| 1. |
- Dillmar, Anders
(författare)
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"Dödshugget mot vår nationella tonkonst". Hæffnertidens koralreform i historisk, etnohymnologisk och musikteologisk belysning.
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis analyses the Swedish chorale book in two parts edited by J.C.F. Hæffner in 1820-21 to the new hymnal by Wallin of 1819. This is done in relation to the ideas and practices of the time; earlier and up to present times this chorale style has been described as a “petrified” hymnody, with a rhythmic equalisation, slow tempo, melodic trivialization and harmonic uniformity. To understand the ideas behind this Swedish reform of congregational singing in the early 19th century attention has been paid to the aesthetics of the chorale and the theology of music of that time. Hæffner held specific ideas influenced by early German literary romanticism. Besides this international ideological perspective the actual singing and playing practice has been studied in an ethno-hymnological approach. Hæffner’s attitude to this practice has been shown to be rather positive and he did not want his edition to be compulsory introduced. Another problem investigated has been the historical coming into being of the chorale books of Hæffner. His different editions have been compared to each other but also to other available manuscripts and editions of the time. That he was entrusted the work of 1820 has now got a new answer through a previously unknown “Universal Chorale Book” intended for Germany. Still, the solid workmanship of his predecessor Frigel in the Hymn Committee was decisive for the preservation of many old and forgotten melodies and is described in considerable detail. The role of the Royal Academy of Music has likewise been studied. It strongly supported Hæffner’s printed chorale books and used the edition of 1820-21 in its education and examinations. However, the Academy came to defend the very slow chorale tempo at hand; Hæffner was of another opinion. His iso-rhythmical design was an involuntary concession to singing practice. The reception and the criticism has also been studied. In the discussions allusions were often made to the Moravian singing of chorales. Dillner’s numerical notation not only made it possible for musically uneducated people to learn the melodies but his edition also contained an elaborate theology of music, which never before has been described in spite of its wide distribution. For the organists Åhlström’s chorale book of 1832 became very popular, but the great differences between his and Hæffner’s edition were concentrated to a rather small number of melodies.
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| 2. |
- Siitan, Toomas
(författare)
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Die Choralreform in den Ostseeprovinzen in der ersten Hälfte des 19. Jahrhunderts. Ein Beitrag zur Geschichte des protestantischen Kirchengesangs in Estland und Livland
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present thesis analyzes the reform of congregational singing in Livonia and Estonia in the first half of the 19th century. In this process the writings on the aesthetics of the congregational singing of a German pastor Johann Leberecht Ehregott Punschel (1778–1849) active in Livonia, and a chorale book (1839) that he edited occupied the central place. Punschel’s activities are directly associated with the protestant restoration movement in the first half of the 19th century, and his ideas pertaining to aesthetics are intelligible only when projected to the background of German publications of his contemporaries. But to the same degree his reform has also been influenced by the unique political and religious situation of Baltic provinces characteristic of which were the increasing ambitions for power of Russian Orthodox Church in the middle of the 19th century, the unusually high activity of the Herrnhut Unity of the Brethren (Herrnhuter Brüdergemeine), as well as the deepening of a national conflict between the Estonian and Latvian natives and the Lutheran church led by clergymen who had immigrated mostly from Germany. In this thesis the ideo-historical background of the historicistic reforms of Lutheran hymnals and chorale books has been investigated, as well as the motives for standardizing congregational singing. The situation of hymn singing before Punschel’s reform has been described on the basis of the local chorale books, printed and in manuscript, from the period of 1774–1831. The phenomenon of the “old way of singing”, its replacement with the “regular singing”, and the role of musical education in this process has been approached from the ethnohymnological perspective. In researching the genesis of the Punschel chorale book attention is paid to its models, the repertory of hymnal tunes, characterizing aesthetics, as well as its early reception. The issue of counteraction to this chorale book in Estonia has been treated as well: the activities of a German organist Johann August Hagen (1786–1877) who has worked in Tallinn led to the publication of an alternative chorale book. Hagen proceeded from the tunes and singing tradition of the Unity of the Brethren, widespread in the Baltic provinces. In these two different attempts of reform a paradoxical conflict between restoration and tradition appears. The successful chorale reform realized by Punschel and the 16 editions of his chorale book (1839–1935) is understood as the inculturation of the German tradition of protestant church singing in the spirit of the period of historicistic restoration.
