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- 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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- 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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- 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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- 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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- 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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| 8. |
- 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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