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  • 1.
    Ternhag, Gunnar
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Elin, Hermansson
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Writing biographies on composers in the Swedish Musical Heritage-project - so far2015Conference paper (Other academic)
  • 2.
    Ternhag, Gunnar
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hallgren, Karin
    Öhrström, Eva
    Nehrfors, Mårten
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Levande musikarv2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Kungl. Musikaliska akademien genomför under sex år projektet Levande musikarv, vars syfte är att tillgängliggöra äldre svensk musik (= verk av tonsättare som avled för mer än 70 år sedan). Huvudsatsningen handlar om att åstadkomma kritiska editioner av utvalda verk. Dessa editioner publiceras på nätet i projektets databas (http://www.levandemusi-karv.se).Bland oss som arbetar med Levande musikarv finns en insikt om att spel- och sångba-ra editioner inte räcker för att få den äldre svenska musiken upp på estraden eller framför mikrofonerna. Musiker, sångare, dirigenter och andra som har anledning att intressera sig för repertoarfrågor behöver också kontextkunskap kring verken. Kombinationen av lätt tillgängliga editioner och lika lättnådda uppgifter om tonsättarna och om verkens tillkomstsammanhang fordras för att nå ett genomslag för verken.Ett anslag från Riksbankens jubileumsfond möjliggör att databasen Levande musikarv kan förses med nyskrivna biografier över ca 300 äldre svenska tonsättare. Arbetet med att skriva dessa biografiska texter, inklusive bibliografier och verkförteckningar, läggs ut på sakkunniga musikvetare. Panelen vid konferensen presenterar arbetet med biografierna, men diskuterar också värdet med denna ansträngning. Från vilket kunskapsläge görs detta arbete? Vilka kun-skaper om svensk musikhistoria tillför de många biografierna? Och på vilket sätt kan de många biografierna påverka bilden av äldre svenskt musikliv?För panelens inledning svarar Gunnar Ternhag, vetenskapligt ansvarig för biografi-projektet, och Erik Wallrup som är projektets forskningssamordnare. I kortare bidrag problematiserar tre biografiförfattare sina erfarenheter av att skriva texter om mindre kända tonsättare.

  • 3.
    Ternhag, Gunnar
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hermansson, Elin
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tägil, Ingela
    Hallgren, Karin
    Writing Composer Biographies in the project Swedish Musical Heritage2016In: Danish Musicology Online, ISSN 1904-237X, Vol. 6, p. 43-60Article in journal (Refereed)
    Abstract [en]

    Swedish Musical Heritage is a six-year-long project whose purpose is to make music, that is rarely played, more accessible so that it might gain a new audience. The project is funded by the Swedish Royal Academy of Music. Biographical texts on more than 300 Swedish composers, mainly unknown even for specialists in Swedish music history, provide a background for the use of the musical works, whether for performance or for research. The writing of these biographical texts is the topic of this article – the subject of which more precisely contains discussions around this rather old-fashioned task. The authors of this article are involved in this work in various ways and write from their respective starting points. The conclusion we have reached collectively is that the writing of biographies is of great value; the image of Swedish music history is deepened, female composers have become more visible, the musical life outside of Stockholm is described, and the great variety of roles a composer could have becomes clear.

  • 4.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Att filosofera med stämgaffeln2007In: Källarhändelser: Forum Nutidsplats för kultur, Ersatz , 2007, p. 165–169-Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Man har missförstått Nietzsches bild av att filosofera med hammaren. Det är ingen slägga, utan en liten hammare som prövar begreppens innehåll. Föredrag hållet 1999 på Forum, Stockholm.

  • 5.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bachs musik som tidskapsel för emotioner: Artikel under strecket SvD om Bachs Goldbergvariationer2010In: Svenska Dagbladet, ISSN 1101-2412, no 8 juniArticle, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Andreas Staier har i sin ­inspelning av Bachs ”Goldbergvariationer” på cembalo ­tagit fasta på det emotionella i verket. I cd-häftet finns en intressant text om musiken som en känslans arkeologi.

