| 1. |
- Albrektson, Anna, 1966-, et al.
(författare)
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Cool Nature : Utopian Landscapes in Sweden 1780–1840
- 2022
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Ingår i: Sjuttonhundratal. - : UiT The Arctic University of Norway. - 1652-4772 .- 2001-9866. ; 19, s. 94-116
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Tidskriftsartikel (refereegranskat)abstract
- In this essay, an interdisciplinary group of researchers sets out to address the period 1780–1840 in Sweden in a new way, by placing nature at its centre. With the help of ecocritical and transcultural theory, combined with renewed attention to the Swedish fine arts, learned discourses, and practices, we suggest a new approach to these revolutionary decades. The perceived dissonance, the interplay between climatic conditions and cultural template in early modern and modern Sweden, has not been fully addressed in current research, despite the fact that the relationship between humankind and the environment is a central issue in contemporary society and scholarship. Representations of nature situate the nation, they negotiate the relationship between a sensed reality and an ideal, between human and more-than-human beings. We suggest a focus on the unpredictable space created by negotiations of nature in Swedish representations during this crucial period, and, furthermore, on the ways in which this creative space is charged with utopian possibilities in the early Anthropocene. This is the background and the driving force of the planned research project ‘Cool Nature: Utopian Landscapes in Sweden 1780–1840’.
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| 2. |
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| 3. |
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| 4. |
- Ternhag, Gunnar, 1948-, et al.
(författare)
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Levande musikarv
- 2014
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Ingår i: Musikforskning idag.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Kungl. Musikaliska akademien genomför under sex år projektet Levande musikarv, vars syfte är att tillgängliggöra äldre svensk musik (= verk av tonsättare som avled för mer än 70 år sedan). Huvudsatsningen handlar om att åstadkomma kritiska editioner av utvalda verk. Dessa editioner publiceras på nätet i projektets databas (http://www.levandemusi-karv.se).Bland oss som arbetar med Levande musikarv finns en insikt om att spel- och sångba-ra editioner inte räcker för att få den äldre svenska musiken upp på estraden eller framför mikrofonerna. Musiker, sångare, dirigenter och andra som har anledning att intressera sig för repertoarfrågor behöver också kontextkunskap kring verken. Kombinationen av lätt tillgängliga editioner och lika lättnådda uppgifter om tonsättarna och om verkens tillkomstsammanhang fordras för att nå ett genomslag för verken.Ett anslag från Riksbankens jubileumsfond möjliggör att databasen Levande musikarv kan förses med nyskrivna biografier över ca 300 äldre svenska tonsättare. Arbetet med att skriva dessa biografiska texter, inklusive bibliografier och verkförteckningar, läggs ut på sakkunniga musikvetare. Panelen vid konferensen presenterar arbetet med biografierna, men diskuterar också värdet med denna ansträngning. Från vilket kunskapsläge görs detta arbete? Vilka kun-skaper om svensk musikhistoria tillför de många biografierna? Och på vilket sätt kan de många biografierna påverka bilden av äldre svenskt musikliv?För panelens inledning svarar Gunnar Ternhag, vetenskapligt ansvarig för biografi-projektet, och Erik Wallrup som är projektets forskningssamordnare. I kortare bidrag problematiserar tre biografiförfattare sina erfarenheter av att skriva texter om mindre kända tonsättare.
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| 5. |
- Ternhag, Gunnar, 1948-, et al.
(författare)
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Writing Composer Biographies in the project Swedish Musical Heritage
- 2016
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Ingår i: Dansk Musikforskning Online. - 1904-237X. ; :SI 17th Nordic Musicological Congress, s. 43-60
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Tidskriftsartikel (refereegranskat)abstract
- Swedish Musical Heritage is a six-year-long project whose purpose is to make music, that is rarely played, more accessible so that it might gain a new audience. The project is funded by the Swedish Royal Academy of Music. Biographical texts on more than 300 Swedish composers, mainly unknown even for specialists in Swedish music history, provide a background for the use of the musical works, whether for performance or for research. The writing of these biographical texts is the topic of this article – the subject of which more precisely contains discussions around this rather old-fashioned task. The authors of this article are involved in this work in various ways and write from their respective starting points. The conclusion we have reached collectively is that the writing of biographies is of great value; the image of Swedish music history is deep- ened, female composers have become more visible, the musical life outside of Stockholm is described, and the great variety of roles a composer could have becomes clear.
