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  • 651.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    String Theory: The String Orchestra as Turning Point for a New Musical Paradigm2009In: World New Music Magazine, ISSN 1019-7117, no 19, p. 28-33Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Four pieces for string orchestra functioned as a turning point for Swedish New Music of the 1980's.

  • 652.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tanken behöver en kropp2008In: Axess, ISSN 1651-0941, no 4Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Recension av Mark Johnson, The Meaning of the Body, The University of Chicago Press 2007 och Nielsen et al. (red.), Das Leib–Seele-Problem und die Phänomenlogie, Könighausen & Neumann 2007.

  • 653.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tonsättarens väg gick rakt in i tystnaden2006In: Axess: Annex (bilaga till Axess), no 3, p. 38-39Article, book review (Other (popular science, discussion, etc.))
  • 654.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Upplysningens självreflexion. Aspekter av Theodor W. Adornos kritiska teori. recension av Anders Ramsay2006In: Axess: Annex (bilaga till Axess), no 3Article, book review (Other (popular science, discussion, etc.))
  • 655.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Vi är inte klara med Nietzsche på länge än: Artikel under strecket i SvD, recension av David Brolins Friedrich Nietzsche. Liv, filosofi, politik (Häften för kritiska studier, 352 s) och Fredrika Spindlers Nietzsche. Kropp, konst, kunskap(Glänta Produktion, 182 s).2010In: Svenska Dagbladet, ISSN 1101-2412Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

     Det finns över 20000 volymer om Friedrich Nietzsche. Två svenska Nietzschekännare har i höst bidragit med böcker som visar att filosofen fortfarande ­låter sig läsas som både protofascist och frihetsapostel.

  • 656.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Wenders väljer att se ett helt annat Palermo2008In: Svenska Dagbladet, no 081223Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Med sin film Palermo Shooting visar regissören Wim Wenders att det finns andra bilder att visa av Palermo och Sicilien än maffian.

  • 657.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    With Unease as Predicament: On Knowledge and Knowing in Artistic Research on Music2013In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 95, p. 25-39Article in journal (Refereed)
    Abstract [en]

    The point of departure is Henk Borgdorff's characterization of the relation between the communities of traditional scholars and of artistic researchers as uneasy. With a short look at the relationship between music and science historically, this unease is revealed to be recurrent, but the origin in Pythagorean thought can serve as a corrective to a purely theoretical attitude. The question of knowledge is pivotal. George Steiner has suggested that the springs of creation lie beyond reach for research. However, artistic research seems to promise a better understanding of the creative process. This kind of research is often, by the researchers themselves, said to fathom tacit, non-discursive, even ineffable knowledge, as opposed to the explicit knowledge of ordinary research. In the article, it is however argued that such an opposition cannot be upheld: artistic research gives voice to tacit knowledge, making it explicit; scholarly studies on music are not closed to the aesthetic impulse; in both fields, explicit knowledge has excited aesthetic expression. Finally, instead of seeing reflective discourse as a problem in artistic research, it is suggested that new ways of letting the world be formulated in language should be striven for. Here, the aesthetic impulse brings a productive unease to both theory and practice.

  • 658.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Örat förtjänar en större plats i vårt tänkande: Artikel under strecket SvD om lyssnandets filosofi2010In: Svenska Dagbladet, ISSN 1101-2412, no 19 decArticle, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Synens dominans i den västerländska filosofin är i det närmaste total, från Platon till Edmund Husserl. I en ny bok av David Espinet uppmärksammas hörselns betydelse för tänkandet. Har filosofin glömt av att lyssna?

  • 659.
    Wallrup, Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Almqvist, Kurt
    Cosmopolitanism: Perspectives from the Engelsberg seminar 20032006Conference proceedings (editor) (Other (popular science, discussion, etc.))
  • 660.
    Westerling, Kalle
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Drugornas underbara värld2009In: Kroppsspråk och Tankesprång: Vetenskap i rörelse / [ed] Anne Lundqvist, Ingrid Redbark-Wallander, Mikael Strömberg, Kalle Westerling, Stockholm: STUTS , 2009, 1, p. 68-93Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    I denna artikel kommer olika aspekter av dragshow och drag som politisk attityd att fokuseras - inte som något som enbart finns idag, är "accepterat" idag och inte heller något som vuxit fram med homosexuella kampen, queeraktivism, eller queerteori. Det rör sig snarare om vad man kanske skulle kunna kalla en "transkronistisk queer förståelse": Kanske var drag mer "queert" på 1920-talet än under 1980-talets första år? Artikeln gör ett par nedslag i svensk homofil-, gay- och queerhistoria för att visa på hur dragkroppen (och "den homosexuella kroppen") varierat, men alltid formulerat något sorts motstånd mot både hegemonisk heteronormativ kultur, men också mot den egna rörelsens konformitet i enlighet med denna.

