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| 5. |
- Berglund, Lars, 1964-
(författare)
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Studier i Christian Geists vokalmusik
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is an historical and analytical study of the vocal works of Christian Geist (c1650–1711), composed for the royal Swedish court and for the German church in Gothenburg. Theoretically it draws on the model of genre history advocated by Carl Dahlhaus.The first three chapters deal with Geist’s biography and milieu, the manuscript sources and the uses of his music. The second part deals with Geist’s compositions, and the relation between use, musical design and genre traditions are studied. The compositions are analysed and interpreted as individual solutions to problems in the history of composition, related to questions of genre and to important changes in compositional techniques from around 1650.A typical feature of Geist’s music is a resistance to regular solutions. This is manifested in the reciprocal relation between the use of generic and schematic models on the one hand, and the constant effort to break, differentiate and modify these models. The most individualistic solutions are to be found in his settings of Latin devotional poetry, some of which were composed for royal Communion services. These are designed as clearly sectionalised, stylistically differentiated arias with very strong affect, accomplished mainly by harmonic means. His concertos for regular worship services and solemn occasions stay closer to the norms of the genre. Still, they are marked by the integration of a modern, italianate approach to harmony based on cadence progressions and a regular grouping of phrases, which radically changes the design of the concerto textures.
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| 6. |
- Broman, Per Olov
(författare)
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Kakofont storhetsvansinne eller uttryck för det djupaste liv? : Om ny musik och musikåskådning i svenskt 1920-tal, med särskild tonvikt på Hilding Rosenberg
- 2000
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is a critical study of views and concepts in the musical aesthetics of new music in the Swedish 1920s. The study focuses on Hilding Rosenberg while also paying attention to Sten Broman, Gunnar Jeanson, Moses Pergament and Julius Rabe. The disser-tation is mainly concerned with the foundations of their aesthetic views in connection with their advocacy of new music in the 1920s. This, in turn, is used to disclose some basic prin-ciples in the compositions of Hilding Rosenberg from the same period.In order to study the aesthetics of these advocates of new music, their utterances are re-lated to material from three referential areas: tendencies in musical aesthetics in central Europe, divergent views in Sweden and aesthetical and philosophical traditions they can be shown to rely upon. As a theoretical foundation some theses from Peter Bürger's Theorie der Avantgarde and Andreas Huyssen's After the Great Divide are used.The study shows that their views of music are founded upon a fundamental metaphys-ics, where music is viewed as an entity of its own, with immanent laws and inner logic. This can be seen in their opinions on tradition and evolution as well as in their views of the mu-sical work. Music is considered an expression of life in a profound sense; as a configuration of will, energy and movement, and as such it is also given a moral task. In the music of Rosenberg both traditional and unconventional elements can be related to the idea of the organic work, closely connected with the view of music as expression of life. Using tradi-tional forms as a point of departure, his works are formed according to the conception of organic unity, while within these forms he works in a very free manner.
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| 13. |
- Dori, Dafna
(författare)
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The Brothers Al-Kuwaity and the Iraqi Song 1930–1950
- 2022
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The brothers Saleh al-Kuwaity (1908–1986) and Daud al-Kuwaity (1910–1976) were active as performers, composers, teachers and music entrepreneurs in Baghdad between 1930 and 1950, and they continued to work after immigrating to Israel in 1951. This study explores the brothers’ work in Iraq, and how it was intertwined with processes of modernisation and westernisation, at a time when Iraq was forming itself as a nation-state. I examine the role of Jews in these processes, focussing on the role of Jewish composers, instrumentalists and vocalists in Iraqi music.At the heart of this study are the songs that Saleh al-Kuwaity composed while in Iraq. They are analysed here in terms of their novelty and their relationship with different genres. I discuss the social and political context in which these songs were created, performed and remembered. The song analyses rely on recordings from the 1930s and 1940s. Other than these recordings, there are hardly any contemporary documents. Due to this scarcity of primary sources this study relies on indirect evidence such as interviews I conducted with the brothers’ family and fellow musicians, as well as interviews (conducted by others) with the brothers Al-Kuwaity, made several decades after they had emigrated from Iraq.Most of Saleh al-Kuwaity’s songs are in the Muslim Baghdadi dialect. I describe them as urban popular songs, in terms of their lyrics, their rhythms, their forms, the melodic modes in which they are composed, and the ways in which they were disseminated. These songs were innovative on the one hand, but rooted in Iraqi tradition on the other. They appear as songs “from the Iraqi heritage” in books from the 1980s and in electronic media, and I discuss the circumstances in which they acquired this status.Finally, I offer some preliminary observations regarding the work of the brothers Al-Kuwaity in Israel after 1951. Among other things, I examine the circumstances in which they lived and worked, as compared with those they had enjoyed in Iraq before their migration. This study concludes with a brief look at the brothers’ legacy, and at the revival seen nowadays of Saleh al-Kuwaity’s songs.