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| 6. |
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| 7. |
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| 8. |
- Wallrup, Erik, 1966-
(författare)
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Being musically attuned : the act of listening to music
- 2015
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Bok (refereegranskat)abstract
- Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.
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| 9. |
- Wallrup, Erik, 1966-
(författare)
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Blicken i den gustavianska spegeln : Svensk musikvetenskap om tiden under Gustav III
- 2019
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Ingår i: Svensk tidskrift för musikforskning. - : Svenska samfundet för musikforskning. - 0081-9816 .- 2002-021X. ; 101
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Tidskriftsartikel (refereegranskat)abstract
- The reign of the Swedish king Gustav III (1771–92) was a productive period musically. It has become one of the main fields of research within Swedish musicology: more than 40 scholarly articles have been published and ten book-length studies have been printed since 1920. In the article, these texts are read from a critical perspective in order to scrutinize the foundation of the research and to analyse its conditions, but also to see if a transgression is possible.If the ethos of Swedish musicology, with its empirical attitude concerning the survey of sources, can be confirmed in many cases, some examples show that there have been important alternatives: the intention of writing the cultural history of the period (especially Walin and Hedwall), the interest in rhetoric during the 1990s, and investigations of nationalism. The shift from a German to an Anglo-American influence can be discerned during the 1950s, and this change can be the reason why a wider cultural approach became obsolete.Yet, responding to the earlier initiatives, it is suggested finally that musicology can and should turn back to the Gustavian era again after a caesura of fifteen years. Recent work within fields such as affectivity, phenomenology and cultural transfer call upon a re-reading of the manifold sources that have been found during a century of research.
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| 10. |
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| 11. |
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| 12. |
- Wallrup, Erik, 1966-
(författare)
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Det nyss nya är gammalt
- 2009
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Ingår i: Svenska Dagbladet. ; 8/9
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Recension (populärvet., debatt m.m.)abstract
- John Cage skapade sensibla kompositioner och förnyade flera konstområden. Men det är störande att Cage – liksom hans biograf Torsten Ekbom – talar om öppenhet men uppvisar en sträng form av slutenhet. Recension av Torsten Rkbom, En trädgård av lju, Albert Bonniers förlag
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| 13. |
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| 14. |
- Wallrup, Erik, 1966-
(författare)
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En tankens aristokrat
- 2009
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Ingår i: Svenska Dagbladet. ; 22/2
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Recension (populärvet., debatt m.m.)abstract
- Recension av George Steiner, My Unwritten Books, Weidenfeld & Nicolson.
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| 15. |
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| 16. |
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| 17. |
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| 18. |
- Wallrup, Erik, 1966-
(författare)
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Fragment and Flow : On Wolfgang Rihm’s Dionysus opera
- 2017
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Wolfgang Rihm often deals with musical history as material – his own works included – using a series of techniques and strategies. Adopting the technique of overpainting, confronting the German-Austrian tradition from Bach to the Second Vienna School through stylistic borrowings rather than actual quotes, and playing with musical ciphers, Rihm activates and decodes history. The past appears as fragments, but in Rihm’s later works, these fragments are swept away in a unstoppable flow.Since the 1990s, Rihm’s treatment of fragment diverges clearly from Romantic and modernistic sensibilities, represented by for instance Robert Schumann’s song and piano cycles and György Kurtág’s fractured material. During the two last decades, the flow has been a salient feature of Rihm’s works, and the most divergent materials can appear in this inclusive flow.Rihm’s transgressive treatment of the two seemingly opposite phenomena ‘fragment’ and ‘flow’ is no more apparent than in his ‘operatic fantasy’ Dionysos (2009–10). His starting point is Friedrich Nietzsche’s Dionysos-Dithyramben: he has rearranged and mixed textual fragments from the poems, but he has also turned to Nietzsche’s notebooks from the 1880s, that stockpile of fragments. The dismembering of bodies and the staging of a deteriorating mind enhances the process of fragmentation. These fragments loose their character of being fractured due to a musical flow that is in itself is blatantly heterogeneous.In my paper I would like to elucidate the relation between the poles of fragment and flow, characterized not by tension, but by attraction. In the same way as with the Romantic and the modernistic fragment, Rihm’s flowing fragments can be seen as being paradigmatic for a specific period of history, our contemporary liquid culture.
