"Mot Kveld", "en liten komposisjon" som har klebet seg fast gil Agathe Backer Grøndahls minne
2009 (Norwegian)In: Studia Musicologica Norvegica, ISSN 0332-5024, ISSN 0332-5024, Vol. 35, 61-77 p.Article in journal (Refereed) Published
The song Eventide attracted a big number of listeners and performers and has above all gotten an important role in Norwegian music historiography in connection with women’s music repertories. On further examination, this idyllic song is able to give us a snapshot of the text in the intersection between the childrens and grown-ups’ consciousnesses. At first glance, this hitherto not thoroughly analysed song seems simple, but meanings grow out as a mixture of the masque and the voices projected into this song by multiple listeners’ and performers’ subject positions. On removal of layers of dominant ideology from the surface, there is excess meaning that can be used to cut off "Eventide"s music historiographical meaning. Through the more complicated texture that smoulders beneath the surface of this song, Backer Grøndahl opens up for more realistic dimensions to be interpreted into this seemingly intimate and idyllic song. In this way she leaves further and more sophisticated interpretations to her listeners and amateur performers. In this song Backer Grøndahl opens the romance genre up for more and not so idyllic pictures and brings it into crisis and change. In this way, she and her amateur performers turn out to be in the intersection between established romances composed by Norwegian men, and a future popular, feminine form of expression, which they probably just saw the silhouette of.
Place, publisher, year, edition, pages
Oslo: Universitetsforlaget , 2009. Vol. 35, 61-77 p.
Agathe Backer Grøndahl, Evetide, Music, Gender and genius, Femininity, Music historical knowledge and canonization, Gender and genre, Musical analysis and performativity
IdentifiersURN: urn:nbn:se:su:diva-29929OAI: oai:DiVA.org:su-29929DiVA: diva2:236362
ProjectsGenus og kanonisitet i skandinavisk musikkhistorie 1890-1920. Feministisk hermeneutikk og kanontransformasjoner av menns og kvinners musikk på terskelen til ‘kvinnenes århundre’