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  • 1.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    An inventory of Swedish music vol. III: twenty 19th-century composers from Du Puy to Söderman2013Book (Refereed)
  • 2.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Anders Edling: Emil Sjögren.2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92Article, book review (Other academic)
  • 3.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Aspects Concerning the Institutionalisation of Swedish Musical life in the 19th Century and the Case of Grand Opéra in Stockholm.2010In: Musikleben des 19. Jahrhunderts in nördlichen Europa. Strukturen und Prozesse/19th-Century Musical Life in Nothern Europe. Structures and Processes: / [ed] Toomas Siitan, Kristel Pappel und Anu Sooro, Hildesheim, Zürich, New York: Georg Olms Verlag , 2010Conference paper (Other academic)
  • 4.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berättelsen om hur Rienzipartituret hamnade i Stockholm2016In: Tidskriften Opera, ISSN 1651-3770, Vol. 5, p. 68-71Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Die Königliche Schwedische Hofkapelle und die Meyerbeer-Tradition in Stockholm2008In: The Opera Orchestra in 18th and 19th Century Europe: II: The Orchestra in the Theatre - Composers, Works and Performance, Berlin: Berliner Wissenschafts Verlag , 2008Chapter in book (Other academic)
  • 6.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Musikvetenskap.
    Die Rezeption des Rienzi in Stockholm 1844–19052015In: Wagnerspectrum, ISSN 1614-9459, Vol. 22, p. 85-114Article in journal (Other academic)
  • 7.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Franz Berwald Sämtliche Werke, Band 25, Supplement. Ola Eriksson, Michael Kube, Bonnie Lomnäs och Erling Lomnäs. Red: Margareta Rörby. Kassel: Bärenreiter, 20122014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 96, no 1, p. 3-6Article, book review (Other academic)
  • 8.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halevy's La juive in Stockholm 1835-18662017In: Dokumenterat, E-ISSN 1404-9899, Vol. 49, p. 17-41Article in journal (Other academic)
  • 9.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halevy's La juive in Stockholm, 18662018In: Grand opera outside Paris: opera on the move in nineteenth-century Europe / [ed] Jens Hasselager, London: Routledge, 2018, p. 80-94Chapter in book (Refereed)
  • 10.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”Hur Figaro kom till Sverige”2014In: Figaros bröllop / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, p. 50-54Chapter in book (Other academic)
  • 11.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur importen byggde upp kulturlivet: Essärecension av Tomi Mäkelä ”Fredrik Pacius, kompositör i Finland”2010In: Hufvudstadsbladet, ISSN 0356-0724, no 21/1Article, book review (Other (popular science, discussion, etc.))
  • 12.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Johann Gottlieb Naumann und die Hofkapelle in Stockholm2006In: Johann Gottlieb Naumann und  die Europäischen Musikkultur des Ausgehenden 18. Jahrhunderts: Bericht über das internationale Symposium vom 8. bis 10. Juni 2001 im Rahmen der Dresdner Musikfestspiele 2001 / [ed] Ortrud Landmann und Hans-Günther Ottenberg, Hildesheim, Zürich, New York: Georg Olms Verlag , 2006, p. 227-248Chapter in book (Refereed)
  • 13.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”Judinnan i Sverige”2014In: Judinnan / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, p. 32-37Chapter in book (Other academic)
  • 14.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    La juive in Stockholm- traces and interpretations2014In: Abstract: konferensens hemsida, 2014Conference paper (Refereed)
  • 15.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Ludvig Norman. Konsertstycke för piano och orkester F-dur op 54.2008Other (Other (popular science, discussion, etc.))
  • 16.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ’… musikens högsta och rikaste konstform …’ – aspekter på instrumentation, orkestrering och satsteknik i Alfvéns tre första symfonier2012In: Hugo Alfvén – liv och verk i ny belysning / [ed] Gunnar Ternhag och Joakim Tillman, Hedemora: Gidlunds , 2012, p. 41-64Chapter in book (Refereed)
  • 17.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Opera as a showcase for the modern: the Stockholm opera 1790-18202015Conference paper (Other academic)
  • 18.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Orginalpartitur till Wagners Rienzi återfunnet på Operan2016In: OV-revyn, ISSN 0282-7700, p. 14-16Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Recension/review: Kube, Michael, Eriksson, Ola, Lomnäs, Bonnie och Lomnäs, Erling (2012): Franz Berwalds Sämtliche Werke, Band 25, Supplement. (Kassel, Basel, London, New York och Prag: Bärenreiter-Verlag) ISMN 979-0-006-49532-02014In: Svensk tidskrift för musikforskning, ISSN 2002-021X, Vol. 96, no 1, p. 3-6Article, book review (Other academic)
  • 20.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rienzi in Swedish (1865): the case of the Stockholm score2015In: The Wagner Journal, ISSN 1755-0173, Vol. 9, no 2, p. 19-34Article in journal (Other academic)
  • 21.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Robert Schumann 200 år2010In: Musikmagi, Berwaldhallens programtidning, no janArticle in journal (Other (popular science, discussion, etc.))
  • 22.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rossinis musik: en flerstegsraket2017Other (Other (popular science, discussion, etc.))
  • 23.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Ständigt denne Mozart2014In: Programtidning : Radiokören, Sveriges Radios Symfoniorkester, no mars, p. 6-7Article in journal (Other (popular science, discussion, etc.))
  • 24.
    Ander, Owe
    Stockholm University.
    "Svenska sinfoni-författares karaktäristiska orkester-egendomligheter": aspekter på instrumentations-, orkestrerings- och satstekniken i Berwalds, Lindblads och Normans symfonier2000Doctoral thesis, monograph (Other academic)
  • 25.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Rienzi score in Stockholm – a recently discovered Wagner autograph?2014In: Dokumenterat : bulletin från Musik- och teaterbiblioteket, ISSN 1404-9899, no 46, p. 35-59Article in journal (Other academic)
  • 26.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Tomi Mäkelä: Fredrik Pacius, kompositör i Finland2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92Article, book review (Other academic)
  • 27.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Traces of a performance: A presentation and critical examination of the sources regarding the Rienzi premiere in Stockholm 18652015Conference paper (Refereed)
  • 28.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wagnerreceptionen i Sverige 1840-18652014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Den svenske lexikografen Leonard Höijer (1815–1885) skrev 1864 i sitt Musiklexikon: ”Hans [Wagners] opera Tristan och Isolde har ännu inte blivit uppförd, men utkommit i partitur och clavérutdrag”. Hans kommentar är karaktäristisk för den svenska situationen, där många kände till Wagners sena Musikdramen, redan innan någon av Wagners tidigare operor hade satts upp på Kungliga teatern i Stockholm. Pappret har för avsikt att undersöka den Svenska Wagner-receptionen från 1840-talet, fram till och inkluderande produktionen av Wagners grand opéra Rienzi i Stockholm i juni 1865.

