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  • 101.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Vidgade konstformer: cirkus och dans i jakten på nya rörelser: En visuell essä2011Other (Other academic)
  • 102.
    Damkjaer, Camilla
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Finnerup, Simon
    "Kunst og arkitektur på Gymnastikhöjskolen i Ollerup"2007Other (Other academic)
  • 103.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Anmeldelser: Musik och tolkning, ett nittonhundratalstema: (anmälan av Ståle Wikshåland:Fortolkningens århundre. Essays om musikk og musikforståelse. 473 sider. Spartacus/SAP 2009)2010In: Prosa - faglitterært tidsskrift, no 2Article, book review (Other (popular science, discussion, etc.))
  • 104.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Att frigöra klangen, att frigöra tiden: Ett halvt sekel med grafisk notation2003In: Stockholm New Music festivalmagasinArticle in journal (Other (popular science, discussion, etc.))
  • 105.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Att komponera rätt - och fritt: Om synen på konstfärdighet och genialitet i musiken1996In: Musikliv: Musica Vitae. Program våren 1996Article in journal (Other (popular science, discussion, etc.))
  • 106.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bokhyllan: Björn Hellström. Noise Design. Architectural Modelling and the Aesthetics of Urban Acoustic Space.2003In: Nutida Musik/Tritonus: NMT, ISSN 1652-005X, no 4Article, book review (Other academic)
  • 107.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Demagoger och aristokrater.: Om gestaltningen av ett tema hos Platon, Hanslick och Adorno. Karaktäristik och kritik.1990In: Musikologen.: Musikvetenskaplig bulletinArticle in journal (Other academic)
  • 108.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Filosofens försvarstal.: Louis Althusser: L'avenir dure longtemps suivi de Les faits. Autobiographies.1992In: Häften för kritiska studier, ISSN 0345-4798, Vol. 25, no 4Article, book review (Other academic)
  • 109.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Finn Egeland Hansen: Layers of Musical Meaning.2007In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 89Article, book review (Other academic)
  • 110.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Mathematics and Ideology in Modernist Music Theory2007In: What Kind of Theory is Music Theory?: Epistemological Exercises in Music Theory and Analysis, Stockholm: Acta Universitatis Stockholmiensis , 2007, p. 217-251Chapter in book (Other academic)
  • 111.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Mellan musiskhetens Skylla och kulturalismens Karybdis2011In: Musikvetenskapliga texter: Festskrift Holger Larsen 2011 / [ed] Jacob Derkert, Stockholm: Institutionen för musik- och teatervetenskap, Stockholms universitet , 2011, 120, p. 174-188Chapter in book (Other academic)
  • 112.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Musikvetenskapliga texter: Festskrift Holger Larsen 20112011Collection (editor) (Other academic)
  • 113.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om kvinnligt och manligt i musiken2003In: Nutida Musik/Tritonus: NMT, ISSN 00296597, no 1Article in journal (Other (popular science, discussion, etc.))
  • 114.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om musik som autonomt, självtillräckligt objekt, om musik som destillerad livserfarenhet, om musik som kommunikationsmedel och om musik som projektionsskärm för ideologier.1989In: Ord om ton: 14 uppsatser om musikforskning, Musikvetenskapliga institutionen, Stockholms universitet , 1989Chapter in book (Other academic)
  • 115.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om musikvetenskap som musiklivets kavaljer och om musikvetenskap som en lydig tjänare till den sanna musiken1989In: Musikologen.Musikvetenskaplig bulletin. 1989.: Texter från konferens för yngre forskare, Göteborg 7-8 april 1989, 1989Conference paper (Other academic)
  • 116.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Peter Wang: Affinitet og tonalitet. En analyse af dur-mol-tonalitetens grundspœrgsmål.2001In: Dansk Årbog for Musikforskning, Vol. XXIXArticle, book review (Other academic)
  • 117.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Påläst: Fruktan, fascination, frändskap2008In: Nutida Musik/Tritonus, no 2Article, book review (Other (popular science, discussion, etc.))
  • 118.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Påläst: L'Inouï. Revue de l'Ircam, #22006In: Nutida Musik, no 2Article, book review (Other (popular science, discussion, etc.))
  • 119.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Påläst: The Modernist Legacy: Essays on New Music. (recension)2009In: Nutida Musik, no 3, p. 73-74Article, book review (Other (popular science, discussion, etc.))
  • 120.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recensioner: François-Joseph Fétis: Esquisse de l'histoire de l'harmonie. An English-language translation of the François-Joseph Fétis History of harmony. Translated, annotated, edited and with an introduction by Mary I. Arlin.1997In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 79, no 2Article, book review (Other academic)
  • 121.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recensioner: Madeleine Hsu: Olivier Messiaen, the musical mediator. A study of the influence of Liszt, Debussy, and Bartók.1997In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 79, no 1Article, book review (Other academic)
  • 122.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Recensioner: Presenting Absence: Juliana Hodkinson: Presenting Absence: Constitutive Silences in Music and Sound Art since the 1950's. Diss., Institut for kunst- og kulturvidenskab, Københavns Universitet, 2007.2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91, p. 180-185Article, book review (Other academic)
  • 123.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Siri Derkert2004Book (Other (popular science, discussion, etc.))
  • 124.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Siri Derkert och Valle Rosenberg1996Other (Other (popular science, discussion, etc.))
  • 125.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Siri Derkert: teckningar1995Other (Other (popular science, discussion, etc.))
  • 126.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tonalitet och harmonisk artikulation i Claude Debussys verk: Om reception, harmonikteori och analys1998Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is a study of ways to analyze some harmonic features of the music of Claude Debussy. It begins with a critical survey of the discussion of tonality and dissolution of tonality in Debussy's works, as it did manifest itself in contemporary French criticism and in the Germanspeaking countries after World War I. It tries to clarify the notion of 'tonality' involved in this discussion. It comes to a critical conclusion concerning the characterization of Debussy's music as embodying dissolution of tonality, which is found to be either rather trivial or speculative, i.e. unproven and difficult to test. A conceptual clarification is suggested, which gives a slightly different, at once more general and more precise, meaning to the trivial version of the discussed characterization.

