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  • 1.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Andreas Halléns brev till Hans Herrig2009Other (Other (popular science, discussion, etc.))
  • 2.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Andrew Barnett. Sibelius. New Haven and London: Yale Univer- sity Press, 2007. pp. xvi + 4452011In: Journal of Historical Biography, ISSN 1911-852X, E-ISSN 1911-8538, Vol. 9, 98-103 p.Article, book review (Other academic)
  • 3.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Bernd Sponheuer och Wolfram Steinbeck (utg.): ‘Mahler Handbuch’. Weimar etc.: Verlag J. B. Metzler och Bärenreiter Verlag, 20102012In: Svensk tidskrift för musikforskning, ISSN 0081-9816, no 94, 119-121 p.Article, book review (Other academic)
  • 4.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Cornelia Bartsch: “Fanny Hensel geb. Mendelssohn Bartholdy. Musik als Korrespondenz”, Furore Verlag, Kassel 20072011In: Die Musikforschung, ISSN 0027-4801, Vol. 64, no 1, 76-78 p.Article, book review (Other academic)
  • 5.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Das Drama in der Musik - Richard Wagners programmatische Erläute­rungen/Draama musiikissa – Richard Wagnerin ohjelmalliset tulkinnat2007In: Grane - Richard Wagner kulttuurilehti, ISSN 1458-2864, no 1, 4-12 p.Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Das Liebesmahl der Apostel" von Richard Wagner in der Frauenkirche, Dresden2008In: operapoint: Zeitschrift für Oper und Konzert, ISSN 18644023, Vol. 8, no 3, s. 4-5 p.Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Knust, Martin
    Stockholm University.
    Der junge Richard Wagner und seine Sänger I: Erste Stationen2008In: Grane: Richard Wagner-kulttuurilehti, ISSN 14582864, no 1, 44-53 p.Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Knust, Martin
    Stockholm University.
    Der junge Richard Wagner und seine Sänger II: Die baltischen Jahre2008In: Grane: Richard Wagner-kulttuurilehti, ISSN 14582864, no 2, 33-39 p.Article in journal (Other (popular science, discussion, etc.))
  • 9.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Det pittoreska i Hugo Alfvéns musik:: en musikikonografisk studie2012In: Hugo Alfvén: liv och verk i ny belysning / [ed] Gunnar Ternhag, Joakim Tillman, Hedemora: Gidlunds förlag, 2012, 1, 147-177 p.Chapter in book (Other academic)
  • 10.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Die Bühnengestik im 19. Jahrhundert: Quellen und Ansätze einer szenisch-musikalischen Rekonstruktion2011In: Musiktheorie, ISSN 0177-4182, 325-344 p.Article in journal (Refereed)
    Abstract [en]

    This article discusses the possibilities of a reconstruction of the operatic gestures of the 19th century. It presents the different types of sources required for it and even some methodic approaches to use them practically. Such a reconstruction would be fruitful for musicology as well as for the historical informed performance practice. As a tool for research it would help to explain some specific features of 19th-century dramatic music, which partly germinated from a genuinely gestural impulse. Concerning the artistic practice a reconstruction of the ancient physical delivery could enrich the performance practice of opera; this applies not only to the optical component, the stage, but also to the interpretation of music since the wide range and highly expressive style of theatrical gestures of that time might also have a strong impact on the singer’s vocal delivery.

  • 11.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Durchbruch, Ironie, Weltanschauungsmusik und die Ästhetik des Banalen: Gustav Mahler zum 150. Geburtstag2010In: operapoint, ISSN 1864-4023, Vol. 3, 8-10 p.Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    “’... eine tüchtige Stimme und ergreifendes Spiel’ – Die ersten Bayreuther Sänger“2007In: wagnerspectrum, ISSN 978-3-8260-3799-3, Vol. 3, no 2, 115-137 p.Article in journal (Refereed)
    Abstract [en]

    What were the main qualities demonstrated by the first Bayreuth singers? This question – because Wagner selected those singers himself – leads to two more: Did these singers all have something in common? And if so, can we derive from that something Wagner’s criteria of selection? In this article I outline what I believe are the decisive patterns of his preferences. Most obviously important to him was that the singers possess the physical stature suited for their individual roles, that they have a strong voice, excellent diction, and good skills as actors. Given the fact that Wagner chose in accordance with the dramatic types they were to embody, their purely musical ability was apparently relegated to a level of secondary importance. In general the standards of opera-singing have changed during the last 130 years, but even compared to other European singing styles characteristic of the eighteen-seventies, the Bayreuth standard seems to have been relatively low, if not defective, at least as concerns professional singing technique. To this conclusion I add another: In contrast to what happens in the theatre today with Wagner-interpretation, the quality of the action on stage was of more importance to Wagner than the vocal skill of the singers. This explains why all his rehearsals with soloists consisted as much of rehearsing gestures as rehearsing vocal delivery and expression. It may thus be concluded that in choosing singers, Wagner assumed the role more of stage director than of conductor.