  • 661.
    Wetterholm, Sanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Organologisk undersökning av Stockholmsorglar: om beslutsprocessen bakom orgeltillverkning och -installationer2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 662.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Att värdera en musikalisk företeelse1979In: Nordisk musik och musikvetenskap under 1970-talet, en kongressrapport, Musikvetenskapliga institutionen, Göteborgs universitet , 1979, p. 217-227Chapter in book (Other academic)
  • 663.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    “AUTHENTICITY,” “WERKTREUE” AND THE MUSICAL WORK: VLADIMIR HOROWITZ’S PERFORMANCE OF SCHUMANN’S TRÄUMEREI2014In: XVI Nordic Musicological Congress: Stockholm 2012: Proceedings / [ed] Jacob Derkert, Peder Kaj Pedersen, Stockholm: Department of Musicology and Performance Studies, Stockholm University , 2014, p. 154-163Conference paper (Refereed)
    Abstract [en]

    The starting point for the following reflections about performance practice and its relationship to the musical work is a critical article in The New Grove Dictionary (6th ed. 1980). The article deals with one of the legendary musicians of the twentieth century, the Russian-American pianist Vladimir Horowitz who is criticised in a way that is unusual in a dictionary. My intention is not so much to take a stand to this criticism but to widen the approach and examine the statements (arguments) from a broader perspective, to contribute to a more general discussion about musical evaluations and their attachment to different opinions on what phenomenon the musical work is. During the 1920s and 1930s there was a radical change in ideals of composition and performance practice. The hypothesis of the author is that this change is grounded not only in new aesthetical ideals, but also in a different opinion on the nature of the musical work. This shift in paradigm is the result of a series of changes in society in which also (the) musicology played an important role.

  • 664.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Dag Wiréns pianomusik2005In: Dag Wiren: - en vägvisare, Gidlunds förlag , 2005, p. 352-Chapter in book (Refereed)
    Abstract [sv]

    Artikeln behandlar Dag Wiréns publicerade pianomusik med en sammanfattning och är kronologiskt uppdelad efter verkens tillkomsttid i fem avsnitt:

    Tema med variationer op. 5 s. 22-29

    Ironiska småstycken op. 19 s. 123-127

    Sonatin op. 25 och Pianokonsert op. 26 s. 206-220

    Tre sena pianoverk improvisationer op 35, Miniatyr och Liten pianosvit op. 43 s. 251-259

    Estetikern s. 283-285

    Dag Wirén utbildades både som pianist och organist - ändock intog klavermusiken åtminstone omfångsmässigt inte någon central roll i Wiréns mogna produktion. Av 44 publicerade opus är det endast ett halvt dussin verk som är för skrivna piano och inget för orgel.

    Pianomusiken är emellertid relativt jämt fördelad över Wiréns produktiva tid och dessutom konstnärligt betydelsefull, varför den inte bara ger möjlighet att följa Wiréns utveckling som tonsättare, utan också en djupare inblick i Wiréns sätt att komponera.

    Wirén hade redan från början sin förankring i en wienklassisk rytmisk/motivisk bearbetningsteknik. Denna ger musiken dess drivkraft samtidigt som musiken får en karaktär av intellektuell lek som bidrar till det humoristiska i Wiréns konstnärsskap. Koncentrationen på den tekniska bearbetningstekniken, skulle förstärkas genom åren och alltmer koncentreras på transformationer av det tematiska materialet.

    Mycket av Wiréns kompositionsmässiga utvecklingsarbete rörde frågan om verkens form. Wirén eftersträvade att varje verk skulle ha en individuell formgestaltning och vägen mot detta mål var att gradvis variera och förändra byggstenarna. Denna focusering på det tematiskt/motiviska skulle förstärkas mot slutet av Wiréns liv. Ett begränsat antal tekniska handgrepp återkommer som ett slags kompositionstekniska "motton" och skapar förbindelser inte bara mellan satser i ett verk utan också mellan verken.