  • 6.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Being musically attuned: the act of listening to music2015Book (Refereed)
    Abstract [en]

    Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

  • 7.
    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.
    Demokrati är ett sätt att hantera problem2009In: Svenska Dagbladet, Vol. 7/5Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Kommentar av Pierre Rosanvallon, Demokratin som problem, Tankekraft

  • 8.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Det de vuxna inte vill se2008In: Göteborgs-Posten, no 080730Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Recension av Marcel Beyer, Kaltenburg, övers. Ulla Ekblad-Forsgren, Bonniers (roman).

  • 9.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Det kritiska tänkandet behöver en ny Adorno2017In: Svenska Dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 10.
    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.
    Det nyss nya är gammalt2009In: Svenska Dagbladet, Vol. 8/9Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    John Cage skapade sensibla kompositioner och förnyade flera konstområden. Men det är störande att Cage – liksom hans biograf Torsten Ekbom – talar om öppenhet men uppvisar en sträng form av slutenhet. Recension av Torsten Rkbom, En trädgård av lju, Albert Bonniers förlag

  • 11.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Die dunkle Gegend der Stimmungen: Heidegger und Herder, Aufklärung und Politik2017In: Stimmungen und Vielstimmigkeit der Aufklärung / [ed] Silvan Moosmüller, Boris Previsic, Laure Spiltenstein, Göttingen: Wallstein Verlag, 2017, p. 336-353Chapter in book (Refereed)
  • 12.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    En elit utan bas2008In: Nutida Musik, ISSN 1652-6082, no 2Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Musikkritiken idag följer en otvetydig medielogik. Endast det som på

    ett självklart vis kan ge genomslag tillåts slå igenom i bevakningen.

    Erik Wallrup betraktar musikkritiken i dagspress och konstaterar att

    de dystra profetiorna för 15 år sedan har slagit in.

  • 13.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Enstöringen Strauss värd att göra sällskap2010In: Svenska Dagbladet, no 22/2Article, book review (Other (popular science, discussion, etc.))
  • 14.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Filmens universum en genväg till omvärlden2015In: Svenska dagbladet, ISSN 1101-2412Article, book review (Other (popular science, discussion, etc.))
  • 15.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Fiolen är mäktigare än svärdet2008In: Svenska Dagbladet, no 081025Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Att konstmusiken skapar utrymme för reflektion och inte – likt så mycket av populärmusiken – går upp i ett enda tillstånd, ger den en kritisk och frihetlig potential. I en ny bok visar Lawrence Kramer att ett försvar för konstmusiken inte behöver ha något med kulturkonservatism att göra.

    Artikeln är publicerad under strecket i SvD och recenserar Lawrence Kramer, Why Classical Music Still Matters, University of California Press 2007.

  • 16.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Fragment and Flow: On Wolfgang Rihm’s Dionysus opera2017Conference paper (Other academic)
    Abstract [en]

    Wolfgang Rihm often deals with musical history as material – his own works included – using a series of techniques and strategies. Adopting the technique of overpainting, confronting the German-Austrian tradition from Bach to the Second Vienna School through stylistic borrowings rather than actual quotes, and playing with musical ciphers, Rihm activates and decodes history. The past appears as fragments, but in Rihm’s later works, these fragments are swept away in a unstoppable flow.

    Since the 1990s, Rihm’s treatment of fragment diverges clearly from Romantic and modernistic sensibilities, represented by for instance Robert Schumann’s song and piano cycles and György Kurtág’s fractured material. During the two last decades, the flow has been a salient feature of Rihm’s works, and the most divergent materials can appear in this inclusive flow.

    Rihm’s transgressive treatment of the two seemingly opposite phenomena ‘fragment’ and ‘flow’ is no more apparent than in his ‘operatic fantasy’ Dionysos (2009–10). His starting point is Friedrich Nietzsche’s Dionysos-Dithyramben: he has rearranged and mixed textual fragments from the poems, but he has also turned to Nietzsche’s notebooks from the 1880s, that stockpile of fragments. The dismembering of bodies and the staging of a deteriorating mind enhances the process of fragmentation. These fragments loose their character of being fractured due to a musical flow that is in itself is blatantly heterogeneous.

    In my paper I would like to elucidate the relation between the poles of fragment and flow, characterized not by tension, but by attraction. In the same way as with the Romantic and the modernistic fragment, Rihm’s flowing fragments can be seen as being paradigmatic for a specific period of history, our contemporary liquid culture.

