| 1. |
- 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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| 2. |
- 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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| 3. |
- 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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| 4. |
- 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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| 5. |
- 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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| 6. |
- 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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| 7. |
- 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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