    Första delen behandlar Wagnerreceptionen i Sverige före Rienzi: svenska musikers (sångare, dirigenter) kontakter med Wagners musik och skriftställeri under resor och studieuppehåll på kontinenten; de tidigast kända Wagnerframförandena (Foroni, Smetana, Czapek) i Sverige; publicering av noter och texter samt Wagner i massmedia. Andra delen behandlar förberedelserna inför och framförande av Rienzi 1865. Uruppförandet placeras in i sin historiska kontext samt yttre förutsättningar (den svenska grand opéra-traditionen, besättningsutveckling). Framförandet i Stockholm var det första av Rienzi utanför det tyska språkområdet och det andra över huvud taget av en Wagneropera. (Det första var det beryktade Tannhäuserframförandet i Paris 1861.) Det svenska källmaterialet är synnerligen rikhaltigt och i flera avseenden intressant. Receptionshistoriska aspekter.

  • 29.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Hallgren, Karin
    Franz Berwald. Profane Vokalwerke II.: Franz Berwald Sämtliche Werke Band 22.2.2010Other (Other academic)
  • 30.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Lundberg, Mattias
    Principer, frågor och problem i musikvetenskapligt editionsarbete.: Exempel från pågående inventerings-, editions- och utgivningsprojekt.2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article in journal (Refereed)
  • 31.
    Andersson, Elin
    Stockholm University, Faculty of Humanities, Department of History.
    Tobias Hume - skotsk gambist i svenska armén2014In: Tidig Musik, ISSN 1400-5123, no 4, p. 24-25Article in journal (Other (popular science, discussion, etc.))
  • 32.
    Backman Bister, Anna
    Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    Spelets regler: En studie av ensembleundervisning i klass2014Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this study is to explore criteria characterizing music teacher’s strategies when trying to adapt their teaching to individual students. The interaction of three music teachers with their students was explored in case studies in different parts of Sweden (a pre-study, and the main study consisting of two parallel studies). The research interest especially concerns teaching class ensemble addressing teenagers in the tuition provided under the curriculum of Swedish secondary and upper secondary school. 