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| 3. |
- Mossberg, Frans
(författare)
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Visans kontinuum - Ord, röst och musik. Studier i Olle Adolphsons musik och framförandekonst
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to investigate relationships between words, music and voice in contemporary swedish popular ballads – visa – as it is realized in the works of Swedish artist, singer/songwriter Olle Adolphson (b 1934).Entering the world of entertainment in 1956 he quickly became one of the most prominent representatives of the literary branch of popular song in Sweden. His work is characterized by charm, poetry and precision in the linking of words and music.A biographical sketch of Adolphson´s career and artistic persona introduces this study. Thereafter, investigations are made of relationships between word and music along a continuum from speech to song through text, speech, music and performance.The second part focuses on if and how relationships between the timbres of words and melody in song can be identified. Then a section follows with analyses of music by Olle Adolphson from a general musicological point of view, where various aspects of word/music relationships are studied in the light of the results of the previous section. In the last part of the dissertation the attention is moved to interpretation and use of the singing voice in the actual recorded performances.The study explores the possibilies of connecting recent voice research with musicological and humanistic studies of Adolphson´s songs and of the interplay between words and music in his work.Relationships between text and tone arises as soon as they are linked with each other in song, and this study suggests that many of these relationships are far from hazardous. The present study implies that many complex patterns of word/music relations are simultaneously active in popular song, and that this complexity is present in both rythmic, melodic and signifying senses, and needs to be taken fully into account in all its aspects by academic research.
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| 4. |
- Mürbe, D., et al.
(författare)
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Effects of a professional solo singer education on auditory and kinesthetic feedback - A longitudinal study of singers' pitch control
- 2004
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 18:2, s. 236-241
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Tidskriftsartikel (refereegranskat)abstract
- The significance of auditory and kinesthetic feedback to pitch control in singing was described in a previous report of this project for students at the beginning of their professional solo singer education.(1) As it seems reasonable to assume that pitch control can be improved by training, the same students were reinvestigated after 3 years of professional singing education. As in the previous study, the singers sang an ascending and descending triad pattern with and without masking noise in legato and staccato and in a slow and a fast tempo. Fundamental frequency and interval sizes between adjacent tones were determined and compared with their equivalents in the equally tempered tuning. The average deviations from these values were used as estimates of intonation accuracy. Intonation accuracy was reduced by masking noise, by staccato as opposed to legato singing, and by fast as opposed to slow performance. The contribution of the auditory feedback to pitch control was not significantly improved after education, whereas the kinesthetic feedback circuit was improved in slow legato and slow staccato tasks. The results support the assumption that the kinesthetic feedback contributes substantially to intonation accuracy.
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| 5. |
- Thomasson, Monica, 1959-
(författare)
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From Air to Aria. Relevance of Respiratory Behaviour to Voice Function in Classical Western Vocal Art.
