Studier i Christian Geists vokalmusik

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Fältnamn	Indikatorer	Metadata
000		03582nam a2200601 4500
001		oai:DiVA.org:uu-2001
003		SwePub
008		020426s2002 \| \|\|\|\|\|\|\|\|\|\|\|000 \|\|swe\|
020		a 9155452663q print
024	7	a https://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-20012 URI
040		a (SwePub)uu
041		a sweb eng
042		9 SwePub
072	7	a vet2 swepub-contenttype
072	7	a dok2 swepub-publicationtype
100	1	a Berglund, Lars,d 1964-u Uppsala universitet,Institutionen för musikvetenskap4 aut0 (Swepub:uu)larsbund
245	1 0	a Studier i Christian Geists vokalmusik
246	1	a Studies in the vocal music of Christian Geist
264	1	a Uppsala :b Acta Universitatis Upsaliensis,c 2002
300		a 391 s.
338		a print2 rdacarrier
490	0	a Studia musicologica Upsaliensia,x 0081-6744 ;v N.S., 21
520		a 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.
650	7	a HUMANIORAx Konstx Musikvetenskap0 (SwePub)604082 hsv//swe
650	7	a HUMANITIESx Artsx Musicology0 (SwePub)604082 hsv//eng
653		a Musicology
653		a Sweden
653		a music history
653		a music analysis
653		a 17th-century
653		a sacred concerto
653		a sacred aria
653		a Düben Collection
653		a Christian Geist
653		a Charles XI
653		a Musikvetenskap
653		a musikhistoria
653		a musikanalys
653		a 1600-tal
653		a andlig vokalkonsert
653		a andlig aria
653		a Dübensamlingen
653		a Christian Geist
653		a Karl XI
653		a kungliga hovkapellet
653		a Music
653		a Musikvetenskap
653		a Musicology
653		a Musikvetenskap
700	1	a Bergsagel, John4 opn
710	2	a Uppsala universitetb Institutionen för musikvetenskap4 org
856	4	u https://uu.diva-portal.org/smash/get/diva2:161614/PREVIEW01.jpgx Previewy preview image
856	4 8	u https://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-2001

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Av författaren/redakt...: Berglund, Lars, ...; Bergsagel, John

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Av lärosätet: Uppsala universitet

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