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| 18. |
- Eriksson, Karin, 1981-
(författare)
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Sensing Traditional Music Through Sweden's Zorn Badge : Precarious Musical Value and Ritual Orientation
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis investigates the multiple and contested spaces of belonging that may be evoked by ritualised musical performance. It makes an ethnographic case study of the Zorn Badge Auditions in Sweden, in which musicians play before a jury in the hope of being awarded a Zorn Badge and a prestigious but also contested title: Riksspelman.Building on theories of ritual and performance in combination with Sara Ahmed’s theorisation of orientation, the thesis attends to sensory ways of experiencing and knowing music while tracing the various ways in which Swedish traditional music is performed, felt, heard, sensed and understood in audition spaces. It draws on interviews with players and jury members, participant observations of music auditions and the jury’s deliberations, showing how musical value is negotiated through processes of inclusion and exclusion of repertoires, instruments and performance practices. The study also illuminates how anxiety and uncertainties are felt on both sides of the adjudication table. The auditions trigger feelings of belonging and harmony, but also rupture and distance. A brimming of felt qualities contributes to the sensing of history, tradition, memory, place and geography, as well as close emotional connections between music and individual performers. The thesis reveals how gradual adaptation, and the lived experiences of time within tradition, allow the Zorn institution to negotiate change and thereby maintain its position within Swedish society.
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| 19. |
- Gero, Olga
(författare)
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Dietrich Buxtehudes geistliche Vokalwerke : Text, Formen, Gattungen
- 2017
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Bok (refereegranskat)abstract
- Innerhalb der protestantischen Kirchenmusik kennzeichnet das Vokalwerk Dietrich Buxtehudes in mehrfacher Hinsicht einen Paradigmenwechsel: im musikalischen Denken, in der Gestaltung der Form, in der Verselbstständigung der -Musik und in einem steigenden Interesse an der theologischen -Deutung der zugrunde liegenden Texte. Buxtehudes Schaffen ist daher auch ein Musterbeispiel für die musikalischen Tendenzen in der zweiten Hälfte des 17. Jahrhunderts und Zeugnis der Wandlung von Stil, Form, Ausdrucksmitteln und Frömmigkeit. Buxtehude selbst erweist sich in seinem Vokalschaffen als ein aufmerksamer Textkenner und tiefsinniger Wortinterpret. Dies zu zeigen vermag die vorliegende Studie. Sie liefert eine Vielzahl von Neuerkenntnissen zu den von Buxtehude ausgewählten Textgrundlagen und seiner kompositorischen Praxis. Seine Schaffensweise erhält so neue Konturen, die ein – gegenüber älteren Studien – durchaus verändertes Bild dieses Protagonisten der norddeutschen Kirchenmusik zeichnen.