    Next we turn to a discussion of the use of different scale-forms found in Debussy's music. We show that, in spite of the absence of tonality at the chord level, and in spite of the presence of a wide variety of different scale-forms, a scale-based conception of keys can be used to analyze at least some works of Debussy as embodying an articulation of keys. We then turn to ways to analyze the scale-form variation in itself. Lastly, we note that key-articulation in Debussy's music is due to two factors: transposition and scale-form variation. We present a simple method to single out the contributions of these two factors.

  • 127.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    XVI Nordic Musicological Congress: Stockholm 2012: Abstracts2014Conference proceedings (editor) (Other academic)
    Download full text (pdf)
    fulltext
  • 128.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Derkert, Carlo
    [Efterord]: [Efterord till Göran Odbratt och Anders Petersen: Rågång till kärleken.]1991In: Rågång till kärleken, Norstedts Förlag, Stockholm , 1991Chapter in book (Other academic)
  • 129.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Musik igår, ljudkonst idag!2003In: Nutida Musik/Tritonus: NMT, ISSN 1652-005X, no 3Article in journal (Other (popular science, discussion, etc.))
  • 130.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Pedersen, Peder Kaj
    XVI Nordic Musicological Congress: Stockholm 2012: Proceedings2014Conference proceedings (editor) (Refereed)
    Download full text (pdf)
    fulltext
  • 131.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Foreword2007In: What Kind of Theory is Music Theory?: Epistemological Exercises in Music Theory and Analysis, Stockholm: Acta Universitatis Stockholmiensis , 2007, p. 9-10Chapter in book (Other academic)
  • 132.
    Eklund, Jonas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fenomenet Poppe, mellan scen och skratt: En studie av Nils Poppes komiska skådespeleri utifrån en fenomenologisk utgångspunkt2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Scholarly research on comical popular theatre is rare in the Swedish context even though the genre has attracted large audiences throughout the 20th century. Nils Poppe is one of the greatest Swedish actors in the comical genre and he is famous for his playful acting style. With my Master’s dissertation I aim to shed some light on both the genre and this great actor. Another aim of this Master’s dissertation is to gain understanding of what causes the audience’s laughter experiencing Nils Poppe’s comical acting. To understand the audience response to the comical acting I need to study the communication between the actor and the beholders.  

    In doing this I use Bert O. States phenomenological approach, in which he divides the communication into three modes in which the beholder experiences the action. In each of these modes I then use complementary concepts and theories to analyze the audience’s laughter.

    My analysis starts with the Representational mode in which the focus is on the fiction of the play. Using semiotics, I discuss Poppe’s characters as a stock character related to the Commedia dell’arte character Harlequin and other clown characters, which are imbedded in the audience’s memory. With examples from a play I show why the audience laugh in different scenes. 

