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  • 1.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Adolf Fredrik Lindblad: Symfoni D-dur: Monumenta musicae svecicae 212004Other (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 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, 3-6 p.Article, book review (Other academic)
  • 5.
    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, 17-41 p.Article in journal (Other academic)
  • 6.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    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, 80-94 p.Chapter in book (Refereed)
  • 7.
    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, 50-54 p.Chapter in book (Other academic)
  • 8.
    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.))
  • 9.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Joachim Nikolas Eggert: Symphony in E-Flat Major (Score) (Edited by Avishai Kallai and Jari Eskola) Stockholm: Musikaliska konstföreningen, 2010. och Joachim Nikolas Eggert: Symphony in C-Major (Score) Stockholm: Musikaliska konstföreningen, 2010.2011In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 93, 96-98 p.Article, book review (Other academic)
  • 10.
    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, 227-248 p.Chapter in book (Refereed)
  • 11.
    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, 32-37 p.Chapter in book (Other academic)
  • 12.
    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)
  • 13.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Lennart Hedwall och Carl-Gunar Åhlén: Patos och tradition: En bok om och med dirigenten Tor Mann2012In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 94, no 94, 118-119 p.Article, book review (Other academic)
  • 14.
    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.))
  • 15.
    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, 41-64 p.Chapter in book (Refereed)
  • 16.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Om konsten att skriva opopulär musik2011In: Musikvetenskapliga texter: Festskrift Holger Larsen / [ed] Jacob Derkert, Stockholm: Institutionen för musik- och teatervetenskap, Stockholms universitet , 2011, 2-12 p.Chapter in book (Other academic)
  • 17.
    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, 3-6 p.Article, book review (Other academic)
  • 18.
    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.))
  • 19.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Ständigt denne Mozart2014In: Programtidning : Radiokören, Sveriges Radios Symfoniorkester, no mars, 6-7 p.Article in journal (Other (popular science, discussion, etc.))
  • 20.
    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, 35-59 p.Article in journal (Other academic)
  • 21.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”The Wealt of the Nations”. Die Stockholmer Oper und die Entwicklung einer nationalen Identität in Schweden2011In: Studia Musicologica Academiae Scientiarum Hungaricae, Vol. 52, no 1-4, 443-455 p.Article in journal (Refereed)
  • 22.
    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)
  • 23.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hallgren, Karin
    Franz Berwald Profane Musikwerke I: Franz Berwald Sämtliche Werke, Band 22.1Monumenta musicae svecicae1999Other (Refereed)
  • 24.
    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)
  • 25.
    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)
  • 26.
    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)
  • 27.
    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, 30-31 p.Article in journal (Other (popular science, discussion, etc.))
  • 28.
    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.

  • 29.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Une méthode syncrétique pour l’analyse mélodique d’œuvres suédoises des années 19402013Conference paper (Refereed)
  • 30.
    Beverloo, Sebastian
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Damn Pinkerton, and all such as he!: Om orientalism i Madame Butterfly 2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Sebastian Beverloo: "Damn Pinkerton, and all such as he! – Om orientalism i Madame Butterfly." Exa- mensarbete på kandidatnivå i musikvetenskap, Institutionen för musik- och teatervetenskap, Stockholms universitet, ht 2014.

    Orientalism är teorin att Väst, genom representation i konsten, har förmedlat en ofördelaktig bild av Ori- entens folk, seder och bruk. Begreppet förklarar de estetiska strömningar som följde med den ostindiska handeln och den europeiska kolonialismen. Problemen som teorin om kulturell orientalism sätter fingret på innefattar olika aspekter av representation; hur orientalerna (redan det ett problematiskt begrepp i sig) har gestaltats i konsten. Ett av de centrala problemen är att etnicitet lyfts fram före individualitet: en orien- talisk man är i första hand orientalisk, och bara i andra hand man. Det här arbetet problematiserar repre- sentationen av rollpersonerna i den kvartett av verk, som jag kallar för Madame Geisha-berättelsen (Lotis Madame Chrysanthème (1887), Longs Madame Butterfly (1898), Belascos Madame Butterfly (1900), Puc- cinis Madama Butterfly (1904-7)). Mer specifikt undersöks hur den japanska kvinnan gestaltas genom alla de fyra verken – i synnerhet med hänsyn till relationen mellan japansk kvinnlighet och västerländsk man- lighet. Ett av huvudproblemen är att centralfiguren i berättelsen är en japansk kvinna, trots att ingen av de inblandade författarna var varken japansk eller en kvinna. Verken studeras sida vid sida och jämförs utifrån orientalistiska och genusrelaterade problem. En del av undersökningen ägnas även åt Butterflys påstaådda verkliga ursprung. 