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| 19. |
- Wallrup, Erik, 1966-
(författare)
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From Mood to Tone : On Schoenberg and Musical Worlds
- 2016
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Ingår i: Dansk Musikforskning Online. - 1904-237X. ; , s. 123-144
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Tidskriftsartikel (refereegranskat)abstract
- When Gurre-Lieder had its first performance in Vienna on February 23, 1913, it was an immediate success despite the fact that Arnold Schoenberg had made a series of scandals with his latest works. The following day, Pierrot Lunaire made a new scandal in Prague.It is a thought-provoking paradox that Schoenberg kept on working on the late Romantic symphonic cantata during the development of his free atonal or pantonal style. In this paper I discuss this paradox in terms of worlding and unworlding in reference to, among others, the philosopher Martin Heidegger and the musicologist John Covach. At the same time as a new musical world emerges in works such as the Second String Quartet and Das Buch der hängenden Gärten, the world of late Romanticism starts to be dissolved or unworlded.Vital to this investigation is Stefan George, whose poems Schoenberg began to set to music during this period of change. Instead of only saying that Schoenberg needed texts in order to organize longer compositions during the atonal, pre-dodecaphonic phase – a common suggestion in research on the Second Viennese School – I propose that it is less linguistic elements than the specific tone of the poems that had the sought-after potential. As a matter of fact, George’s close friend and foremost interpreter Friedrich Gundolf described a shift from the mood orientation of the early George to the emergence of a powerful tone.The reviews of the first performances of the Second String Quartet and Gurre-Lieder are another important source for this study of a historical process. These texts, often commenting on the reaction of the audience, are testimonies to a conflict between musical worlds. They afford us with a precise formulation of what was heard and what was not heard, leading us to the articulation of a historical attunemental shift.
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| 20. |
- Wallrup, Erik, 1966-
(författare)
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From Mood to Tone : Schoenberg’s Attunemental Shift
- 2015
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Konferensbidrag (refereegranskat)abstract
- When Gurre-Lieder had its first performance in Vienna on February 23, 1913, it was an immediate success despite the fact that Arnold Schoenberg had made a series of scandals with his latest works. The following day, Pierrot Lunaire made a new scandal in Prague. It is a thought-provoking paradox that Schoenberg kept on working on the late Romantic symphonic cantata during the development of his free atonal or pantonal style. In this paper I intend to discuss this paradox in terms of worlding and unworlding in reference to phenomenological philosophers such as Martin Heidegger and Mikel Dufrenne as well as the musicologists John Covach and Hermann Danuser. At the same time as a new musical world emerges in works such as the Second String Quartet and Das Buch der hängenden Gärten, the world of late Romanticism starts to be dissolved or unworlded. Vital to this investigation is the dislocation in the poetics of Stefan George, whose poems Schoenberg began to set to music during this period of change – both the quartet and the song cycle belong to those works. George’s close friend and foremost interpreter Friedrich Gundolf described a shift from the mood orientation of the early George to the emergence of a powerful tone. Instead of only saying that Schoenberg and the composers of his circle needed texts in order to organize longer compositions during the atonal, pre-dodecaphonic phase – a common suggestion in research on the Second Viennese School – I propose that it is less linguistic elements than the specific tone of the poems that had the sought-after potential. The change can be described as an attunemental shift that concerns much more than a compositional development. It took place during a time of crisis, just before World War I and in the last years of an era that Hobsbawm has called ‘the long 19th century’. Even if this circumstance can only be hinted at, it is crucial for my postdoc project ‘Worlding and Unworlding’, to which this paper belongs, where I investigate a series of historical disruptions and crises.