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- While previous studies of opera singers’respiratorybehaviour have focused on kinematic or dynamic aspects mainly,this thesis attempts to adopt a broader perspective. Not onlylung volumes, rib cage and abdominal wall kinematics areconsidered, but also the effects of lung volumes and respiratorybehaviour on phonation characteristics. Also, we attempted to payparticular attention to musically related factors.Statistical data on opera singers’initiation andtermination lung volumes, breath group volumes and flow rates,all related to vital capacity, were gathered. Consistency ofphonatory and inhalatory respiratory behaviour was estimated, aswell as rib cage and abdominal wall influence on lung volumechange. The singers were found to perform songs from theirrepertoire in aquasi-realistic concert situation. Further, theeffect of lung volume on voice function was studied in non-singersubjects and professional male opera singers’habitualbehaviour and non-habitual inhalatory behaviour. Comparisonsbetween high and low lung volume of vertical laryngeal position,subglottal pressure, and voice source characteristics were made.In addition, the effect of two polar inhalatory behaviours on thesame voice function parameters was examined.When performing songs and arias from their repertoire, theprofessional opera singers used the full range of lung volumes,likely to affect all lung volume dependent mechanisms involved inrespiratory control. Even though displaying different behaviours,they were highly consistent within their individual breathingpatterns, especially so with regard to rib cage movement and lungvolume change. Lung volume was found to affect voice function innon-singer subjects, such that the overall glottal adduction wassmaller at high than at low lung volume. When using anon-habitual inhalatory behaviour, the singers’voicefunction was qualitatively affected in a similar manner as thatobserved in non-singers. However, the singers’habitualbreathing behaviour seemed to include a strategy that eitherinhibits or minimises the influence of lung volume dependentmechanisms, such that these effects are reduced and presumablyperceptually irrelevant. The polar inhalatory abdominal wallbehaviours had no effect on voice function.Keywords:Abdominal wall, breathing, consistency,inhalation, lung volume, respiratory behaviour, phonation, ribcage, singers, singing, subglottal pressure, tracheal pull,vertical laryngeal position, voice source.
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| 6. |
- Evertsson, Anna
(författare)
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”Gå vi till paradis med sång” : psalmers funktion i begravningsgudstjänster
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this thesis is to shed light upon the function of hymns in Church of Sweden funeral services in the 1990s. The funeral service is one of the strongest links between the Swedish people and the Church of Sweden. Since this service can be seen as an essential meeting-place between people and their needs in a mourning process and the Church and its message of faith in this situation, the primary focus in this thesis is the study of the conditions necessary for meeting these needs and conveying this message in the funeral context. To achieve this purpose empirical data is used. 2,222 questionnaires from the research project Begravningsseder – studier av sociala skillnader efter döden have been analysed. The completed questionnaires cover 2,222 funeral services in the Church of Sweden during 1997. They show that some 220 hymns from Den svenska psalmboken 1986 were used for congregational singing. The most frequent hymns are traditional, well known and genuinely cherished hymns. However, in 10 % of the funerals one of the hymns of Den svenska psalmboken 1986 was replaced by another hymn or song, or by instrumental music. In order to analyse the function of hymns in funeral services, ten funerals were chosen for qualitative analyses. As a first stage in conducting a functional analysis of the funeral services, the theological and existential content of 14 hymns was analysed. The in-depth analysis of the funeral services focuses on the relation and interaction between the hymns and the other parts of the service. The analysis indicates that the hymns were often, but in diverse ways, related to other parts of the service. In addition, most of the ten funerals appear to have been well-composed services which included the opportunity for meeting people’s existential needs in a mourning process, which also provided a Christian message of faith in the funeral context. Most of these funerals met the necessary conditions for an encounter between the aspect of society and the aspect of the Church, and were able to help people in a mourning process to turn from death to life.
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| 7. |
- Gotell, E, et al.
(författare)
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Influence of caregiver singing and background music on posture, movement, and sensory awareness in dementia care
- 2003
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Ingår i: International psychogeriatrics. - NEW YORK : SPRINGER PUBLISHING CO. - 1041-6102 .- 1741-203X. ; 15:4, s. 411-430
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Tidskriftsartikel (refereegranskat)abstract
- Background and Aim: Previous research suggested caregiver singing could influence persons with severe dementia to communicate with increased competence, to cease aggression, and to cease disruptive screaming, while at the same time they seemed to understand what was going on when being cared for during morning care sessions. The aim of this study was to illuminate the posture, body movements, and sensory awareness of patients with dementia during three types of morning care sessions with professional caregivers: (a) the usual morning care situation, (b) a caring session in which familiar background music was played, and (c) a caring session in which the caregiver sang to and/or with the patient throughout. Nine patients with late-stage dementia and 5 professional caregivers participated in this study, and 27 sessions were videotaped (9 patients x 3 caring situations). Data Collection and Method: Data collection was done by means of video recording and the data were analyzed using qualitative content analysis. Results: During the usual caring situation, patients demonstrated slumped posture, sluggish and asymmetric motion, listlessness, minimal awareness of both egocentric space and the physical environment, and a poor ability to perform to completion activities necessary for personal care. Both background music playing and caregiver singing had strong influences on the body and on sensory awareness. Patients had straightened posture, stronger and more symmetric movements, and a greatly increased awareness of themselves and their environment. Patients appeared to regain skills necessary for daily living, and demonstrated that they could perform tasks with intention, purpose, and competence. Caregiver singing, in particular, was very effective at drawing out capabilities that appeared to be lost in these patients. In addition, caregiver singing elicited a larger degree of mutuality in the interaction between patient and caregiver than was seen with background music. Discussion: These results provide further support for the use of caregiver singing in dementia care, and the findings on how caregiver singing can be used to help in dementia caring situations are discussed.