  • 31.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Bengt Edlund: Riff inför rätta2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 32.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    "I sing all kinds" – Några reflexioner kring Elvis Presleys "första" comeback 19602011In: Musikvetenskapliga texter: Festskrift Holger Larsen 2011 / [ed] Jacob Derkert, Stockholm: Institutionen för musik- och teatervetenskap , 2011, 120, 94-109 p.Chapter in book (Other academic)
  • 33.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Olle Edström: Evert Taube. Sånger och musikalisk värld2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 34.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Från Sven Scholander till Lars Winnerbäck: Svenska trubadurer under 1900-talet2009In: Parnass, no 4, 6-13 p.Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    "En egenartad och mystisk pianoman vid namn Povel Ramel, som spelar egentligen precis vad som faller honom in"2013Other (Other (popular science, discussion, etc.))
  • 36.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Povel Ramel - lekens mästare2009In: Parnass, ISSN 1104-0548, no 4, 34-36 p.Article in journal (Other academic)
  • 37.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Art of Record Production: An Introductory Reader for a new Academic Field. Red: Simon Frith och Simon Zagorski-Thomas. Farnham: Ashgate, 2012. xix + 301 s., ill., ISBN 978-14-09406-78-52014In: STM-SJM, ISSN 0219-4937, E-ISSN 1946-5238, Vol. 96:1, no 1, 1-3 p.Article, book review (Other academic)
  • 38.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vilhelm Svedbom (1843-1904)2014Other (Other academic)
    Abstract [en]

    Per Jonas Fredrik Vilhelm Svedbom, born 8 March 1843 in Stockholm, died 25 December 1904 in Stockholm, was a literary historian, pianist, composer, conservatory music teacher and music administrator. His compositional production was derived essentially from the areas in which he had his education and where he had his professional occupation, the ‘academy’ in its broadest sense. His compositions comprise mainly works for the piano, solo songs with piano accompaniment, and choral pieces. Svedbom’s wife was a pianist, Hilma Svedbom, née Lindberg (1856−1921); they were married in 1884.

  • 39.
    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.))
  • 40.
    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, 174-188 p.Chapter in book (Other academic)
  • 41.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Musikvetenskapliga texter: Festskrift Holger Larsen 20112011Collection (editor) (Other academic)
  • 42.
    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, 73-74 p.Article, book review (Other (popular science, discussion, etc.))
  • 43.
    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, 180-185 p.Article, book review (Other academic)
  • 44.
    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)
  • 45.
    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)
  • 46.
    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.

  • 47.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as Excess: Die Reise and Neo-Baroque Aesthetics in Opera from the 1960s2013In: STM-Online, ISSN 1403-5715, E-ISSN 1403-5715, Vol. 16Article in journal (Refereed)
    Abstract [en]

    Lars Johan Werle’s and Lars Runsten’s opera Die Reise (Hamburg 1969) is characterized by pluralism of musical styles. The focus in this article is on how the pluralism is related to the other media in the opera, and what effects it is expected to have on the audience in the performance situation. My claim is that the stylistic pluralism is manifested in ways that connects the opera to the neo-baroque aesthetics that has been brought forth by scholars such as Omar Calabrese, Angela Ndalianis, and Cristina Degli-Esposti. It is a device that disrupts the narrative by way of attracting the attention of the audience. With an abundance of figurative representation, the music makes Die Reise an opera of ‘excess’.

  • 48.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as wonder and delight: construction of gender in early modern opera through musical representation and arousal of emotions2012In: A History of Emotions 1200-1800: / [ed] Jonas Liliequist, London: Pickering & Chatto, 2012Chapter in book (Refereed)
  • 49.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musikalisk narrativitet och performativitet i Lars Johan Werles arenaopera Drömmen om Thérèse2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Under 1960-talet väckte Lars Johan Werles och Lars Runstens opera Drömmen om Thérèse uppmärksamhet både nationellt och internationellt för sin utformning som arenaopera. Denna scenkonstruktion påverkade också musikens roller. Operan utgör exempel på 1960-talets fascination för det gränsöverskridande, mellan högkultur och populärkultur och liveframförande kontra inspelningsteknik. Denna presentation visar hur den performativa aspekten av musik i opera här får en speciell karaktär genom användandet av tekniker som stilpluralism, musik i rummet och instrumental teater. Dessa tekniker påverkar den spektakulära sidan av musik i opera, som kommer att handla om teatral distansering snarare än om berusning. Till denna effekt bidrar även upphovsmännens idéer om intimitet, jämlikhet och reflektion.

  • 50.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Narrative and performative modalities in the Swedish opera-in-the-round Dreaming about Thérèse2014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, STM-SJM, ISSN 2002-021X, Vol. 96, no 2Article in journal (Refereed)
    Abstract [en]

    The Swedish opera Drömmen om Thérèse (Dreaming about Thérèse) attracted national and international attention in the 1960s for its inventive approaches as an opera-in-the- round. Although this staging influenced the music’s functions, so far the music of this opera has been evaluated in accordance with the hegemony of narrative opera. Drömmen om Thérèse, however, offers an example of a contemporary fascination with exploring the spaces between borders, for instance, high versus popular culture and event performance versus recording. This article shows how the performative level of music in opera here acquires a particular quality through the incorporation of the devices of pluralism of styles, music in space and instrumental theatre. Rather than intoxication, the narrative- disrupting effect consists of a theatrical alienation. A relationship between performance and audience based on intimacy, equality, and reflection contributes to this effect.

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