    In the next chapter, I analyze the Self-expressive mode in which the artist at stage is in focus. While experiencing the fiction of the play the audience simultaneously experiences the reality on stage. The actor is present and Poppe’s real face, body and voice is affecting the audience’s response.

    The final mode is the Collaborative mode in which the collaboration between the actor and beholder is analyzed. The direction of the play and how Poppe interacts with the audience is increasing the impression of presence among the audience. In his acting, Poppe breaks the theatrical conventions of the separation between fiction and reality, and in improvisations, he challenges both the audience and fellow actor’s notion of theatre.

    The result of the study implies that some laughter can’t be explained just by studying each of these modes separately. When the character leaves the fictional play and acts within the audience reality, or when the actor on stage is understood as part of the fiction an incongruity is created that tends to make the audience laugh. 

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    Fenomenet Poppe, mellan scen och skratt
  • 133.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Music and cultural identity among Kurdish musicians in Stockholm2008In: Music and Identity: Transformation & Negotiation, 2008Chapter in book (Refereed)
  • 134.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Vilken musik är nutida konstmusik?2008In: Nutida Musik, no 2Article in journal (Other (popular science, discussion, etc.))
  • 135.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    En operaglimt av det offentliga samtalet2003In: Nutida Musik/Tritonus, no 3, p. 10-11Article in journal (Other (popular science, discussion, etc.))
  • 136.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Gunhild Karle: Kungl. Hovkapellet i Stockholm och dess musiker 1772-18182001In: Svensk tidskrift för musikforskning, p. 115-117Article, book review (Other academic)
  • 137.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Leilei Tian: När kontroll ställs mot frihet och struktur mot fantasi2006In: Nutida musik, no 1, p. 22-26Article in journal (Other (popular science, discussion, etc.))
  • 138.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Metastasiansk opera i Lovisa Ulrikas Sverige: En studie av fyra drammi per musica av Arvid Niclas von Höpken och Francesco Antonio Uttini2003Doctoral thesis, monograph (Other academic)
  • 139.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Music as mimetic representation and as performative act2008In: 15th Nordic Congress of Musicology, Oslo 5-8 augusti 2008, 2008Conference paper (Other academic)
  • 140.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Music as mimetic representation and performative act: Semiramide riconosciuta and musical construction of sexuality and gender2008In: STM-Online, Vol. 11, p. 43-Article in journal (Refereed)
    Abstract [en]

    The purpose of this article has been to investigate the question of the musical construction of sexuality and gender in the opera Semiramide riconosciuta (Venice 1745), set by Johann Adolf Hasse to the drama by Pietro Metastasio. Apart from analysing the music in relation to the drama, the method has been to analyse and to interpret the music in relation to the concept of performativity. The investigation has consisted of a comparative analysis between the two main characters in the opera, and between the two singers performing these characters.

    At the two high points of the performance, when the audience most likely were attentive to what happened on stage, there seems to have been a performative manifestation of the two main characters musically. The singers did different things to audience and the audience did different things to the singers and indirectly also to the musical constructions of the characters. In this way Hasse, who provided the singers with vocally suitable material, musically confirmed the message of Metastasio's drama: woman connected with passion and man connected with reason.

  • 141.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Musik, kön och genus i Händels Julius Caesar2006In: Tidig musik, ISSN 1400-5123, no 3, p. 12-17Article in journal (Other academic)
  • 142.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musikalisk konstruktion av det exotiska i opera seria under tidigt 1700-tal2008Report (Other (popular science, discussion, etc.))
    Abstract [en]

    That opera seria of the early eighteenth century can be interpreted in terms of the theoretical model of Edward Said’s “Orientalism”, has been established by scholars during the last decades. The drama often shows a polarity between two characters, the Ideal and the Exotic (Other). This dichotomy has been interpreted as a manifestation of the absolutistic ideal of the socio-historical context. If interpreted in relation to the drama the music often seems to confirm this model of representation.

    However, if one takes an opera seria’s multimedial constitution into consideration, and focuses on the independence of the music in relation to other means of expression, the construction of the Exotic appears as more nuanced than what has previously been established. In the following article this is demonstrated through a performative analysis of the opera Semiramide riconosciuta, set by Johann Adolf Hasse to the drama by Pietro Metastasio. The opera, performed in Venice during the carnival season 1744-1745, contains an exotic character that deviates from the stereotypical representation of the “barbaric” in for example Handel’s Giulio Cesare (1724) and Hasse’s Cleofide (1731). Challenging the dichotomy of Ideal and Other both dramatic and musically, the exotic character here appears as suited to the specific context of the performance situation in Venice, manifesting both the tradition of the carnival and the republican form of government.