  • 665.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Erik Gustaf Geijer: Sonatas for piano four hands2000Book (Refereed)
    Abstract [en]

    Erik Gustaf Geijer: Sonatas for piano four hands, text critical ed. of "Dubbelsonater Ess-dur, f-moll"

    Inledning s. VII - X,

    Introduction pp. XI - XV

    Erik Gustaf Geijer (1783-1847) is one of the great personalities of scholarship and the arts in Sweden during the first half of the 19th century. His versatility and complicated personality are an abiding source of fascination, even though much of his life's work is now inaccessible or outmoded. Our only available testimony concerning the brilliant history lecturer who counted oratory as one of his principal fields of activity comes from contemporary sources. The historical research to which he devoted his utmost energies has been overtaken, understandably enough, by modern source criticism. His literary output, too, has been differently valued by different scholars. Paradoxically, it is perhaps the least familiar side of Geijer´s manifold talents-composition-that is most alive to-day. Geijer was one of the best-loved songwriters of the 19th century. But although, quantitatively, his output is dominated by vocal music, his loftiest ambitions were probably reserved to instrumental music. These works have received little attention hitherto, partly because they are difficult to come by.

    It is above all his output of instrumental music in the 1820s that suggests a more central role for music in Geijer´s life. As a young man, he may even have toyed with the idea of becoming a professional composer. He studied continuo with Pehr Frigel, Secretary to the Royal Swedish Academy of Music. But composition in Sweden at this time was a hazardous career. With so many talents to choose between, Geijer had difficulty at first in deciding on a career, and perhaps it was pure chance, in the form of sudden promotion prospects in historical research, that drove him into that field.

    Chamber-music was little favoured in Swedish public music-making during the 19th century. It belonged mainly to the domestic sphere. The best-known '"institutions" for chamber-music in the first half of the 19th century were the home of J. Mazer and the circle round Geijer himself in Uppsala. Thus there was little need for printed music. Only one major instrumental composition by Geijer was printed in his own lifetime, namely the four-hand sonata in F minor presented here. The rest of his output was mainly passed on from one private hand to another, and even today, new autographs and manuscript copies are still coming to light.

    Piano duets were a regular stand-by of the musical drawing rooms. Both the surviving sonatas for four hand here presented in a text critical edition, prove that Geijer was a skilful pianist and proficient in writing for two pairs of hands. The four-hand structure clearly inspired him. He has been at pains achieve independent parts, a contrapuntal texture and an economy of four-hand writing, with pleasing, full-sounding results. The second part in particular has been allotted an independent role not very commonly to be found in piano duets.

    The musical style of Geijer's instrumental works is clearly rooted in the tradition of Viennese Classicism. Precursors can be looked for in Clementi, Haydn, Mozart and Beethoven. Beethoven's influence particularly is very much in evidence. Several works present more or less obvious parallels-both in melody and harmony and in texture and performance marks.

  • 666.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Interpretation - den felande länken mellan musiker och musikforskare1989In: Ord om ton. 14 uppsatser om musikforskning,, Musikvetenskapliga institutionen, Sthlm 1989 , 1989, p. 145-158Chapter in book (Other academic)
  • 667.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Jan Ling: Franz Liszt och 1800-talets konstmusik2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Jan Ling anger inledningsvis i sin nya bok om Franz Liszt målet för arbetet:  ”Detta är ingen monografi om tonsättaren Franz Liszt utan något betydligt blygsammare: jag har valt Liszt som min ciceron för att han skall hjälpa mig att förmedla något om 1800‑talets konstmusik till dagens musikälskare.”

    Trots författarens försäkran om att det inte är fråga om en monografi, finns ändock huvuddragen i Liszts liv presenterade. Vi får i kronologisk ordning möta Liszt som underbarn med studier för Carl Czerny i Wien, etablering bland konstnärsvänner i Paris, pianistduellen 1837 med Sigismond Thalberg samt resan till Schweiz och Italien med Marie d´Agoult under vilken de tre barnen, Blandine, Cosima och Daniel föddes. Vi får möta den avantgardistiske kapellmästaren i Weimar som gjorde staden till den moderna musikens Mecka och den åldrande Liszt  pendlande mellan Rom, Budapest och Weimar, ömsom undervisande kontinentens nya pianoidoler, ömsom komponerande katolsk kyrkomusik och experimentell pianomusik.