  • 17.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    From Mood to Tone: On Schoenberg and Musical Worlds2016In: Danish Musicology Online, ISSN 1904-237X, p. 123-144Article in journal (Refereed)
    Abstract [en]

    When Gurre-Lieder had its first performance in Vienna on February 23, 1913, it was an immediate success despite the fact that Arnold Schoenberg had made a series of scandals with his latest works. The following day, Pierrot Lunaire made a new scandal in Prague.

    It is a thought-provoking paradox that Schoenberg kept on working on the late Romantic symphonic cantata during the development of his free atonal or pantonal style. In this paper I discuss this paradox in terms of worlding and unworlding in reference to, among others, the philosopher Martin Heidegger and the musicologist John Covach. At the same time as a new musical world emerges in works such as the Second String Quartet and Das Buch der hängenden Gärten, the world of late Romanticism starts to be dissolved or unworlded.

    Vital to this investigation is Stefan George, whose poems Schoenberg began to set to music during this period of change. Instead of only saying that Schoenberg needed texts in order to organize longer compositions during the atonal, pre-dodecaphonic phase – a common suggestion in research on the Second Viennese School – I propose that it is less linguistic elements than the specific tone of the poems that had the sought-after potential. As a matter of fact, George’s close friend and foremost interpreter Friedrich Gundolf described a shift from the mood orientation of the early George to the emergence of a powerful tone.

    The reviews of the first performances of the Second String Quartet and Gurre-Lieder are another important source for this study of a historical process. These texts, often commenting on the reaction of the audience, are testimonies to a conflict between musical worlds. They afford us with a precise formulation of what was heard and what was not heard, leading us to the articulation of a historical attunemental shift. 

  • 18.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    From Mood to Tone: Schoenberg’s Attunemental Shift2015Conference paper (Refereed)
    Abstract [en]

    When Gurre-Lieder had its first performance in Vienna on February 23, 1913, it was an immediate success despite the fact that Arnold Schoenberg had made a series of scandals with his latest works. The following day, Pierrot Lunaire made a new scandal in Prague. It is a thought-provoking paradox that Schoenberg kept on working on the late Romantic symphonic cantata during the development of his free atonal or pantonal style. In this paper I intend to discuss this paradox in terms of worlding and unworlding in reference to phenomenological philosophers such as Martin Heidegger and Mikel Dufrenne as well as the musicologists John Covach and Hermann Danuser. At the same time as a new musical world emerges in works such as the Second String Quartet and Das Buch der hängenden Gärten, the world of late Romanticism starts to be dissolved or unworlded. Vital to this investigation is the dislocation in the poetics of Stefan George, whose poems Schoenberg began to set to music during this period of change – both the quartet and the song cycle belong to those works. George’s close friend and foremost interpreter Friedrich Gundolf described a shift from the mood orientation of the early George to the emergence of a powerful tone. Instead of only saying that Schoenberg and the composers of his circle needed texts in order to organize longer compositions during the atonal, pre-dodecaphonic phase – a common suggestion in research on the Second Viennese School – I propose that it is less linguistic elements than the specific tone of the poems that had the sought-after potential. The change can be described as an attunemental shift that concerns much more than a compositional development. It took place during a time of crisis, just before World War I and in the last years of an era that Hobsbawm has called ‘the long 19th century’. Even if this circumstance can only be hinted at, it is crucial for my postdoc project ‘Worlding and Unworlding’, to which this paper belongs, where I investigate a series of historical disruptions and crises. 

  • 19.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Från tysk höst till tysk vår. Fem musikpersonligheter i svensk exil i skuggan av nazismen och kalla kriget, Henrik Rosengren, Nordic Academic Press, 2013, 400 s.2014In: Scandia, ISSN 0036-5483, Vol. 80, no 2, p. 134-135Article, book review (Other academic)
  • 20.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Förbise inte Wagners antisemitism: Richard Wagner, Judendomen i musiken2013In: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, no 2Article, book review (Other academic)
  • 21.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Goehr gör upp med musikens föreställningar: Artikel under strecket i SvD om Lydia Goehrs Elective Affinities. Musical Essays on the History of Aesthetic Theory (Columbia University Press, 386 s.).2010In: Svenska Dagbladet, no 19 marsArticle, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Lydia Goehr filosofiska essäer i nya boken ”Elective Affinities” kretsar i stor utsträckning kring musik. Svaren är få, styrkan är hennes sätt att bryta upp våra föreställningar.

