probably conceived and understood as a rationally worked-out, useful improvement. Its utility, however, consisted in an aesthetic affordance: it was designed, by supporting empfindsam musical behaviors, to allow musicians and listeners to practice music as a fine art. Many of Stein’s inventions were publicly exhibited in Augsburg; like them, the claviorganum provided an object for the critical gaze of the newly emerging public, the most important arbiter of art. These results situate the invention of Stein’s claviorganum in a historically specific set of economic, cultural, and social circumstances. In doing so they also suggest new ways to unnderstand both unusual and mainstream musical instrument technologies during this period.
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