  • 668.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Karl Aage Rasmussen: Den kreativa lögnen: Tolv kapitel om Glenn Gould2006In: Svensk tidskrift för musikforskning, Vol. 88, p. 135-136Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Få klassiska musiker i vår tid har fått en sådan mytisk status som den kanadensiske pianisten Glenn Gould. 25 år efter hans död är intresset livaktigare än någonsin. Inte bara Goulds hela officiella produktion av skivor, essäer, artiklar, TV- och radioprogram finns återutgiven. I en jämn ström kommer också tidigare outgivet material, liksom nya optimerade överföringar av gamla inspelningar.

    Fenomenet Glenn Gould är sociologiskt intressant och säger förmodligen lika mycket om vår egen tid som om föremålet själv. Det finns säkert lika många förklaringar till detta intresse som det finns sidor i Goulds omfattande konstnärsskap. När Gould drog sig tillbaka från konsertestraden, endast 32 år gammal, fick han möjlighet att utveckla sin mångsidiga begåvning inom en rad fält vid sidan av den traditionella konsertmusikerns.

    I dag finns ett drygt dussintal böcker som belyser olika aspekter av Goulds konstnärsskap. Två av dessa finns nu också glädjande nog i svensk översättning på Bo Ejebys förlag. 1999 kom ett urval av Glenn Goulds artiklar och programkommentarer hämtade från "The Glenn Gould Reader" med rubriken "Bort med applåderna". Boken avslutades med ett efterord av tonsättaren och musikskribenten Karl Aage Rasmussen. I bearbetad form utgör detta inledningskapitlet till en ny bok av samme författare: "Den kreativa lögnen. Tolv kapitel om Glenn Gould."

    I tolv korta men mycket innehållsrika kapitel utvecklar Rasmussen lika många sidor av Goulds konstnärsskap och livsöde. I kapitelrubriker som "Mediet och budskapet", "Mytens ansikten och masker", "Sjukdomar och sjukdomsbilder", "Pianisten", "Kompositören", penetreras inträngande olika aspekter av Goulds verksamhet.

    Boken kan ses som en introduktion till fenomenet Glenn Gould. Författaren har utan tvekan en stor kärlek till sitt ämne men också en kritisk distans. Han undviker inte att ta ställning till Goulds åsikter eller konstnärliga utveckling. Boken kan därför upplevas som provocerande för den som inte i allo delar författarens åsikter.

  • 669.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Konsten att utbilda konsertbesökare eller.... Några anteckningar kring musikvetenskapens mål1979In: Skriftfest Martin Tegen, Musikvetenskapliga institutionen, Stockholms universitet , 1979, p. 221-233Chapter in book (Other academic)
  • 670.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Music Analysis, Interpretation and the Musical Works of Chopin2004In: Analytical Perspectives on the Music of Chopin, Narodowy Instytut Fryderyka Chopina, Warszawa , 2004, p. 23-55Chapter in book (Refereed)
    Abstract [en]

    The aim of the article is to present some methodological considerations concerning how to understand the musical works of the Romantic period and to find a new way understanding the musical work, that can explain features that are not explained by usual analytical methods.

    The musical work is a very complex and ambiguous concept. To give more general criteria that are valid beside culture, time and space is not possible. The question per se is also a methodologically interesting one. The answer one gets is depending on a lot of different factors: which type of answer one wishes to have, in which cultural tradition one asks the question, which genre or composer you have in mind, but also from which professional perspective you try to answer the question. The question touches upon most of the different parts of musicology: history of music, analysis, performance practice and pedagogical issues. It is also founded in theories of knowledge and aesthetical ideals and touch upon the important borderline in humanities between science and practice.

    How you mark off your investigation also decides which answers you get. What you ask for you get answer on. If you are not asking for contextual features of the musical work - how people perceive, reflects and evaluates music you don´t get any answers of contextually musical features. If you don´t use that type of material that is the link between the notation and the music as a sound art the music will not be a sound art. If you don´t include the performer in the musical work, music will not be a performance art. In other words, if you don´t have a musically starting point you don´t get any musical answers.

    If there are answers not satisfyingly answered by theory you have to have a different starting point. You have to put yourself beside the traditional way of looking at the musical work, its concepts and ways of describing. the music. To understand a culture you have to have the same professional perspective and dividing between theory and practice, as in the culture itself.