  • 22.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Gudarna ska veta sin plats2010In: Svenska Dagbladet, no 24/4Article, book review (Other (popular science, discussion, etc.))
  • 23.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Heideggers ljusskygga tankar i öppen dager2014In: Svenska dagbladet, ISSN 1101-2412Article, book review (Other (popular science, discussion, etc.))
  • 24.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hermeneutics and Anti-Hermeneutics of Music: The Question of Listening in Jean-Luc Nancy and Lawrence Kramer2013In: Epekeina, ISSN 2281-3209, Vol. 3, no 2, p. 307-320Article in journal (Refereed)
    Abstract [en]

    When Jean-Luc Nancy’s À l’écoute was translated into English under the title Listening (2007), two texts were added to the original book, one of them discussing the Nazi exploitation of music, the other elaborating Nancy’s own notion of musical listening as a listening that allows music to listen to itself. It resulted in a book where music now played a more important role. The response from the hermeneutic camp of North American musicology has been harsh, with Lawrence Kramer’s recent treatment of Nancy as principle example. In the present article, Nancy’s and Kramer’s positions are discussed in terms of musical anti-hermeneutics and hermeneutics respectively – where both the ideological and the historical backgrounds are of importance. Even if Kramer most often is correct in his description of Nancy, the negative judgment is not necessary. It is, however, suggested that Nancy’s play with two words concerning the musical work of art, ouevre (work) and ouvrage (labour), should have another word added, the verb ouvrir (open). A world is opened up in the musical work of art, and this world works outside the work, too.

  • 25.
    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.
    Hjärnvägen till musiken2009In: Svenska Dagbladet, Vol. 12/4Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Recension av Den enarmade pianisten. Berättelser om musiken och hjärnan (Musicophilia),Oliver Sacks, Brombergs

  • 26.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur ska biblioteket klara av sitt uppdrag?2013In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 27.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krossat glas kan vara ett tecken på riktigt bra musik2017In: Svenska Dagbladet, ISSN 1101-2412, , p. 1p. 26-26Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    "Lieber Martin", "Liebe Hannah"2007In: Källarhändelser: Forum Nutidsplats för kultur, Ersatz , 2007, p. 431–435-Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Brevväxlingen mellan Martin Heidegger och Hannah Arendt behandlas. Föredrag hållet på Forum, Stockholm, 2002.

  • 29.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lyhörda möten med Wagner2013In: Svenska dagbladet, ISSN 1101-2412Article, book review (Other (popular science, discussion, etc.))
  • 30.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music, Truth and Belonging: Listening with Heidegger2015In: Philosophy of Music Education Challanged: Heideggerian Inspirations / [ed] Frederik Pio & Øivind Varkøy, Dordrecht: Springer , 2015, p. 131-146Chapter in book (Refereed)
    Abstract [en]

    Despite Heidegger's ambiguous—sometimes even hostile—relation to music, his thinking opens itself up to the musical sphere not least through key words such as Stimmung, Fuge, and hören ('mood', 'fugue', and 'listening'). This article suggests that if his thinking on the artwork is taken into account, especially its relation to truth and Being, then there is reason to rethink many of the conceptions that are pivotal for how we listen to, teach, and study music.The starting point is Heidegger's treatment of the conflict between Wagner and Nietzsche, where he rejects Wagner's Gesamtkunstwerk. However, since he only repudiates the emotionality of music, another position of his should come to the fore, that indicated in Der Ursprung des Kunstwerkes. All artworks open up a world. Truth happens in these works. This must be valid for music, too, even if Heidegger remained silent on how. It is shown in the article—with the 'Eroica' Symphony as principal example—how a musical world may change the conception of the world, how music may establish truth with a 'thrust'.

    This thrust can be recognized only if the listener is thoroughly attuned. In this attunement, the listener belongs to Being. Heidegger's formulation in German clarifies the relation: Zugehörigkeit ('belongingness') incorporates the verb zu hören ('to listen' or 'to hear'). Such a relation to the artwork is, of course, entirely at odds with how music is conceived in our education. In the concluding part of the article, it is suggested how Heidegger's listening can not only inform but even reform the notion of music in academia.