    This study adopts the perspective of cultural psychology according to which learning is understood as being relational, taking place in a cultural context, depending on available cultural resources and affected by it. Cultural tools are considered mediators of meaning and crucial for learning. Of special interest to the present study are the ways in which teachers distribute knowledge to their students.

    Many-sided data were collected in all case studies: series of lessons were observed and video-documented; preliminary results were followed up in semi-structured interviews with the teachers, respectively.

    The results show similarities in the use of general strategies; e.g. peer-teaching and -learning in the classroom and flexibility in using and developing cultural tools. Results also show three diverging practices; rehearsal-room practice, supervisor-practice and ensemble-leading-practice.

    The results are discussed from a societal perspective, in light of Swedish School history. Issues concerning the government of the School and equivalence are addressed.  An unexpected result is that the concept “individually adapted ensemble teaching” may be understood very differently among music teachers actively involved in teachers’ education. The need for development of professional concepts is further underlined by the findings that teachers develop new cultural tools within different practices. This is discussed related to the framing of the central curricula. 

  • 33.
    Balic, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Rösträtts värdegrund2014In: Rösträtt: musik på barns villkor / [ed] Ylva Holmberg, Stockholm: Gehrmans , 2014Chapter in book (Other (popular science, discussion, etc.))
  • 34.
    Balkir, Elif
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Comparative Study of the Research Proceedings at GRM and EMS based on Pierre Schaeffer’s and Knut Wiggen’s Musical Concepts2015Conference paper (Refereed)
    Abstract [en]

    This paper looks at the research proceedings at EMS (Electronmusikstudion) in Stockholm during the end of the 1960s, under the leadership of Knut Wiggen, and studies his interactions with Pierre Schaeffer in order to establish a new compositional technique for electroacoustic music. The first part deals with the examination of their research method of proposing a sort of compositional and technical program that led the main scientific and creative directions of GRM (Groupe de Recherches Musicales) and EMS. The second part attempts to demonstrate how Wiggen intended to make operational Schaeffer’s sound description system by means of his hybrid studio apparatus. Lastly, the study focuses on how Wiggen’s project differed from the Schaefferian model as well as from GRM after the installation of a computer-controlled studio in 1970 with the development of Musicbox and EMS-1 programs. Hence, this investigation allows us to observe the evolution of technology at EMS in relation to GRM as well as to contrast those developments with Schaeffer’s and Wiggen’s purposes.The historical background of the technical equipment is aimed mainly at musicians and musicologists. It points out the operational features of the apparatus that are useful for an in-depth understanding of composition technique based on Schaeffer’s and Wiggen’s approaches.

  • 35.
    Balkir, Elif
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Paris Sorbonne, France.
    A Comparative Study of the Research Proceedings of Knut Wiggen and Pierre Schaeffer during the Foundation of EMS2015In: EMS2015: The Art of Electroacoustic Music, University of Sheffield , 2015, p. 17-20Conference paper (Refereed)
  • 36.
    Balkir, Elif
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The comparative study of technological and creative approaches to GRM in Paris and EMS in Stockholm: Two different artistic directions from onecommon idea2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [en]

    This research examines the evolution of electroacoustic music at GRM (Groupe de Re-cherches Musicales) and at EMS (Elektronmusikstudion) encompassing a period from 1965 to 1980. The thesis follows a comparative course in order to investigate Pierre Schaeffer’s musical ideas acknowledged by Knut Wiggen during the foundation of EMS studio and how EMS differs from GRM in 70s. The first step put into perspective two centres regarding their institutional organisation, their cultural aspects, the research, the educa-tion and the artistic evolution based on Schaeffer’s and Wiggen’s reflexions within the development of music technology. The following step focuses on the compositional ideas and proceedings by means of the pioneer works analysis in order to justify the compari-son of two artistic directions and to explore the problem of acousmatic music analysis. The analysis method is based on Jean Molino’s tripartite theory developed by J.J. Nattiez (esthesic/poietic/neutral level of an art work) for understanding the compositional structure, organisation and the composer style related to technological equipment of the studios. The aim is to determine a methodology for an in-depth understanding of electro-acoustic music analysis through comparison and to establish a scientific docu-mentation on French and Swedish electro-acoustic music within new technologies.