  • 671.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Richard Andersson (1851−1918)2013Other (Other academic)
    Abstract [sv]

    Ernst Christian Richard Andersson, född 22 augusti 1851 i Stockholm, död 20 maj 1918, var en svensk pianist, pedagog och tonsättare som kom att influera generationer av pianister och tonsättare med sin 1886 grundade mönsterbildande musikskola. Som tonsättare skrev han pianomusik och sånger samt gjorde flera bearbetningar av svensk folkmusik. Invald i Kungl. Musikaliska akademien 1890. Åren 1904–06 var han lärare vid Musikkonservatoriet i Stockholm och fick professors namn 1912.

  • 672.
    Wikman, Bertil
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Interpretative Musical Form of Chopin´s Nocturne Op. 27 No. 22003In: Chopin and his Works in the Context of Culture, vol 1, Polska Akademia Chopinowska, Warszawa , 2003, p. 433-454Chapter in book (Refereed)
    Abstract [en]

    The starting point for the article is some variants of dynamic art in Chopin’s Nocturne op. 27 no 2. The background is a study of textual variants and different renditions of the Nocturne from its creation to our own time. The aim is to study interpretative variants from a broader ontological perspective. What do these variants tell us about the conception of the musical work of the time? The investigation is based on Chopin’s manuscript, 3 scores annotated by the composer, about 30 different editions and 70 recordings of the nocturne. To answer such a question, one also has to consider the variants in their historical context, and to study the interpretative ideals as they emerge in theoretical and pedagogical works of the time, in performance directions by Chopin and his contemporaries, and in arrangements and edited scores of music from earlier times.

    According to his contemporaries, Chopin never played his own compositions alike twice, and he often changed his performing directions even in his published scores. This inability to reach a decision or - from a different perspective - this great improvisational ability was a part of the interpretative and compositional process in the nineteenth century. The variants are interesting in many ways. They point to something fundamental in the musical work, not only in older times, but also in our day. To ability to adjust the interpretation to the mood, the personal feeling, the acoustics and the instrument, and to find a personal rendition is still valued among musicians in our day.

    The intentional work concept of the twentieth century cannot explain this variability of the musical work in a satisfying way. The fact that one can play a work of music in so many ways, indicates that the musical structure is to some extent - and in certain contextual environments an important extent - changeable. The musical work seems to have some autonomy in relation to the composer and the score. The variability is also a part of the personal and stylistic approach to the musical work. The works of some composers are said to have more interpretative variability than the works of others, and Chopin is often seen as one of the most ambigious composers in this respect.

    The problem of the changeable musical work has been discussed from time to time, but its ontological implications seem not to have been clarified. Even the variants as such have not been systematically investigated. The paradoxical conclusion is that what constitutes a great problem for the editor of an Urtext, is from the historical and interpretative point of view a unique possibility to understand what the musical work is about, not only for the performer but also for the composer and the public. Instead of being a problem, the Chopin variants bring us back to the concept of musical work in the first half of the 19th century. They can provide a clue to the ambiguity of the musical work answers to the questions: How is it possible to play music in so many different ways? What gives the musical work its identity in spite of this variability?

  • 673.
    Wikman, Bertil
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Persson, Hans
    Stockholm University, Faculty of Science, Department of Mathematics and Science Education.
    Hjalmar Söderberg, musiken och Doktor Glas2010In: Läkarens plikt och moralens flytande tillstånd.: Synpunkter på Hjalmar Söderbergs Doktor Glas / [ed] Nils O. Sjöstrand, Stockholm: Proprius , 2010, p. 154-186Chapter in book (Other academic)
    Abstract [sv]

     

     

    Musiken spelade en betydande  roll i Hjalmar Söderbergs liv och konstnärsskap. Både som privatperson och som yrkesman tycks han ha haft ett starkt musikintresse.

     

    Som recensent under några år i början av sin tidningskarriär recenserade Söderberg ett brett spektrum av sceniska alster, huvudsakligen teaterpjäser av olika kaliber, men här fanns också allt ifrån revyer till operetter. Som trägen besökare av tidens olika nöjesetablissemang och utskänkningsställen, var han också väl förtrogen med den repertoar av  både seriösare och mer populärt slag som enligt tidens sed samsades på tiljorna. Denna musikaliska bakgrund gör sig om och om igen påmind i Söderbergs litterära verk.