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| 8. |
- Sundberg, Johan, et al.
(författare)
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Estimating perceived phonatory pressedness in singing from flow glottograms
- 2004
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 18:1, s. 56-62
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Tidskriftsartikel (refereegranskat)abstract
- The normalized amplitude quotient (NAQ), defined as the ratio between the peak-to-peak amplitude of the flow pulse and the negative peak amplitude of the differentiated flow glottogram and normalized with respect to period time, has been shown to be related to glottal adduction. Glottal adduction, in turn, affects mode of phonation and hence perceived phonatory pressedness. The relationship between NAQ and perceived phonatory pressedness was analyzed in a material collected from a professional female singer and singing teacher who sang a triad pattern in breathy, flow, neutral, and pressed phonation in three different loudness conditions (soft, middle, loud). In addition, she also sang the same triad pattern in four different styles of singing, classical, pop, jazz, and blues, in the same three loudness conditions. A panel of experts rated the degree of perceived phonatory press along visual analogue scales. Comparing the obtained mean rated pressedness ratings with the mean NAQ values for the various triads showed that about 73% of the variation in perceived pressedness could be accounted for by variations of NAQ.
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| 9. |
- Björkner, Eva, et al.
(författare)
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Voice source characteristics in different registers in classically trained female musical theatre singers
- 2004
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Ingår i: Proceedings of ICA 2004 : the 18th International Congress on Acoustics, Kyoto International Conference Hall, 4-9 April, Kyoto, Japan. - Kyoto, Japan. - 499019151X ; , s. 297-300
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Konferensbidrag (refereegranskat)abstract
- Musical theatre singing requires the use of twovocal registers in the female voice. The voice source and subglottal pressure Pscharacteristics of these registers are analysed by inverse filtering. The relationship between Psand closed quotient Qclosed, peak-to-peak pulse amplitude Up-t-p, maximum flow declination rate MFDR and the normalised amplitude quotient NAQ were examined. Pswastypically slightly higher in chest than in head register . For typical tokens MFDR and Qclosed were significantly greater while NAQ and Up-t-p were significantly lower in chest than in head.
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| 10. |
- Lindestad, Per Å, et al.
(författare)
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Voice source characteristics in mongolian throat singing studied with high-speed imaging technique, acoustic spectra, and inverse filtering
- 2001
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Ingår i: Journal of Voice. - 0892-1997 .- 1873-4588. ; 15:1, s. 78-85
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Tidskriftsartikel (refereegranskat)abstract
- Mongolian “throat singing” can be performed in different modes. In Mongolia, the bass-type is called Kargyraa. The voice source in bass-type throat singing was studied in one male singer. The subject alternated between modal voice and the throat singing mode. Vocal fold vibrations were observed with high-speed photography, using a computerized recording system. The spectral characteristics of the sound signal were analyzed. Kymographic image data were compared to the sound signal and flow inverse filtering data from the same singer were obtained on a separate occasion. It was found that the vocal folds vibrated at the same frequency throughout both modes of singing. During throat singing the ventricular folds vibrated with complete but short closures at half the frequency of the true vocal folds, covering every second vocal fold closure. Kymographic data confirmed the findings. The spectrum contained added subharmonics compared to modal voice. In the inverse filtered signal the amplitude of every second airflow pulse was considerably lowered. The ventricular folds appeared to modulate the sound by reducing the glottal flow of every other vocal fold vibratory cycle.
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