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    FULLTEXT01
  • 143.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera seria and Musical Representation of Gender2006In: Twelfth Biennial Conference on Baroque Music, Warszawa 26 30 juli 2006, 2006Conference paper (Refereed)
    Abstract [en]

    In what ways can musical representation be said to correspond to general ideas about gender during the first half of the 18th century? An investigation of musical representation of characters in the Italian genre opera seria has resulted in the hypothesis that music was an important means to reflect contemporary ideas of power and gender. An opera seria consists of a number of musical styles connected to specific affects, situations and characters in the drama. In Georg Friedrich Händel’s Giulio Cesare (1724) the musical construction of the two main characters Giulio Cesare and Cleopatra appears to be an indication of contemporary ideas concerning gender. Whereas the hero is tied to a traditional ideal the heroine does not follow a specific pattern regarding musical styles. The freedom concerning constellation of affects as well as musical styles may be due to her position as main character and as a woman. She is not as the primary male character and the secondary characters connected to a conventional pattern in the frame of a ceremonial rhetoric.

  • 144.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera seria och musikalisk representation av genus2005In: STM-Online, ISSN 1403-5715; 2005 (8), Vol. 8, p. 24-Article in journal (Refereed)
    Abstract [sv]

    How can music be said to represent contemporary ideas about gender during the first half of the eighteenth century? This article is an investigation of musical representation of the main characters in George Frideric Handel’s opera seria Giulio Cesare (1724) from the viewpoint of a historical interpretation of gender. Indeed, music was an important means to reflect contemporary ideas of male and female.

    Cesare and Cleopatra are two noble characters in the opera. Handel uses different affects for each of them due to their different status and, indirectly, to their different genders. Handel also differentiates between the two characters when using the same musical affect. Cesare is a hero and is portrayed as a heroic character using the customary constellation of affects and a musical representation. Cleopatra, on the contrary, is more complex. Her femininity is expressed in three character types: the thoughtless woman, the loving seductress, and the lamenting victim. Handel goes further, allowing Cleopatra to dress up as a heroic, triumphant character, mirroring the character of Cesare himself. This is reflected in the music too, but Handel combines the heroic style with motifs and affects associated with Cleopatra as a feminine character. Traditionally the leading male characters have a conventional pattern and framework of ceremonial rhetoric through which to express their heroism. As a woman Cleopatra is free from these conventions and although she is a main character she could never become a heroic hero. Handel exploits this contradiction musically, giving her a broader palette of affects and wider musical representation than to a conventional male hero.

  • 145.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera som politiskt maktmedel i Lovisa Ulrikas Sverige2003In: Tidig musik, ISSN 1400-5123, no 4, p. 22-26Article in journal (Other academic)
  • 146.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Situation comedy and irony in Il re pastore2004In: W. A. Mozart Il re pastore, konvoluttext: Adam Fischer, The Danish Radio Sinfonietta, The Danish Radio, Copenhagen , 2004, p. 45-47Chapter in book (Other (popular science, discussion, etc.))
  • 147.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sommarens operasvep: Den nyskrivna operan och det historiska rummet2004In: Nutida Musik, no 2, p. 54-56Article in journal (Other (popular science, discussion, etc.))
  • 148.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sport, videoprojektioner och interaktivitet: Reflektioner över ny opera2005In: Nutida Musik, no 1, p. 44-45Article in journal (Other (popular science, discussion, etc.))
  • 149.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tidsresor, dröm och verklighet: I den samtida operan citeras musikhistorien2003In: Nutida Musik/Tritonus, ISSN 1652-005X, no 2, p. 17-21Article in journal (Other academic)
  • 150.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Arvid Niclas von Höpken (1710-1778)2013Other (Other academic)
    Abstract [sv]

    Arvid Niclas von Höpken, född i Stockholm 7 juli 1710, död i Stralsund 28 juli 1778. Adelsman och militär. Överstekommendant på fästningen i Stralsund 1777−78. von Höpken bedrev kompositions- och kopistverksamhet. Han komponerade italiensk opera seria som stilistiskt är jämförbar med samtida operor av viktiga representanter för genren som Johann Adolf Hasse och Carl Heinrich Graun. Hans tonsättning av Pietro Metastasios Il re pastore är en av de tidigaste kända tonsättningarna av detta libretto.

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