     

    P g a den starka tidsförankringen i kultur och miljö, karakteriserades Söderberg av sin samtid som en efemär författare. Man förutspådde att hans romaner och noveller snabbt skulle bli omoderna. Tiden har emellertid visat att spådomen kommit på skam. Söderbergs författarskap är fortfarande aktuellt och fräscht trots en stark förankring i samtidens politiska och kulturella problemställningar. Talespråket "ju mer personlig desto allmängiltigare" kanske kan tillämpas även här. Ju mer fast förankrad i tid och miljö en litteratur är, desto intressantare kan den paradoxalt nog vara för senare tider att spegla sig i.

     

    Detta gäller också de musikaliska beskrivningar och referenser som förekommer i Söderbergs författarskap. Musiken utgör ofta ett slags akustisk fond mot vilken diskussioner och reflektioner förs. Denna "ljudkuliss" är inte bara av historiskt intresse som en spegel av tidens repertoar och tidens musikliv, utan ger också en förståelse för den förändring som skett i musiklivet sedan sekelskiftet 1900.

     

     

  • 674.
    Wikman, Bertil
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Persson, Hans
    Giftinformationscentralen.
    Mozarts liv och död1991In: Läkartidningen, Vol. 49, no 4 december, p. 41253-41260Article in journal (Refereed)
    Abstract [sv]

    I artikeln redovisas några medicinska, sociala och musikaliska aspekter på Mozarts liv och verk.

  • 675.
    Wikman, Bertil
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Persson, Hans
    Giftinformationscentralen.
    Strandvik, Birgitta
    Pediatriska kliniken Göteborgs universitet.
    Frédéric Chopin: – the Man, his Illness and his Music2005In: Przeglad Lekarski, Vol. 62, p. 321-325Article in journal (Refereed)
    Abstract [en]

    Chopin´s artistry and his illness.

    Did Chopin´s fateful disease, and his instinctive understanding of its poor prognosis, influence his musical artistry?

    Generally spoken, the relation between an artist´s life and his work has been very much discussed. Concerning Chopin, Franz Liszt wrote that he used his art to reflect on the tragedy of his life. This is, certainly, not true for all his works, but it is undeniably so, that it seems relevant for some of them.

    Chopin composed some works that carry a very special, dark and emotional intensity that goes far beyond the musical conventions of the time. Examples are some of the Préludes, especially those in A minor, E minor and B minor Op. 28. Another amazing example is the last movement of the Sonata in B flat minor, about which Robert Schumann said that it was not music at all. Some of these works were undoubtedly composed when Chopin was struck by an awareness of his mortal illness, for example in Majorca 1838.

    During the 1840s when Chopin was fighting more and more desperately against his illness, we also notice a dramatic change in his musical style. The beautiful melodies are becoming fragmented, the conception of form is more improvisatory and the harmony still more audacious. One poignant example is the Polonaise-fantasie where Chopin also is mixing two genres. Another remarkable piece, presumably from his last year, is the Mazurka in F minor Op. 68 No. 4 where the advanced harmony is built on extreme chromatics and the melody is remarkably fragmented.

    The other relation between Chopinís artistry and his illness is easier to demonstrate - that between the pianist and his illness. Chopin never had the great force in his playing, as for example Franz Liszt. Chopin´s dynamically weak playing became still more recognizable in the 1840s when his illness progressed. During the last years several people witness that Chopin no longer could follow his own dynamic instructions - where he had written fortissimo he played piano. The lack of dynamic force was compensated with a playing style, which was a miracle of fine nuances, shadings and rhythmic liberties. All this made his playing unforgettable and impossible to imitate

  • 676.
    Wilczkowski, Tobias
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Heinrich Wilhelm Ernst and his Contributions to the Development of Left-hand pizzicato and Harmonics.2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    From the middle of the eighteenth century, the use of left-hand pizzicato and harmonics began to become more common in violin playing. Over time, these techniques underwent substantial developments thanks to several different violinists, among others Heinrich Wilhelm Ernst. These developments, however, have not been adequately investigated or documented, and in general, ignorance and misconceptions prevail regarding who contributed what, as well as to the significance of these individual contributions.This thesis attempts to present Ernst's contributions in this area, and also advance that his lack of adequate recognition is unfair. In order to do this, a more complete and chronologically accurate review of the development of left-hand pizzicato and harmonics from the beginning of their development has been drawn up. This has been done through critical reviews and comparisons of different contemporary sources such as musical journals, violin methods and musical scores.The conclusion has been drawn that Ernst contributed to the development of left-hand pizzicato and harmonics to a greater extent than has been adequately recognised. The importance of his role in this development is partially due to the number of his individual contributions, but primarily because he enabled the violin to play the role of several independent instruments played simultaneously in a more advanced fashion, which has arguably changed the outlook of the instrument.