  • 37.
    Balkir, Elif
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Emergence of text-composition and its interactions with concrete music: An Analysis of Lars-Gunnar Bodin’s Semikolon - Séance IV2015Conference paper (Other academic)
    Abstract [en]

    This paper handles a short comparative study between concrete music and text-sound composition through the musical analysis of Lars-Gunnar Bodin’s Semikolon - Séance IV (1965). The aim of this study is to show some similarities between those two genres from historical and musical points of view. In the former, the research will show how musique concrète and text-sound composition were born at the crossroads of early creative approaches in music and in literature based on the remarkable contribution of recording devices. The latter will discuss with the help of musical analysis of Bodin’s Semikolon, how text-sound composition and concrete music adopted some parallel philosophical concepts during the process of composition. 

  • 38.
    Balkir, Elif
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Sorbonne Université.
    Étude comparative des approches créatrices et technologiques au Groupe de Recherches Musicales à Paris et à l’Elektronmusikstudion à Stockholm 1965-1980: Deux directions artistiques différentes à partir d’une idée commune2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The current research is a comparative study investigating the development of creative and technological approaches at GRM (Groupe de Recherches Musicales) and EMS (Elektronmusikstudion) from 1965 to 1980. The thesis examines the main interactions between two pioneers of electroacoustic music in France and in Sweden, namely, Pierre Schaeffer and Knut Wiggen and the evolution of artistic directions within their institutions. The comparative method borrows two main perspectives from linguistics, such as diachronic and synchronic. To this direction, the first part of the thesis evaluates a sort of historical synthesis of musical genres, which lead the artistic directions of those two studios, including their institutional organization, musical creation, technological research as well as Schaeffer’s and Wiggen’s musical concepts. The second part of the thesis focuses on pioneer works analysis in order to explore closely compositional ideas and the problem of acousmatic music analysis. The analysis method is based on Jean Molino’s tripartite theory developed by J.J. Nattiez (poietic/neutral/esthesic level of an art work) and Stéphane Roy, which contributes to analyze the compositional structure, organization and the composer’s style related to technological equipment of the studios. The first step of music analysis reconstructs a sort of transcription within the neutral level analysis by means of Lasse Thoresen’s graphical symbols inspired by Schaeffers’s typo-morphology. The second step seeks to confront the neutral level results with external poietic information in order to explore and to compare some hypothetical significations of analyzed musical pieces. In conclusion, the end goal is to determine a methodology inspired by the tripartite theory for an in-depth understanding of acousmatic music analysis and to establish a historical documentation on French and Swedish electroacoustic music within the development of technology.

  • 39.
    Balogh, Alexandra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Aniara - en revy om människan i tid och rum: Stil som meningsbärare2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The opera Aniara by Karl-Birger Blomdahl premiered in 1959 and gained much attention forcombining its general serial style with other musical stylistic elements, as it alludes to and citesworks of other styles such as romanticism and jazz. This circumstance was considered amongother things to have led to Aniaras success, as it made the modernistic music more accessible to ageneral audience. I analyse two scenes in Aniara which contain allusions to and citations ofEllington's Ko-ko, Alfvén's Midsommarvaka, Shostakovich's Fifth Symphony, Beethoven's Ninthand the Swedish psalm Tryggare kan ingen vara regarding their intertextual meanings andaccording to Claudia Gorbman's theory of narrativity in film music. The overall function of theallusions and citations is to describe the conflicting emotions and mental states of the people ofthe spaceship Aniara: how they react to the occurring events during their voyage in space andtheir lack of hope. The intertextual references deepen the understanding of the narrative, and thesections with allusions are perhaps comparable to the aria in 1800th century opera, while themainly modernistic passages have a function similar to the drama-propelling recitative. Stylisticdiversity was not new in 20th century opera at the time of Aniara's premiere, however, the clearintertextuality of Blomdahl's allusions in service of narrative can be seen as ahead of its time.

  • 40.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Blomdahls respektive Lidholms melodiska tonspråk på 1940-talet2013In: Musikforskning idag 2013: Abstracts, 2013Conference paper (Other academic)
    Abstract [sv]

    På 1940-talet manifesterar Måndagsgruppens tonsättare en gemensam antiromantisk estetik och hämtar influenser ur teoretiska och musikvetenskapliga böcker (Hindemith, Jeppesen et Kurth). Trots det komponerar i synnerhet Karl-Birger Blomdahl och Ingvar Lidholm verk i olika tonspråk. Med hjälp av en musikanalytisk metod som har skapats utifrån den nämnda gemensamma teoretiska bakgrunden samt utifrån teorier av Schenker och Meyer, är bidragets syfte att presentera och jämföra Blomdahls respektive Lidholms mest väsentliga melodiska drag, med avseende på linearitet och melodiska elaborationer.