  • 13.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    '... ett stycke typisk Gebrauchsmusik': Jean Sibelius' Kompositionen für die Universität Helsinki2008In: Die Musikforschung, ISSN 00274801, Vol. 1, no 1, 26-46 p.Article in journal (Refereed)
    Abstract [de]

    Jean Sibelius hat mehrere z.T. großbesetzte Kompositionen für die Universität Helsinki geschrieben. Nicht alle davon sind vollständig erhalten. Es gilt zunächst zu unterscheiden zwischen denjenigen Stücken, die für prominente Studentenchöre wie die Ylioppilaskunnan Laulajat (YL) oder Suomen Laulu (S.L.) entstanden, und den Gelegenheitswerken, die für bestimmte akademische Feierlichkeiten komponiert wurden. Zu den letztgenannten Werken gehören zwei Kantaten, die Sibelius für Promotionsfeiern in den Jahren 1894 und 1897 schrieb und die von professionellen Musikern im Festsaal der Universität aufgeführt wurden. Zwar war es seinerzeit in Nordeuropa anders als in Kontinentaleuropa durchaus üblich, daß für solche Anlässe eigens Werke geschrieben wurden, doch war der Aufwand, den man in Helsinki trieb, selbst für nordeuropäische Verhältnisse enorm. Wie eine Analyse von Text und Musik der Promotionskantate JS 105 von 1894 zeigt, handelte es sich dabei offensichtlich nicht nur um eine akademische, sondern zugleich auch um eine verdeckte patriotische Feier, so wie sie in den souveränen europäischen Staaten zur Zeit der Jahrhundertwende gang und gebe war, im seinerzeit zu Rußland gehörenden Großfürstentum Finnland jedoch völlig unstatthaft war. Umgekehrt sind sowohl die Musik als auch die Aufführungsbedingungen der Freuden- und Glückwunschkantate JS 104, die Sibelius 1896 für die akademischen Feierlichkeiten anläßlich der Thronbesteigung von Zar Nikolaus II. schrieb, schon beinahe als subversiv zu bezeichnen, denn sie zeigen recht unverhohlen das Desinteresse von Komponist und Ausführenden bei dieser mehr oder weniger erzwungenen offiziellen Huldigung. Die akademischen Feiern im Finnland der Jahrhundertwende geben also einen recht deutlichen Reflex der damaligen Situation im Lande, die vor allem durch eine sich immer aggressiver gerierende Russifizierungspolitik gekennzeichnet war.

    Ausgehend von der Qualität von Sibelius’ Gelegenheitsmusiken werden abschließend einige Kriterien eruiert, anhand derer sich Unterschiede zwischen seinem Haupt- und Nebenwerk benennen lassen.