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| 21. |
- Wallrup, Erik, 1966-
(författare)
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Från kitsch till bråddjup
- 2009
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Ingår i: Svenska Dagbladet. ; 17/12
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Recension (populärvet., debatt m.m.)abstract
- Recension av Franz Liszt och 1800-talets konstmusik, Jan Ling, Gidlunds
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| 22. |
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| 23. |
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| 24. |
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| 25. |
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| 26. |
- Wallrup, Erik, 1966-
(författare)
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Gudarna ska veta sin plats
- 2010
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Ingår i: Svenska Dagbladet. ; :24/4
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Recension (populärvet., debatt m.m.)
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| 27. |
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| 28. |
- Wallrup, Erik, 1966-
(författare)
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Hermeneutics and Anti-Hermeneutics of Music : The Question of Listening in Jean-Luc Nancy and Lawrence Kramer
- 2013
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Ingår i: Epekeina. - Palermo : Centro Internazionale per la Ricerca Filosofica. - 2281-3209. ; 3:2, s. 307-320
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Tidskriftsartikel (refereegranskat)abstract
- When Jean-Luc Nancy’s À l’écoute was translated into English under the title Listening (2007), two texts were added to the original book, one of them discussing the Nazi exploitation of music, the other elaborating Nancy’s own notion of musical listening as a listening that allows music to listen to itself. It resulted in a book where music now played a more important role. The response from the hermeneutic camp of North American musicology has been harsh, with Lawrence Kramer’s recent treatment of Nancy as principle example. In the present article, Nancy’s and Kramer’s positions are discussed in terms of musical anti-hermeneutics and hermeneutics respectively – where both the ideological and the historical backgrounds are of importance. Even if Kramer most often is correct in his description of Nancy, the negative judgment is not necessary. It is, however, suggested that Nancy’s play with two words concerning the musical work of art, ouevre (work) and ouvrage (labour), should have another word added, the verb ouvrir (open). A world is opened up in the musical work of art, and this world works outside the work, too.
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| 29. |
- Wallrup, Erik, 1966-
(författare)
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Hjärnvägen till musiken
- 2009
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Ingår i: Svenska Dagbladet. ; 12/4
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Recension (populärvet., debatt m.m.)abstract
- Recension av Den enarmade pianisten. Berättelser om musiken och hjärnan (Musicophilia),Oliver Sacks, Brombergs
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| 30. |
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| 31. |
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| 32. |
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| 33. |
- Wallrup, Erik, 1966-
(författare)
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Lyhörda möten med Wagner
- 2013
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Ingår i: Svenska dagbladet. - 1101-2412.
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Recension (populärvet., debatt m.m.)
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| 34. |
- Wallrup, Erik, 1966-
(författare)
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Mendelssohns olidliga lätthet
- 2009
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Ingår i: Svenska Dagbladet. ; 2/6
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Recension (populärvet., debatt m.m.)abstract
- Felix Mendelssohn var inte depressiv som Schumann, satanisk som Berlioz eller väldig som Beethoven. Lättheten är hans bidrag till musikhistorien – men också hans förbannelse. Hans lätta anslag har varit svårt att analysera och har ofta förväxlats med yta. Artikel Under strecket utifrån nyutkommen Mendelssohnlitteratur.