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  • 677.
    Zaccarini, John-Paul
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Circoanalysis: Circus, Therapy and Psychoanalysis2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    There is an object/artefact of circus and a subject/process that makes it. This research considers the subject of the circus-making in order to bring it to the foreground of future discussions about pedagogy, practice and production.  If the shift from Traditional to New Circus brought with it changes in education – the incorporation of theatre and dance – then the emerging Contemporary Circus may need a more refined set of tools to facilitate its creative growth. This thesis sets out how psychoanalytic theories can be adapted and its key practices adopted to bring about this shift from New to Contemporary Circus in pedagogic practice.

                                 The practice tends to the subject that is traditionally mute in the face of the demands of circus, to which it complies becoming an object with minimal agency. Psychoanalytic praxis is adapted to give the subject a voice in order to develop a methodology specific to circus; circoanalysis. Following Freud it starts with the analogy of the circus act and the dream, the proposition that both are productions of the unconscious and contain hidden meanings and desires disguised by the formal content. It continues with the analogy of the symptom, which must be repeated for the partial and ambiguous satisfaction of unconscious desire and is at the threshold of the somatic and the psychic. Winnicott's theory of play is utilised to examine how artists explore and work through certain aspects of anxiety provoking psychic content in their work. Anxiety, in its Lacanian formulation, present in both circus and the consulting room, provides the key to understanding the importance of the Other in the act. Circus, like psychoanalysis, needs its other to recount its story to. Over one hundred research participants, students and professionals, engaged in the practices of questionnaires, focus groups, consultations, interviews and extended periods of circotherapy.

                                 The thesis describes the development of a technique of talking through the manifest, formal content of the circus act in order to get to the unconscious desires that create it. The act is then seen as a symbolic compromise formation enveloping a kernel of real jouissance. In a series of case studies hysteria, obsessive neurosis, masochism, paranoid fantasy and melancholia are seen both as a series of subject positions with regard to circus and its spectator and as ways of managing an excessive enjoyment. Circus is put into a new context as a healing practice for its practitioners, whether in the form of repetition compulsion that turns bad objects into good ones or as a homeopathic self-immunisation against pain, anxiety and the relation to the Other. It casts new light on the problematic the circus has with the theatrical performance tropes of character and narrative which emerge as disavowals of this latent content and relation to the Other and suggests that a move forward, beyond this Other of the circus, implies a certain form of mourning.

  • 678.
    Zaccarini, John-Paul
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Fragments of a Circoanalysis2010In: Den inre scenen: Teater & psykoanalys / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 105-121Chapter in book (Other academic)
  • 679.
    Öhman, William
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Tanke och tolkning: En komparativ studie av gestaltningsprocessens inverkan på två pianisters interpretation.2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats är en komparativ studie av två pianister med olika kulturell bakgrund, Hans Pålsson och Valentina Lisitsa. Utgångspunkt för arbetet är en undran över varför klassiska pianister tenderar att i viss mån gestalta ett stycke olika trots framförande av samma noterade stycke. Frågeställningarna lyder:

    • Hur skiljer sig gestaltningsprocessen åt mellan pianisterna?
    • Hur skiljer sig tolkningar av två specifika verk åt mellan pianisterna?
    • Går det att koppla avvikande skillnader i tolkningarna till gestaltnings­processen för att besvara varför pianisterna i vissa avseenden spelar olika?

    Metoden för att utforska detta möjliggörs först genom en redogörelse av pianisternas gestaltningsprocess där källmaterialet är intervjuer, tv-program och skriftlig dokumentation i form av böcker och artiklar. Därefter en komparativ analys av audiovisuella inspelningar i form av youtube-klipp och tv-program av pianisternas interpretationer av samma verk. De valda verken är två kompositioner av Rachmaninov, preludium i G-Dur op. 32:5 och preludium i g-moll op. 23:5. Resultatet av jämförelsen relateras till pianisternas tankar för att ge generella fingervisningar om vad de personligen uttrycker i vardera tolkning. Uppsatsens resultat är ett argument för att både övergripande och konkreta skillnader i tolkningarna går att koppla till pianisternas gestaltningsprocess och musikåskådning. Slutsatsen är att pianisterna i olika grad är aktivt medskapande till det musikaliska uttrycket i respektive framförande.

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