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| 21. |
- Hedell, Kia, 1967-
(författare)
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Musiklivet vid de svenska Vasahoven med fokus på Erik XIV:s hov (1560-68)
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The general scope of this thesis is music life at the Vasa courts in Sweden, with the court of King Erik XIV as focal point. The primary aim is to present a critical study of courtly musical activities during this period, giving specific attention to musicians and other relevant persons, and to the repertory performed, considered in its European context. The following questions are discussed: Who were the active figures in courtly musical life? What were the avenues of contact between these persons and the courts, and with the world outside the courts? How did music life at the Vasa courts compare with that of contemporary courts in other countries?The information presented was drawn mainly from primary sources, especially the court accounts. This extremely rich source material has hitherto been used only fragmentarily in music research. The present thesis, in making a critical analysis and assessment of these primary sources, intends to provide a solid foundation for further investigation.The music life at the Vasa courts are studied from different angles. Chapter One’s presentation of court musicians and other persons involved in music activities is based on sources from the period 1521-77. Chapter Two, which deals with the repertory, builds on an examination of surviving printed and hand-written music from the Vasa period found principally in the collection preserved in the German Church in Stockholm, known as Tyska kyrkans samling. Chapter Three, taking as its starting-point the results set forth in the two preceding chapters, discusses certain crucial and over-arching issues.The present thesis has formulated the conclusion that the Swedish Vasa courts were conscious of European musical fashions, and that they made active efforts to take part in European music life.
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| 22. |
- Hulshof, Carolien, 1981-
(författare)
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Walking the Line : Female Wedding Ngoma in Zanzibar
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis examines the music of two female ngoma, or music-dance events, that are associated with weddings in Zanzibar: unyago and msanja. Zanzibar is a Muslim island, and there are distinct social spheres for men and women, each with their own norms and expectations with regards to speech, dress, and behavior. Unyago and msanja songs not only represent these norms and expectations; they also negotiate and contest them.Based on the concept of heterotopia by Michel Foucault, this thesis understands music as an Other space, a space which is both connected to Zanzibari society, as well as existing separately in it and from it. While music as such is not a physical, actual site, it is inextricably tied to, and informs our sense of, space. Moreover, music is able to transform a space into one where different rules apply. Drawing on audio and video recordings made in Zanzibar as well as interviews and informal conversations, this study shows how an engagement with the music, in addition to lyrics and social context, can lead to a more profound understanding of how Zanzibari women play with, and challenge, societal expectations. The performance of, and discourse on, female wedding ngoma allow women to ‘walk the line’ towards knowledge about gendered expectations, and towards the ability to contest existing power relations at the same time.
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| 23. |
- Jernhake, Klaes-Göran
(författare)
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Schuberts "Stora C-dursymfoni" : Kommunikationen med ett musikaliskt konstverk : en tillämping av Paul Ricoeurs tolkningsbegrepp
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation demonstrates how it is possible to apply the French philosopher Paul Ricoeur's hermeneutics to a musical work-of-art and illustrates the approach with an interpretation of Schubert's Great C-major Symphony (D 944). Arguments are put forward to show that the meaning of a musical work-of-art can be naively grasped under favourable communicative conditions. With a concept of meaning related to action, it is possible to use Ricoeurs's concepts of discourse, text, mimesis and world to develop a hermeneutical model for the appropriation of a work. The purpose is to appropriate "the world of the work"; not an attempt to understand the composer's psychical life.The interpretation is made in a series of different stages that form a hermeneutical arc determined by the dialectic between explaining and understanding. It illustrates that Schubert's instrumental music has its root in the key polarity and bar-grouping of pre-classicism. The great format and surging movement in Beethoven's symphonies is transformed in the C-major Symphony to an expression of sublime nature. Analyses and descriptions of processes elucidate the architectonic balance and continuity of the work.The formal structure is transcended: The course of musical events is largely analogous with the narrative structure of the Bildungsroman. The content of the symphony has its origin in the Austrian Vormärz, when German humanism and reverence for Nature typical of the Goethezeit coalesce with traditional values of Habsburg culture. The successive alternation of passive devotional parts with active dynamic parts creates an almost unlimitedmusical space. This, together with the work's expression of Joy and Hope, reflects a free human mind viewing life as a gift recieved with piety, and as a mission for endless creativity.With its innovative configuration of musical time and its utopian character, the symphony presents a possible world; an ethical reality that the listener can apply to life.