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| 35. |
- Wallrup, Erik, 1966-
(författare)
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Music, Truth and Belonging : Listening with Heidegger
- 2015
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Ingår i: Philosophy of Music Education Challanged. - Dordrecht : Springer. - 9789401793186 - 9789401793193 ; , s. 131-146
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Bokkapitel (refereegranskat)abstract
- Despite Heidegger's ambiguous—sometimes even hostile—relation to music, his thinking opens itself up to the musical sphere not least through key words such as Stimmung, Fuge, and hören ('mood', 'fugue', and 'listening'). This article suggests that if his thinking on the artwork is taken into account, especially its relation to truth and Being, then there is reason to rethink many of the conceptions that are pivotal for how we listen to, teach, and study music.The starting point is Heidegger's treatment of the conflict between Wagner and Nietzsche, where he rejects Wagner's Gesamtkunstwerk. However, since he only repudiates the emotionality of music, another position of his should come to the fore, that indicated in Der Ursprung des Kunstwerkes. All artworks open up a world. Truth happens in these works. This must be valid for music, too, even if Heidegger remained silent on how. It is shown in the article—with the 'Eroica' Symphony as principal example—how a musical world may change the conception of the world, how music may establish truth with a 'thrust'.This thrust can be recognized only if the listener is thoroughly attuned. In this attunement, the listener belongs to Being. Heidegger's formulation in German clarifies the relation: Zugehörigkeit ('belongingness') incorporates the verb zu hören ('to listen' or 'to hear'). Such a relation to the artwork is, of course, entirely at odds with how music is conceived in our education. In the concluding part of the article, it is suggested how Heidegger's listening can not only inform but even reform the notion of music in academia.
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| 36. |
- Wallrup, Erik, 1966-
(författare)
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Musical Attunement : The concept and phenomenon of Stimmung in music
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The principal aim of the study is to establish a new perspective on the affectivity of music. It is concerned with an everyday relation to music; that of listening for the mood, for the attunement. Despite its everyday character, this kind of listening has not been given due attention in music studies.In order to establish this perspective, three steps are taken, corresponding to the secondary aims of the thesis. The first step is to investigate the conceptual history of the German counterpart to mood, Stimmung, since the most fertile aesthetic discussion on the matter has been held in the German-speaking sphere. This history includes most prominent thinkers within aesthetics of music from the period 1770–1930, and it is considered in relation to changes in listening attitudes as well as in compositional techniques.The second step is to investigate the possibilities of transferring Martin Heidegger’s concept of Stimmung to a musical context. With this concept, Heidegger brought about an upheaval in the discourse of affectivity, resulting in a philosophy of Stimmung. This philosophically grounded concept is introduced into the musical sphere, leading to a reconceptualization of the existent musical concept.At this point, the ordinary translation of Stimmung with ‘mood’ is no longer apt and therefore the term ‘attunement’ is suggested. Attunement is that which situates the listener in a primordial way, being decisive for how music is understood and how it makes sense. It is suggested that the musical work is a musical world with dimensions of temporality, spatiality, mobility, and materiality. The third step is to elucidate and draw the boundaries for attunement, and this is carried out through a series of investigations of the historicity, the duration, and the intercultural aspects of attunement. The conclusion is that the history of musical listening can be described in terms of an attunemental history and that music is crucial in intercultural understanding.
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| 37. |
- Wallrup, Erik, 1966-
(författare)
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Music’s Attunement : Stimmung, Mood, Atmosphere
- 2023
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Ingår i: The Oxford Handbook of the Phenomenology of Music. - Oxford : Oxford University Press. - 9780197577875 - 9780197577844 ; , s. C10S1-C10N75
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This chapter explores the notion of attunement in correlation with Stimmung, mood, and atmosphere through the understanding of phenomenology. It starts with Edmund Husserl’s lectures on inner time consciousness through music and Martin Heidegger’s philosophy of Stimmung and its early reception in the field of music. Philosopher Joseph Kockelmans, musicologist Karol Berger, and English philosopher Andrew Bowie understood the concept of Stimmung, also comprehended as mood, within the field of music. Thus, researchers used a whole series of concepts closely related to the idea of attunement in the analysis of contemporary culture and art. The chapter then notes the emergence of atmosphere, referencing how new phenomenology and its associated aesthetics comprehended that emotions are atmospheres poured out spatially.