  • 31.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musical Attunement: The concept and phenomenon of Stimmung in music2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The principal aim of the study is to establish a new perspective on the affectivity of music. It is concerned with an everyday relation to music; that of listening for the mood, for the attunement. Despite its everyday character, this kind of listening has not been given due attention in music studies.

    In order to establish this perspective, three steps are taken, corresponding to the secondary aims of the thesis. The first step is to investigate the conceptual history of the German counterpart to mood, Stimmung, since the most fertile aesthetic discussion on the matter has been held in the German-speaking sphere. This history includes most prominent thinkers within aesthetics of music from the period 1770–1930, and it is considered in relation to changes in listening attitudes as well as in compositional techniques.

    The second step is to investigate the possibilities of transferring Martin Heidegger’s concept of Stimmung to a musical context. With this concept, Heidegger brought about an upheaval in the discourse of affectivity, resulting in a philosophy of Stimmung. This philosophically grounded concept is introduced into the musical sphere, leading to a reconceptualization of the existent musical concept.

    At this point, the ordinary translation of Stimmung with ‘mood’ is no longer apt and therefore the term ‘attunement’ is suggested. Attunement is that which situates the listener in a primordial way, being decisive for how music is understood and how it makes sense. It is suggested that the musical work is a musical world with dimensions of temporality, spatiality, mobility, and materiality. The third step is to elucidate and draw the boundaries for attunement, and this is carried out through a series of investigations of the historicity, the duration, and the intercultural aspects of attunement. The conclusion is that the history of musical listening can be described in terms of an attunemental history and that music is crucial in intercultural understanding.

  • 32.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musikens begynnelse2017In: Ad Marciam / [ed] Hans Ruin, Jonna Bornemark, Huddinge: Södertörns högskola, 2017, p. 329-338Chapter in book (Other academic)
  • 33.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Nazismen gjorde dem konservativa2008In: Svenska Dagbladet, no 081218Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Ernst Jüngers och Martin Heideggers misslyckade försök att närma sig nazismen fick deras tänkande att ändra riktning, från dådkraftig handling till en bevarande hållning. Det hävdar den tyske historikern Daniel Morat i en ny bok om de två tänkarna.

    Artikeln är publicerad under strecket i SvD och recenserar Daniel Morat, Von der Tat zur Gelassenheit. Konservatives Denken bei Martin Heidegger, Ernst Jünger und Friedrich Georg Jünger 1920–1960, Wallstein 2007 och Martin Heidegger & Ernst Jünger, Briefe 1949–1975 Klett-Cotta/Klostermann 2008.

  • 34.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Petra Gaberding: Musik och politik i skuggan av nazismen: Kurt Atterberg och de svensk-tyska musikrelationerna2008In: Göteborgs-Posten, no 080517Article, book review (Other (popular science, discussion, etc.))
  • 35.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Platons dubbelspel2007In: Källarhändelser: Forum Nutidsplats för kultur, Ersatz , 2007, p. 313–318-Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Platon bedrev ett dubbelspel när han upphöjde idén och nedvärderade det sinnliga. Föredrag hållet 2000 på Forum, Stockholm.

  • 36.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Problemet? Den orkeslösa inställningen till samtida musik2017In: Svenska dagbladet, ISSN 1101-2412, no 19 aprilArticle in journal (Other (popular science, discussion, etc.))
  • 37.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Röstmöten förändrar livet2017In: Svenska Dagbladet, ISSN 1101-2412, p. 34-34Article in journal (Other (popular science, discussion, etc.))
  • 38.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Smutsgrå Heidegger ger färre rubriker: fullt kaos råder i Heideggervärlden2015In: Svenska dagbladet, ISSN 1101-2412Article, book review (Other (popular science, discussion, etc.))
  • 39.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Snart är vi sång" – lyssnande som delaktighet2017In: Kungl. Musikaliska akademiens årsskrift 2016, Stockholm: Kungl. Musikaliska akademien , 2017, p. 20-27Chapter in book (Other (popular science, discussion, etc.))
  • 40.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svenska musiker i nazismens ledband2017In: Svenska Dagbladet, ISSN 1101-2412, p. 33-33Article in journal (Other (popular science, discussion, etc.))
  • 41.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Så berättar mina skivor vår tids historia2017In: Svenska Dagbladet, ISSN 1101-2412, p. 34-34Article in journal (Other (popular science, discussion, etc.))
  • 42.
    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.