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| 24. |
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| 25. |
- Lamm, Sigurlaug Regina
(författare)
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Musik und Gemeinschaft einer Nation im Werden : Die Einführung der Kunstmusik in Island in der Zeit von ca. 1800 bis 1920
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is a study of the process of change in the field of music in Iceland from ca. 1800 until 1920.In the 19th century significant socio-economical changes took place in Iceland. Once a farming society, Iceland transformed into a country dependent upon its fishing industry. As more and more people moved to the coast, where small villages were arising, new premises for musical life were created. Politically, Iceland was leaning towards an independence from Denmark. At the same time the two countries maintained a sound contact on the cultural level.From a socio-cultural point of view, the study focuses on four aspects of the introduction of art music in 19th century Iceland: the conceptions about music of five Icelanders from five generations; the beginning of public concerts in Reykjavík; the musical repertoire performed at the concerts in Reykjavík from 1881 until 1920; the reception of the art music in contemporary newspapers.The study shows that the ideas of art music first were introduced in Iceland through writings in connection with the ideas of the Enlightenment. The knowledge of elementary music theory and singing in parts was regarded as an important educational contribution to the entire country’s population. In the second half of the 19th century the first choirs were founded and from the beginning of the 1880’s public concerts in Reykjavík were given on a regular basis. The repertoire performed was foremost choir music, solo songs and chamber music. During that time and until 1920 most of the musical compositions were initially of foreign origin, but Icelandic musical works were more frequently created and performed. The reception of the art music was influenced by the country’s involvement in becoming independent, with the Icelandic language and strong Icelandic literary tradition being of major importance.
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| 32. |
- Olsson, Per-Henning, 1979-
(författare)
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En symfonisk särling : En studie i Allan Petterssons symfonikomponerande
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is concerned with the symphonies of the Swedish composer Allan Pettersson (1911–80). The aim of the thesis is to promote understanding of Pettersson’s music and compositional processes, through analyses of a selection of his symphonies. The thesis will also increase understanding of Pettersson’s view of music. My analytical point of departure is a reconstructed compositional problem built on Pettersson’s view of music; the analysed symphonies are regarded as solutions to the reconstructed compositional problem. Questions related to how these problems are solved in the symphonies are the main focus of the analyses.The analyses in this thesis suggest that Pettersson consciously worked with contrasts between the tonal and non-tonal. This is supported by the composer’s descriptions of his music. The contrasts in Pettersson’s music between the tonal and non-tonal are in most cases carefully integrated into his symphonies. These contrasts appear as parts of an organic whole and are central in the formation of this whole. The analyses suggest that the contrast non-tonal/tonal functions as tension and relaxation between larger and smaller sections, and between motifs. There are connections between the contrasts on different levels, which seems like a clear structural idea in Pettersson’s organic form. The analyses emphasis the multiple functions of tonality in Pettersson’s music.The analyses also propose that the contrast between tonal and non-tonal appears as a means of articulating contrasts between different themes and motifs. The analyses further show how Pettersson used carefully constructed systems of great complexity in his music.