  • 14.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Glenda Dawn Goss: Sibelius. A composer’s life and the awakening of Finland. Chicago-London: The University of Chicago Press 2009.  XVII, 549 S., Abb., Nbsp.2012In: Die Musikforschung, ISSN 0027-4801, Vol. 65, no 1, 68-70 p.Article, book review (Other academic)
  • 15.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    'Klappern und wieder klappern! Die Leute glauben nur, was gedruckt steht.' Andréas Hallén's Letters to Hans Herrig: A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century2011In: Svensk tidskrift för musikforskning, ISSN 00819816, Vol. 93, 33-76 p.Article in journal (Refereed)
  • 16.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Kompositörens självporträtt: Betraktelser kring Hugo Alfvéns bilder ‘Ensam’ och ‘Det ensamma trädet’2010In: Alfvéniana, ISSN 1101-5667, no 3-4, 1-6 p.Article in journal (Other (popular science, discussion, etc.))
  • 17.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsén-Todsen, Nanny2008In: Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, Supplement, Ludwig Finscher (Bärenreiter-Verlag/Metzler-Verlag, Kassel etc.) , 2008, sp. 462- p.Chapter in book (Refereed)
  • 18.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Markus Kiesel (ed.): “Das Richard Wagner Festspielhaus Bayreuth”2008In: wagnerspectrum: Schwerpunkt: Der Gral, Königshausen und Neumann, Würzburg , 2008, 230-232 p.Chapter in book (Other academic)
  • 19.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Modifikationen der Zeit. Einojuhani Rautavaara (* 1928) und seine Kammeroper 'Das Sonnenhaus'2008In: Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft, ISSN 18633536, Vol. 2, no 4, 449-459 p.Article in journal (Other (popular science, discussion, etc.))
  • 20.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Musica Baltica:  Towards a Baltic Network. 12. internationale Konferenz, Greifswald, 27. – 29.08.20082009In: Die Musikforschung, ISSN 0027-4801, no 1, 49-51 p.Article, review/survey (Other academic)
  • 21.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Orlando di Lasso und das goldene Zeitalter der Münchner Hofmusik2011In: Enzyklopädie der Kirchenmusik vol. II: Zentren der Kirchenmusik / [ed] Matthias Schneider, Beate Bugenhagen, Laaber: Laaber-Verlag , 2011, 1, 83-105 p.Chapter in book (Refereed)
  • 22.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Royal College of Music in Stockholm.
    People's Theater, Reform and Revolution The young Richard Wagner in Vienna2012In: Österreichische Musikzeitschrift, ISSN 0029-9316, E-ISSN 2307-2970, Vol. 67, no 6, 6-13 p.Article in journal (Refereed)
  • 23.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    - Philippe Olivier: ’Der Ring des Nibelungen’ in Bayreuth von den Anfängen bis heute2008In: wagnerspectrum: Schwerpunkt: Der Gral, Königshausen und Neumann, Würzburg , 2008, 232-235 p.Chapter in book (Other academic)
  • 24.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Richard Wagner und das Theater/Richard Wagner ja teatteri2004In: Grane Richard Wagner-kulttuurilehti, ISSN 1458-2864, no 1, 11-16 p.Article in journal (Other (popular science, discussion, etc.))
  • 25.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Richard Wagner und Karl von Holtei: Eine Rekonstruktion ihrer gemeinsamen Rigaer Zeit von 1837 bis 18392010In: Musikleben des 19. Jahrhunderts im nördlichen Europa  / 19th-Century Musical Life in Northern Europe: Strukturen und Prozesse / Structures and Processes / [ed] Kristel Pappel, Toomas Siitan, Anu Sõõru, Hildesheim, Zürich, New York: Georg Olms Verlag AG , 2010, 1, 111-134 p.Chapter in book (Other academic)
  • 26.
    Knust, Martin
    University Greifswald/Germany.
    Sprachvertonung und Gestik in den Werken Richard Wagners: Ein­flüsse zeitgenössischer Rezitations- und Deklamationspraxis2007Doctoral thesis, monograph (Other academic)
    Abstract [de]

    Richard Wagner besaß eine eminente schauspielerische Begabung, war aber physisch für die pro­fessionelle Schauspielerlaufbahn ungeeignet. Er kompensierte diese Verhinderung auf mehrere Weisen: Zum einen las und sang er sehr gerne dramatische Texte vor. Zum zweiten betätigte er sich als Regisseur, und zwar als erster Regisseur im modernen Sinne. Zum dritten hob er den Schau­spielvortrag seiner Zeit – sowohl dessen akustische Komponente, die Sprechkunst, als auch des­sen optische, die Gestik des Akteurs – in seiner Musik auf. Um diese Thesen zu erhärten, wird erstmals das gesamte dramatische Vokalschaffen Wagners analysiert, werden sämtliche Inszenie­rungen Wagners, sofern sie dokumentiert sind, rekonstruiert, seine theoretischen Schriften unter diesem Aspekt ausgewertet und, um sein Profil als Theaterrezipient herauszuar­beiten, alle überlie­ferten Theaterbesuche Wagners erfaßt. Dadurch wird eine – wenn man Wagners Zeitgenossen trauen darf – wesentliche Schicht seines Schaffens, die über ein Jahr­hundert hinweg vergessen war, wieder freigelegt.

  • 27.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Dissemination of the ‘Gesamtkunstwerk’ around 1900 A survey: A survey2009In: Música em Contexto. Revista do Programa de Pós-Graduação Música em Contexto da Universidade de Brasília, ISSN 1980-5802, Vol. 1, no 1, 27-52 p.Article in journal (Refereed)
    Abstract [en]

    The article explores the reception of Richard Wagner’s work (1813-1883) and especially the concept of the ‘Gesamtkunstwerk’ within the European context around 1900, in Germany and Austria as well as in France, Italy and Nordic Countries such as Sweden and Finland. It also discusses the relationships between Wagner and Brazil especially those established with D. Pedro II, as well as the Wagnerian reception within the Latin-American context.