  • 41.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Disjunct Intervals within Melody: Meanings and Functions through Schenkerian and Post-Schenkerian Theories2015In: Principles of Music Composing [Muzikos komponavimo principai]: Phenomenon of Melody [Melodijos fenomenas], Vilnius: Lietuvos muzikos ir teatro akademija , 2015, p. 27-35Conference paper (Refereed)
    Abstract [en]

    Composing melody with disjunct intervals is not only a question of taste and style, but also a question of meaning and function. Thus, disjunct intervals may play different roles within melodic structures. Theoreticians from the 20th century have given new insights to analysts, performers and composers. Among them, Heinrich Schenker elaborated a theory that concerns the melodic structure, unfolding and implication within the musical organism. Followers developed further the ideas in different directions. The paper will propose a comparative study about the disjunct interval according to Schenker, to Schenkerian teachers (from Salzer to Cadwallader) and to post-Schenkerian theorists. A systematic presentation along with analytic examples will efficiently highlight the different meanings, tools, and graphic representations. The study will thus put forward what a student or a teacher in composition may learn from this evolution and this may contribute to renew melodic approach and creativity. 

  • 42.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Exploring Linearities and Melodic Elaborations: An Efficient Analytical Method based on the Theories of Schenker and Meyer2013Conference paper (Refereed)
  • 43.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Habemus lineas! – och linjerna skapades: På spaning efter gregorianikens melodiska precision2013In: Tidig musik, ISSN 1400-5123, no 2, p. 30-31Article in journal (Other (popular science, discussion, etc.))
  • 44.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hermann (d.ä.) Berens, Erstes Gesellschafts-Quartett Op.23 (kritisk utgåva)2015Other (Other academic)
  • 45.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Karl-Birger Blomdahl et Ingvar Lidholm: Enjeux mélodiques, tonals et organiques des années 19402012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism.

    Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works.

    This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

  • 46.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    La mélodie selon Schenker, Meyer et Narmour: comparaison, évaluation et rencontre de procédés analytiques2015In: Regards sur le comparatisme en musicologie: enjeux et méthodes, 2015Conference paper (Refereed)
    Abstract [fr]

    Au cours du XXe siècle, de nombreux théoriciens s’intéressent à la dimension mélodique. Parmi eux, Heinrich Schenker et Leonard B. Meyer ont élaboré des théories concernant son fonctionnement, sa structure, son déploiement et son implication dans l’organicisme d’une œuvre. Malgré l’influence de Schenker sur Meyer, leurs théories semblent diverger et elles constituent postérieurement la source de courants théoriques différents. Narmour (1977) pose toutefois la question de la pertinence de leur rencontre. La communication proposera une étude comparative des principaux outils et des représentations graphiques des théories de Schenker et de Meyer. Une présentation systématique accompagnée d’exemples d’analyses thématiques éclairera efficacement les sens accordés, d’une part, aux niveaux d’analyse, et d’autre part, à la figure d’élaboration mélodique de type gap-fill (en relation avec le rythme et l’harmonie). Cette étude comparative permettra également d’établir une évaluation méthodologique et épistémologique des deux théories. Il sera finalement montré que ces théories présentent, en ce XXIe siècle, la possibilité de se compléter et de conduire à de nouveaux résultats musicologiques. 

  • 47.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Melodic Structures through the Syncretic Method: Towards a Deeper Understanding of Musical Elaborations and Gestures2016In: 32nd World Conference On Music Education ISME Conference, Glasgow, UK, 24th-29th July 2016.: Music: for Identity, for Well-being, for Justice, 2016Conference paper (Refereed)
    Abstract [en]

    Melodic Structures through the Syncretic Method: Towards a Deeper Understanding of Musical Elaborations and Gestures

     

    Teaching melody comes usually at best down to a necessary but basic phraseology, without any regard to melodic elaborations, intervallic functions, and musical gestures. However, the syncretic method gives renewed perspectives on melodic analysis, and on composition and performance. It critically gathers principles and tools mainly from the theories of Heinrich Schenker and Leonard B. Meyer, and from the pedagogical method of Emile Jaques-Dalcroze. Basically, the Schenkerian approach is central to the syncretic method because of its structure through synchronic levels; the Meyerian approach is important because of its melodic classification and terminology, which refer to gestural representations (such as axial melodies); and Dalcroze Eurhythmics comes within the mentioned theoretical framework by bringing a physical and cognitive dimension.