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| 33. |
- Reese Willén, Anne, 1983-
(författare)
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I huvudstaden, musiklivets härd : Den strukturella omvandlingen av Stockholms offentliga konstmusikliv ca 1840-1890
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis studies the structural transformation of public musical life in Stockholm during the period 1840–1890, with focus primarily on the classical musical sphere. The study is based on qualitative and quantitative analysis of a number of different sources such as newspapers, music magazines, offprints, and other archival material. Using Jürgen Habermas’s theory of structural transformation of the public sphere as a starting point, the thesis aims to elucidate the processes within the structural transformation of Stockholm’s public musical life. In particular, this study examines processes of institutionalisation and professionalisation within four main areas of public musical life: the music press market, concert life, performers, and audiences. The actions of individuals and institutions are also studied in order to highlight the priorities and proclivities underlying the identified changes to public musical life.The period in question saw the transition of concert life from representational culture to the bourgeois public sphere, as well as the gradual division between ‘classical’ and ‘popular’ musical spheres. The study shows that public musical life emerged and expanded within the bourgeois public sphere. Therefore, the ideas and demands of the bourgeoisie were crucial to structural transformation of Stockholm’s public musical life. The old Royal institutions still constituted the core of the public musical life but were adapted to the new bourgeois society. The process of institutionalisation within the musical life was characterized by organisational functions, but also by social institutionalisation of practices within the four main areas mentioned above. The bourgeois ideas of musical Bildung played a significant role in the processes of institutionalisation and professionalization, as it illuminates the priorities and proclivities underlying this process. Several aspects of this development are related to influences from early nineteenth-century musical idealism.The structural transformation of public musical life in Stockholm during the period 1840–1890 laid the foundation for the further developments in the 20th century, and its impact is in some respects evident still today.
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| 34. |
- Reinholdsson, Peter
(författare)
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Making music together : An interactionist perspective on small-group performance in jazz
- 1998
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates and discusses music-making among players in contemporary small-group contexts in the world of jazz performance. It focuses on how jazz performers symbolically create meanings in their consciousnesses sociomusically and sociovisuaily in face-to-face playing situations which continuously flow into one another. These situations involve both self-interaction and interaction with the others. The study addresses the methodological problem of how to do justice to actors multiple viewpoints and their socially constructed realities here and now when interpretatively describing and analysing ensemble performances. Light is also shed on what meanings and values ascribed in the minds of players make for satisfactory and unsatisfactory experiences playing together.The dissertation advocates an interdisciplinary approach to studying music-making (such as jazz). Thisapproach involves both ideally typified understanding of players' actions and experiences, and actors' view-points relating to particular performance situations. The author attempts to integrate theoretical ideas of the interactionist perspective (symbolic interactionism, social phenomenology, dramaturgy) with jazz analytic, social psychological, ethno- and sociomusicological ideas. Methodological solutions to problem situations and actor-oriented issues are qualitatively created as a bricolage, embracing dialectical interplaying between emics and etics (i.e., player's and analyst's perspectives).The empirical material used comprises field-recorded music performancea and interviews of a regular quintet and an ad-hoc trio. These groups, which are subjected to a collective case study instrumentally, consist of professional Swedish musicians. Sociomusical accounts, involving players' understandings of themselves and the others, are given. Entire group performances and episodes am investigated. Historical model recordings and music analytic aspects are emically/etically dealt with.Novel methods of graphically-verbally representing sociomusical and sociovisual interactions, involvingthe awareness of small-group performers, are proposed. Taking emic and etic roles leads to illumination of a number of dialectic relationships (e.g. flow and resistance, self and the other). Possible pedagogic applications, embracing role-play for teachers and students, are hinted at.
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| 35. |
- Rossil, Helen, 1971-
(författare)
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Kingotone og brorsonsang – folkelig salmesang i Danmark : Fra salmebøger og lydindspilninger
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates folk hymn singing traditions in Denmark in the nineteenth and early twentieth century, which are rooted in the congregational singing from times of the Reformation. The melodic and vocal style of these traditions are closely connected to the hymnals of Thomas Kingo (1634–1703) and Hans Adolph Brorson (1694–1764). The folk hymn singing mainly thrived in environments of revivalism. The traditions were transmitted until modern times, where five musicologists made audio recordings with the groups of people who could still sing in the old style. The dissertation draws on theory in the intersection of hymnology – with emphasis on the hymnals and the liturgy - and ethnomusicology – with emphasis on music as practice, agency, memory, and experience. In this interdisciplinary field, issues of hymnal-culture and audio recording are investigated. The dissertation explores four cases of Kingo- and Brorson singing, developing a method that combines the diachronic axis of the analysis, which explores processes of tradition and memory, with a synchronic axis that explores the social and religious interaction of participatory singing at a given moment of time. The study especially focuses on the way in which the singers vocally and musically experience and embody the social and confessional community, first of all in terms of the texture of the singing. The dissertation identifies features of unison, of heterophony and of dense textures. The study also investigates how the musical experience can stimulate not only community, but also conflicts in the relationship to others. The dissertation concludes that the study of sounding music can lead to new views on history, and that Danish history of song culture is more multifacetted than is commonly known.
