| 1. |
- 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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| 2. |
- 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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| 3. |
- Paulander, Ann-Sofie, 1958-
(författare)
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Meningen med att gå i musikterapi : En fenomenologisk studie om deltagares upplevelser
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations. The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.
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| 4. |
- Uddholm, Mats, 1955-
(författare)
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Om professionella aktörers musikpedagogiska definitionsmakt : En kulturhistorisk studie av samband mellan musikpedagogisk teori och definitionsmakt
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to illuminate which role theories of music education can have in the dialectic between discourse and competence in the practice of music pedagogy. The thesis stems from a problem-oriented project that resulted in the formulation of the following research question: how can the connection between music education theory and the power of definition be described and problematized from a cultural-historical perspective using Vygotsky's thesis of Semiotic Thinking? In his research on the dual function of language Vygotsky makes a distinction between the usage of concepts and conceptualization. In this study this distinction has been crucial to determining the relationship between music education theory and the power of definition as practised in music pedagogy. The research project comprised a background study and three sub-studies. The focus of the background-study was the conditions for musical learning and development in persons with severe cognitive dysfunctions. The first sub-study dealt with how social workers in this area of special education conceptualise their view of music in relation to their understanding of music activities in their own practice. The second sub-study aimed to explore which concepts music-therapists use in their meta-reflections on musical situations in this area of special education. The purpose of the third sub-study was to formulate a theoretical perspective on the relationship between music education theory and the power of definition using Vygotsky's hypothesis of semiotic thinking. The main conclusions are: first, that music education theory can be understood as a structural coupling between the power of definition that is embedded in music-pedagogical discourse as a whole, and the power of definition possessed by music pedagogues; second, that the development of the power of definition in the practice of music pedagogy is a creative process that in turn entails a critical questioning of music education theory.
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| 5. |
- Modin, Madeleine, 1974-
(författare)
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Museala och musikaliska föreställningar om historiska musikinstrument : En studie av Musikhistoriska museets verksamhet 1899–1918
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to elucidate the reasons and means to preserve and use historical musical instruments in a museum context more than a century ago. Advocates for historical instruments held ideological positions that were either close to musical perspectives, e.g. aesthetical performances for the living musical life, or emanated from a stance more typical of a museum, including activities to demonstrate cultural evolution or preservation of cultural heritage. This study confirms the dichotomy, but also shows how it is challenged when the goals coincide.The plans for a museum of music history started after the Stockholm fair of Arts and Industry of 1897. A historical exhibition of theatre and music included historical instruments on loan from the Danish collector Carl Claudius, who imagined the idea of a museum of music history, which was officially founded in 1899. This thesis studies the museum’s emergence as a national institution until 1918, when the first director and co-founder of the museum Johannes Svanberg died. The thesis also analyses three historical concerts given by Musikhistoriska museet in Stockholm between 1900–1918 that clearly illustrate contemporary perceptions of historical musical instruments and can be seen as intersections between museum objectives and musical life. This study also develops a model for the analysis, covering all relevant aspects of the concerts. The main task has been to identify involved persons and their objectives, as well as their access to and knowledge of the historical instruments collected and used in the historical concerts.Three major objectives for the promoting of historical instruments have been identified: preservation (bevarande), education (bildning) and vitalisation (vitalisering). The thesis’ theoretical framework is based on elaborations of these concepts. Three immaterial aspects of what to preserve have been pointed out: sound, handicraft skills and memories of important persons. The sound-saving project can be seen as both preservation of the cultural heritage for later generations, and as an act to vitalise the contemporary musical life. Among the involved persons, several of them were artists of visual arts and their notion of the instruments as objects of artful handicraft is noteworthy. Even though the goal was to accomplish a highly modern museum, and not a curiosa cabinet, some celebrities’ instruments were collected. They were meant to evoke feelings of the country’s glorious past, as well as to capture the interest of a needed broader public. Educational objectives are in this thesis distinguished between 1) formal musical education (utbildning), aiming at musical skills for professional musicians, researchers and instrument makers; and 2) an optional and non-instrumental education (bildning) derived from the German concept of Bildung,The many musicians involved in the museum activities point at the aesthetical interest the historical instruments evoked, coinciding with objectives the French pioneers of historical instruments had. Notably many of the Swedish pioneers had experience of the French speaking Europe through studies or work in Paris or Brussels. Aims of vitalisation of musical life were prevalent.This thesis demonstrates that the pioneers’ collecting and use of historical instruments at the Musikhistoriska museet were more intentional and multifaceted than is generally understood.
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| 6. |
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| 7. |
- Åkesson, Ingrid, 1954-
(författare)
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Med rösten som instrument : Perspektiv på nutida svensk vokal folkmusik
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The point of departure for this ethnomusicological study is the increasing interest in vocal genres and expressions in Swedish folk music milieus from the late 1980s. This “vocal vogue” is linked to the process in which folk music moves from a state of revitalization to a state of established “genre” or subculture/micromusic. The aim of this study is to explore how contemporary folk singers, practically and conceptually, relate to source singers, stylistic traits, repertoire etc., in Swedish traditional music. The conceptual background is a discussion of cultural heritage, musical canon, tradition and revitalization as connected and overlapping phenomena. To this is added my model of recreation, reshaping/transformation and renewal/innovation as a way of describing contemporary singers’ approaches to “tradition”, as well as the creativity and re-creativity of a mainly oral/aural music. A great part of the source material consists of interviews with active folk singers and records issued by them. Using my own experience as part of my field studies, I endeavour to combine an insider’s and an outsider’s view. The empirical part of the thesis is dedicated to the interviewed singers’ approaches to source singers, repertoire, singing style, and performance and arrangement. Selection, performance, and musical expression are regarded in relationship to the increasing institutionalization, formalization etc., of folk music. Some singers take a more intuitive approach to singing, where others have analyzed stylistic traits from archival recordings, using these as pedagogic tools in folk music education. Today, several of the “traditional” techniques are used simultaneously, and style markers are fortified in contemporary singing styles and arrangements. Lilting, cattle calls, and other kinds of vocable music occupy a central position, not least on the borders between folk music and e.g., jazz and improvisational music, an area where there is a focus on the instrumental use of the voice.
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