  • 43.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tor Aulin (1866−1914)2016Other (Other academic)
    Abstract [sv]

    Tor Bernhard Wilhelm Aulin föddes den 10 september 1866 i Stockholm och avled i Saltsjöbaden 1 mars 1914. Han var sin tids mest framstående violinist i Sverige, en av de ledande dirigenterna och en förkämpe för kammarmusiken. I hans verklista finns tre konsertanta verk för violin och orkester, teatermusik, sånger och kammarmusik. 1887 bildade han Aulinska kvartetten. 1889−1902 konsertmästare i Kungl. Hovkapellet. Därefter tog Aulin initiativ till och ledde orkestrar som Svenska musikerföreningens orkester 1900, Konsertföreningen i Stockholm 1902−09, Kungl. Dramatiska teaterns orkester 1907−09 och Sydsvenska filharmoniska 1907−08. 1909−11 dirigent för Göteborgs orkesterförening. Ledamot av Kungl. Musikaliska akademien 1895.

  • 44.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Ture Rangström (1884−1947)2016Other (Other academic)
    Abstract [sv]

    Tonsättaren, dirigenten, sångpedagogen och musikkritikern Anders Johan Ture Rangström föddes i Stockholm 30 november 1884 och avled där 11 maj 1947. Han bedrev kortvariga studier i kontrapunkt för Johan Lindegren och i komposition för Hans Pfitzner i Berlin, men mer avgörande var sångstudierna för Julius Hey i Berlin och München. Chefdirigent för Göteborgs orkesterförening 1922−25. Som kritiker var han verksam i en rad Stockholmstidningar. Han är en av Sveriges främsta romanstonsättare, men har gjort avtryck också som operatonsättare och symfoniker. Ledamot av Kungl. Musikaliska akademien 1919. Han erhöll Litteris et artibus 1944.

  • 45.
    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.

  • 46.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Värld och avvärldning2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Att ett konstverk kan beskrivas i termer av ”värld” är bekant, men vad skulle ett ”av-världsligande” (Entweltlichung) av denna värld innebära? Ordet är hämtat ifrån Martin Heideggers Sein und Zeit, och står där för en process som löser upp eller objektifierar den värld vi föds in i och befinner oss i. Sedan tycks ordet försvinna ur hans tänkande (det användes dock i de föreläsningar som ledde fram till hans första huvudverk), och det återfinns inte i den centrala texten ”Der Ursprung des Kunstwerkes”, där ”värld” och ”världande” är centrala.I mitt nyligen inledda postdoc-projekt ”Worlding and Unworlding” är den centrala tematiken relationen mellan uppställandet av en värld i verket och samma världs försvin-nande. Det innebär att jag tänker sätta i spel en motsättning som Heidegger aldrig tar upp i sitt tänkande om konsten. Men istället för att endast försöka tänka det han lämnat otänkt, är siktet inställt på att mot en fond av reflektion kring konst och värld (förutom Heidegger även Mikel Dufrenne, Jean-Luc Nancy och John Covach) ställa frågor om verkets förhållande till historien.Hos Heidegger är verkets värld både det sammanhang verket uppstår i och den me-ningsfulla helhet som ställs upp i verket. Men vad sker när den förstnämnda världen förbleknar (”avvärldsligas”, ist entweltet), d.v.s. när vi hamnat på ett historiskt avstånd som gör att det som varit samtida bli dåtida? Ur ett historiskt perspektiv kan vi också frå-ga oss vad som sker i de brytpunkter där en epok går mot sitt slut för att ersättas med en annan: en meningskris uppstår, och här är det mer intressant att rikta uppmärksamheten mot meningsupplösningen, snarare än mot det som den konventionella musikhistorie-skrivningen varit alltid varit upptagen av: det nya som tränger fram.

  • 47.
    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.

  • 48.
    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.

  • 49.
    Wallrup, Erik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Äntligen renässans för de symfoniska supertungviktarna2017In: Svenska Dagbladet, ISSN 1101-2412, p. 30-30Article in journal (Other (popular science, discussion, etc.))
  • 50.
    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?

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