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| 40. |
- Sperling, Martina, 1969-
(författare)
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Glucks Reformopern in der Gustavianischen Epoche : Eine Repertoirestudie im Kontext europäischer Hoftheater in der zweiten Hälfte des 18.Jahrhunderts
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is to be understood as an analysis in which the first-night opera repertoires at four European court-theatres are discussed and compared during a period of approximately twenty years (from 1771 to 1792) corresponding to the rule of Gustav III of Sweden.The study focuses on Christoph Willibald Gluck's reform-operas Orfeo ed Euridice, Alceste, Iphigénie en Aulide, Iphigénie en Tauride and Armide, the same five Gluck-operas which after Gustav III had had them introduced at his newly-founded Royal Opera came to constitute an essential part of the Gustavian Opera's repertoire.Apart from the Royal Opera in Stockholm, the Imperial Court-Theatres in Vienna, the Académie Royale de Musique in Paris and the Tsarist Court-Theatres in St.Petersburg together with the Counts of Chérémétief's private theatres in Kouskovo and Ostankino are dealt with in the present study. This clearly demonstrates that each repertoire bears immanent features due to traditional, cultural and political influences granting Gluck's reform-operas acclaimed reception or not. In order to locate Gluck's status and that of his reform-works in the above mentioned theatres, it was considered essential to carry out empirical investigations elucidating the politico-cultural situation in the respective countries. Attention was explicitly directed to characterizing the individual personalities of the monarchs who, ruling as enlightened despots, to a certain extent used opera as a tool in order to influence public opinion.The appendix provides a description of the musical sources – covering the score, instrumental and vocal parts – for the first night performances of Alceste in 1781 and Iphigénie en Tauride in 1783, as well as of the stage design dating from 1809/10 – of the five relevant reform-operas at the Stockholm Royal Opera. Furthermore the descriptive records of the composition of the orchestra, chorus and ballet of the same performances are included.
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| 41. |
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| 42. |
- van Tour, Peter, 1966-
(författare)
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Counterpoint and Partimento : Methods of Teaching Composition in Late Eighteenth-Century Naples
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- During the second half of the eighteenth century, the city of Naples had three music conservatories: the Conservatorio di Santa Maria di Onofrio, the Conservatorio di Santa Maria di Loreto, and the Conservatorio di Santa Maria della Pietà de’ Turchini. Through disciplines such as solfeggio, partimento, and counterpoint, the students at these institutions received highly professional training in singing, instrumental playing, and composition.This study reveals new evidence that partimenti were used not only as exercises in keyboard playing, but also as exercises in written counterpoint. As counterpoint exercises, partimenti were used either as bass lines over which students wrote one or several contrapuntal parts, or as notational devices that facilitated the sketching of fugues.Musicologists have previously encountered considerable difficulties in identifying and describing differences between the schools of Leonardo Leo and Francesco Durante, represented by the terms Leisti and Durantisti. This study shows that these schools are primarily defined through different methods of teaching counterpoint. Contemporary counterpoint notebooks show that the maestri at Sant’Onofrio and Santa Maria di Loreto followed Durante’s teaching methods, while the maestri at La Pietà followed Leo’s teaching methods. The school of Durante emphasized the writing of melodic lines over a hexachordal scale or a partimento bass, using different methods, such as the moti del basso and prescribed conditions. The school of Leo favored the use of invertible counterpoint, emphasizing skills in sketching and writing choral fugues from subjects and countersubjects.For the first time, the partimento and solfeggio repertoire used at the Neapolitan conservatories has been systematically investigated through the creation of two research tools, the databases UUPart: The Uppsala Partimento Database and UUSolf: The Uppsala Solfeggio Database, published online on two companion websites.
