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- 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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- 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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