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| 38. |
- Wallrup, Erik, 1966-
(författare)
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Musikens begynnelse
- 2017
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Ingår i: Ad Marciam. - Huddinge : Södertörns högskola. - 9789187843723 ; , s. 329-338
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 39. |
- Wallrup, Erik, 1966-
(författare)
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On Patheme : Affective Shifts and Gustavian Culture
- 2023
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Ingår i: Journal of Aesthetics & Culture. - : Taylor & Francis. - 2000-4214. ; 15:1
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Tidskriftsartikel (refereegranskat)abstract
- Despite the attention that the affective sphere has reached in the last decades, affectivity has generally been supposed to be a consequence of historical processes, not changing their direction. This article argues instead that affectivity can be a driving force in historical change, and it establishes the concept of ‘patheme’ in relation to Michel Foucault’s ‘episteme’, Martin Heidegger’s ‘history of being’ and the notion of regime in William Reddy, Jacques Rancière and Peter de Bolla. What is described as a pathemic change took place in the thoroughgoing affective transformation of European culture during the 18th century, a cultural change that in Sweden was condensed into much more compressed shifts during the Gustav III’s reign (1772–92). This latter period is bestowed an investigation grounded in an understanding of historical processes that considers the interplay between layers such as power relations, social conditions and modes of scientific thought along with affectivity. The interplay is described in terms of polyphony.
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| 40. |
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| 41. |
- Wallrup, Erik, 1966-
(författare)
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Religionen märks igen
- 2009
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Ingår i: Svenska Dagbladet. ; 5/11
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Recension (populärvet., debatt m.m.)abstract
- Recension av Det postsekulära tillståndet. Religion, modernitet, politik, Ola Sigurdson, Glänta Produktion
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| 42. |
- Wallrup, Erik, 1966-
(författare)
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Röstmöten förändrar livet
- 2017
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Ingår i: Svenska Dagbladet. - 1101-2412. ; , s. 34-34
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 43. |
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| 44. |
- Wallrup, Erik, 1966-
(författare)
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"Snart är vi sång" – lyssnande som delaktighet
- 2017
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Ingår i: Kungl. Musikaliska akademiens årsskrift 2016. - Stockholm : Kungl. Musikaliska akademien. - 9789189038448 ; , s. 20-27
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Bokkapitel (populärvet., debatt m.m.)
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| 45. |
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| 46. |
- Wallrup, Erik, 1966-
(författare)
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Stämning/atmosfär : Om Sjögrens karaktärer
- 2022. - 1
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Ingår i: Emil Sjögren. - Möklinta : Gidlunds förlag. - 9789178445028 ; , s. 135-150
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 47. |
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| 48. |
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| 49. |
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| 50. |
- Wallrup, Erik, 1966-
(författare)
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Tor Aulin (1866−1914)
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Tor Bernhard Wilhelm Aulin föddes den 10 september 1866 i Stockholm och avled i Saltsjöbaden 1 mars 1914. Han var sin tids mest framstående violinist i Sverige, en av de ledande dirigenterna och en förkämpe för kammarmusiken. I hans verklista finns tre konsertanta verk för violin och orkester, teatermusik, sånger och kammarmusik. 1887 bildade han Aulinska kvartetten. 1889−1902 konsertmästare i Kungl. Hovkapellet. Därefter tog Aulin initiativ till och ledde orkestrar som Svenska musikerföreningens orkester 1900, Konsertföreningen i Stockholm 1902−09, Kungl. Dramatiska teaterns orkester 1907−09 och Sydsvenska filharmoniska 1907−08. 1909−11 dirigent för Göteborgs orkesterförening. Ledamot av Kungl. Musikaliska akademien 1895.
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