    The syncretic method is concerned with the functions played by disjunct and conjunct intervals within melodic structures. It enables to represent these functions and the melodic elaborations through three levels (surface, intermediate, and deep). The mental approach and understanding of melodic processes are deepened through bodily training. Thus, the syncretic method clarifies the melodic unfolding, its main directed motion and its successive gestural ornamentations.

     

    This paper aims to present how accessible and beneficial the syncretic method is for students at different levels. Thus, it requires two main comparisons. The first one regards the comparison between not trained and trained students within using the method. Questions to be answered are: what knowledge do students get quantitatively and qualitatively, when studying and applying this method? How efficient and useful is the method and its learning? Does the method influence the students’ intellectual approach of the music and their practical musicianship?

    The second comparison concerns the students involved, all from Stockholm. The first group gathers students from a sixth-form music school, the second group studies at the university, and the third group follows the Eurhythmics program at the Royal College of Music. Is the method possibly as efficient for all these students or do their respective musical education play a role regarding the learning, and the response to the method?

    The study will be done through a series of workshops, mainly based on music of the common practice area and the 20th century.

     

    A systematic presentation at the conference will highlight the syncretic method and the results of this study. This paper will thus put forward what the method may imply for music education, especially regarding a renewed approach of the melodic phenomenon.

  • 48.
    Bardoux Lovén, Cécile
    Stockholm University.
    Porträtt över en samhällelig, konstnärlig och pedagogisk bakgrund i vilken rytmiken övriga aktiva musikpedagogiska metoder skapades2007Other (Other (popular science, discussion, etc.))
  • 49.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Themes from the galant style through the syncretic method2015Conference paper (Refereed)
    Abstract [en]

    The syncretic method contributes to renew the analytical understanding of tonal and post-tonal music, especially concerning the melodic dimension. Its main purpose consists in manifesting how melodies are structured, regarding linearity and elaborations. Its efficiency resides in the logical combination of terminologies and graphic representations of the music, which mainly emanate from the theories of Schenker and Meyer. Besides some new stylistic aspects that it highlights, it is able to transmit a spatial understanding of the musical movement. This has consequences both for musicology and music pedagogy.

    This paper will critically (1) set out the principal tools and the graphic representation of the method, (2) submit the analysis of themes from the period of the galant style, and (3) put forward some new stylistic aspects that the syncretic method highlights, compared to analyses of previous theories. Thus, the paper will show how the syncretic method gives a gathered and useful response regarding musicological and music pedagogical perspectives. 

  • 50.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Théorie et analyse musicale à Stockholm: unicité ou multiplicité des pratiques ?2015In: Analyse et pratiques interprétatives, 2015Conference paper (Refereed)
    Abstract [fr]

    En Suède, les enseignements du secondaire et du supérieur ont récemment connu des réformes. Concernant la formation théorique de la musique, j’ai néanmoins pu observer une méconnaissance des pratiques mises en œuvre au sein même de certains établissements et entre les établissements. Aussi l’étude proposée visera-t-elle à établir un état des lieux des enseignements de la théorie et de l’analyse musicale actuellement pratiqués dans les cursus pré- et post-baccalauréat des établissements spécialisés de la région de Stockholm.L’étude examinera les méthodes pédagogiques et analytiques employées, les objectifs prononcés et réalisés, la continuité et la cohérence éducatives, la progression des niveaux, la place attribuée à l’analyse musicale et les répertoires abordés. Des enquêtes de terrain (comprenant questionnaires et entretiens) seront effectuées. La communication en présentera la synthèse et elle répondra à un intérêt exprimé aux échelles régionale, nationale et européenne. En Suède, les enseignements du secondaire et du supérieur ont récemment connu des réformes. Concernant la formation théorique de la musique, j’ai néanmoins pu observer une méconnaissance des pratiques mises en œuvre au sein même de certains établissements et entre les établissements. Aussi l’étude proposée visera-t-elle à établir un état des lieux des enseignements de la théorie et de l’analyse musicale actuellement pratiqués dans les cursus pré- et post-baccalauréat des établissements spécialisés de la région de Stockholm.

    L’étude examinera les méthodes pédagogiques et analytiques employées, les objectifs prononcés et réalisés, la continuité et la cohérence éducatives, la progression des niveaux, la place attribuée à l’analyse musicale et les répertoires abordés. Des enquêtes de terrain (comprenant questionnaires et entretiens) seront effectuées. La communication en présentera la synthèse et elle répondra à un intérêt exprimé aux échelles régionale, nationale et européenne.

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