  • 28.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Impact of Continental Art Music upon Nordic Composers: An acculturation study2010In: International Forum for Young Musicologists 2010 in Yokohama: Abstracts and Preliminary Papers / [ed] The Musicological Society of Japan, Tokyo: The Musicological Society of Japan , 2010, 82-89 p.Conference paper (Refereed)
    Abstract [en]

    From the middle of the 19th until the 20th century it was essential for Nordic composers to have studied ‘on the continent’. The institutions they chose for their education were mostly located in Leipzig, Berlin, Paris or Vienna. From here they exported musical techniques into their native countries to develop a characteristic national idiom according to the nationalistic spirit of that time. To outline the impact of German music upon Nordic national composers like Edvard Grieg, Jean Sibelius or Hugo Alfvén and vice versa to show their ambitions to establish their acculturated music on the continent is the main issue of my paper. It will show how crucial the origin of a composer was for the reception of his music in the positive and the negative meaning. Thus my study could serve as a model for studies of the reception of music among other nations in general, e.g. the reception of European art music in Asia respectively the reception of Asian art music in Europe. The leading questions will be: Is there really a national tone, for instance a ‘Nordic tone’, which can be stated objectively for instance by analyzing music? Or is this merely an attitude of reception? Which strategies of acculturation and demarcation were used by the composers? Were there maybe specific kinds of freedom or limitation for the first composers who took contact to the music of another nation? Which rôle played the politics of a country to encourage or prevent such cultural contacts? How did the music-exporting nations react to the successes of ‘their’ composers? Were there maybe some kinds of cultural hegemonies which were not corresponding to the political situation? Were there maybe musical genres created deliberately to be supranational? And finally: How important is it today for the reception of a work to know where its composer was born?

  • 29.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Universität der Stadt New York: Music, Body and Stage: Zur Ikonographie von Bühne und Musiktheater2008Report (Other (popular science, discussion, etc.))
  • 30.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Urged to Interdisciplinary Approaches: The Iconography of Music on the Reliefs of Angkor Wat2010In: Music in Art. International Journal for Music Iconography, ISSN 1522-7464, Vol. 35, no 1-2, 37-52 p.Article in journal (Refereed)
  • 31.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    ’Vom Erkennen des Erkannten’. Musikalische Analyse und Editionsphilologie. Festschrift für Christian Martin Schmidt2008In: Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft, ISSN 18633536, Vol. 2, no 3, 382-383 p.Article, book review (Other academic)
  • 32.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    “’Vom Erkennen des Erkannten’. Musikalische Analyse und Editionsphilologie. Festschrift für Christian Martin Schmidt”, Friederike Wißmann, Thomas Ahrend, Heinz von Loesch (eds.), Breitkopf und Härtel, Wiesbaden/Leipzig/Paris 20072011In: Die Musikforschung, ISSN 0027-4801, Vol. 64, no 1, 91-92 p.Article, book review (Other academic)
  • 33.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Von Engeln, Licht und Gott : Kritische Anmerkungen anläßlich der Kölner Uraufführung von Karlheinz Stockhausens SONNTAG2012In: operapoint, ISSN 1864-4023, Vol. 12, no 1, 5-7 p.Article in journal (Other (popular science, discussion, etc.))
  • 34.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Wagner und das Volkstheater/Wagner ja kansanteatteri2007In: Grane Richard Wagner-kulttuurilehti, ISSN 1458-2864, no 1, 12-18 p.Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Wagners 'Der Tannebaum' WWV 50 - Ein Beitrag zu seiner Biographie/Wagnerin ‘Der Tannenbaum’ WWV 50 – Lisätietoa Richard Wagnerin elämäkertaan2007In: Grane Richard Wagner-kulttuurilehti, ISSN 1458-2864, no 2, 23-31 p.Article in journal (Other (popular science, discussion, etc.))
  • 36.
    Knust, Martin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Wie Musik uns zu manipulieren vermag: Symposion ‘Musik und Medien’ in Amsterdam 4. – 5.7.20092009In: Operapoint.Magazin für Oper und Konzert, ISSN 1864-4023, no 4, 9-11 p.Article in journal (Other (popular science, discussion, etc.))
1 - 36 of 36
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