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| 43. |
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| 44. |
- van Tour, Peter, 1966-
(författare)
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The 189 Partimenti of Nicola Sala : Complete Edition with Critical Commentary. Volume 1. Nos. 1-100
- 2017
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- This edition presents the complete partimenti of Maestro Nicola Sala (1713–1801), composer and teacher of counterpoint at the Conservatorio della Pietà de’ Turchini in Naples. The initial impulse to create this edition arose after I encountered Sala’s partimenti in Alexandre-Étienne Choron’s three volume treatise Principes de Composition des Écoles d’Italie (1808–09). The pedagogical sophistication of Sala’s keyboard exercises in the first volume of Choron’s Principes immediately caught my interest: the exercises invite the student to hone their skills in counterpoint and fugue experimentally through a series of progressive keyboard exercises. These partimenti not only address practical skills in realizing thoroughbass, they are also designed to develop the student’s understanding of the exercise’s thematic material and to exploit its implications in the art of practical counterpoint. As such, Sala’s partimenti reveal what most counterpoint treatises fail to address, that is: how to develop contrapuntal fluency systematically at the keyboard. (From Peter van Tour, “Introduction”, The 189 Partimenti of NICOLA SALA. Complete Edition with Critical Commentary, Volume 1.).
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| 45. |
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| 46. |
- Østrem, Eyolf
(författare)
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The office of Saint Olav : A study of chant transmission
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is a study of various aspects of transmission of liturgy in the Medieval churches of the Nordic countries, taking its point of departure in an edition and close study of the office of St. Olav, the patron saint of Norway.The first part is historically orientated. Questions are discussed concerning the institutional context within which the office was compiled and used, as well as questions of authorship and dating, and of the influences and models with which the compiler of the office has worked. Three such direct models have been found: the offices of St. Augustine, St. Martin and St. Vincentius.The second part is a study of the melodies used in the office, in comparison both with the different stylistic layers in the plainchant repertory and with the specific models, where such have been found. The office can in general be said to be a rather conservative example of a twelfth-century office.
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| 47. |
- Hallgren, Karin, 1957-
(författare)
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Borgerlighetens teater. Om verksamhet, musiker och repertoar på Mindre Teatern i Stockholm 1842-63.
- 2000
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The years around the middle of the nineteenth century were a time of change in Swedish politics, commerce and industry. The press became very influential in the debate, including the issue of the theatre and its role in society.With the theories on public opinion and a public sphere, formulated by Jürgen Habermas, as a starting point, three different aspects of the operations of the Mindre Teatern (the Minor Theatre) are discussed in this thesis.The first part deals with the theater and its role in society. Liberal demands for freedom of trade, also in the case of the theatre, caused strong criticism against the prevailing royal theatre monopoly. After several years of struggle the monopoly was broken by the establishment of the Mindre Teatern in 1842.The second part focuses on the musicians who were active at the theatre, and on the audience. The role of the professional musician in the middle of the nineteenth-century is discussed, and it is pointed out that most of the musicians at this time had to have several jobs of different kinds to earn their living. The relation between the audiences at the Mindre Teatern and the Kungliga Teatern (the Royal Theatre/Royal Opera House) is discussed, and it is noted that there were great similarities between the two audiences.Part three deals with the repertoire. Most of the almost 500 performed plays were of foreign origin, above all French. The majority of plays were comedies. The serious plays often had historical plots, and were set in national surroundings. The foreign plays were adapted to suit a Swedish audience. The interest in recognizable settings is noticeable in connection with the productions. The repertoire can be said to have contributed to defining the new middle class identity, an identity which also contained an element of national feeling. Even the music could be used for this purpose. The main part of the music pieces were arrangements, but new compositions, especially instrumental ones, occured to a lesser degree. What kind of play music could be used, was decided according to the customs of different genres. Instrumental pieces, for example, were mostly used in serious plays, whereas songs were much more commonly used in comic ones. The music is analysed with respect to both structural function and its role in creating atmosphere and character.
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