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- Bruhn, Jørgen, Professor, 1968-, et al.
(författare)
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Transmediation
- 2022
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Ingår i: Intermedial Studies. - New York : Routledge. - 9781032004662 - 9781032004549 - 9781003174288 ; , s. 138-161
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Bokkapitel (refereegranskat)abstract
- This chapter explores transmediation between qualified media types. It discusses the adaptation of a literary canonical work, Joe Wright’s 2005 novel-to-film adaptation of Jane Austen’s novel Pride and Prejudice a novel that repeatedly has been adapted into new contexts and audiences. The qualified medium of opera implies certain conventions but also certain limitations of space, time and voice. The natural venue for experiencing an opera is the stage. An experienced opera or musical librettist will consider where to put such music highlights when writing the text. Both drama text and opera score are a set of directions fixed in a script but resulting in different kinds of performances. It has been our aim to demonstrate in specific analysis the very abstract idea that all media transformation is interplay or a negotiation between transmediality and medium specificity.
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| 3. |
- Jensen, Signe Kjaer, 1987-, et al.
(författare)
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Media and Modalities : Music
- 2022
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Ingår i: Intermedial Studies. - London : Routledge. - 9781032004662 - 9781032004549 - 9781003174288 ; , s. 56-68
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Bokkapitel (refereegranskat)abstract
- This chapter discusses the characteristics and communicative conventions that qualify Western art music, popular music and folk music. Despite major differences in the traditions of these qualified media types of music and the emphasis they put on musical notation and performance, they all share certain characteristics that relate to technical media of display and their basic media types. When we listen to sounding music, the technical media of display are sound waves that are realized via instruments and singers in a live performance or via electric speakers. The sounding music that is performed and the written sheet music both play an important part in this qualified media type of music. Where auditive text and organized sound really differ in terms of modalities is in the semiotic modality. The listener responds physically to the sounds and at the same time responds to them in the semiotic modality and transforms them into some form of subjective meaning.
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| 4. |
- Knust, Martin, 1973-
(författare)
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20th-century Music in Sweden. An Overview
- 2018
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Ingår i: Muzikoloski Zbornik. - Ljubljana : Ljubljana University Press. - 0580-373X .- 2350-4242. ; 54:2, s. 31-43
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Tidskriftsartikel (refereegranskat)abstract
- Sweden appeared as a music exporting country on the map in the beginning of the 20th century. Located between different shifting military and political blocks it maintained a politics that contributed to some extent to the specific shape of Sweden's music life which this overview outlines.
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| 5. |
- Knust, Martin, 1973-
(författare)
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Ada, Guido Theodor Apel, Arindal, Bühnenbild, Heinrich Dorn, ‘Die Feen’, Eduard Genast, Ludwig Geyer, Ferdinand Heine, Friedrich Nietzsche, Friedrich Schmitt, ‘Über Schauspieler und Sänger’
- 2012
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Ingår i: Das Wagner Lexikon. - Laaber : Laaber Verlag. - 9783890075501 ; , s. 23-765
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Bokkapitel (refereegranskat)
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| 10. |
- Knust, Martin, 1973-
(författare)
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Armas Järnefelt (1869−1958)
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Edvard Armas Järnefelt föddes 14 augusti 1869 i finska Viborg och dog 23 juni 1958 i Stockholm. Svensk-finländsk dirigent och tonsättare. 1889−1903 dirigent för Viborgs stadsorkester. 1905−32 dirigent för Kungl. Hovkapellet (1911 hovkapellmästare, 1923 förste hovkapellmästare). 1932−36 dirigent och konstnärligt ansvarig för Finlands opera i Helsingfors. 1942−43 dirigent för Helsingfors stadsorkester. Järnefelt skrev ett flertal orkesterverk och vokalverk, men också den första filmmusiken i Sverige. Invald i Kungl. Musikaliska akademien 1908 som utländsk ledamot, 1909 svensk ledamot (samma år som han blev svensk medborgare).
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