Change search
Refine search result
1 - 40 of 40
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1. Coleman, Lindsay
    et al.
    Tillman, JoakimStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Contemporary film music: Investigating cinema narratives and composition2017Collection (editor) (Other academic)
  • 2. Coleman, Lindsay
    et al.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Introduction2017In: Contemporary film music: Investigating cinema narratives and composition / [ed] Lindsay Coleman, Joakim Tillman, London: Palgrave Macmillan, 2017, p. 1-15Chapter in book (Other academic)
  • 3.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Foreword2007In: What Kind of Theory is Music Theory?: Epistemological Exercises in Music Theory and Analysis, Stockholm: Acta Universitatis Stockholmiensis , 2007, p. 9-10Chapter in book (Other academic)
  • 4.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    [11 verkkommentarer]2012In: Per Nørgård: Tonsättarfestival 7-11 november 2012 Kungliga Filharmonikerna/Stockholms Konserthus / [ed] Tony Lundman, Stockholm: Programbok utgiven av Stockholms Konserthusstiftelse , 2012, p. 22-41Chapter in book (Other (popular science, discussion, etc.))
  • 5.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Andreas Hallén (1846−1925)2016Other (Other academic)
    Abstract [sv]

    Johan Andreas (Andréas) Hallén, född 22 december 1846 i Göteborg och död 11 mars 1925 i Stockholm, var tonsättare, dirigent, musikkritiker och musikpedagog. Efter studier i Tyskland blev han kapellmästare för Göteborgs musikförening 1872−78, sånglärare i Berlin 1880−82, grundare av och dirigent för Filharmoniska sällskapet i Stockholm 1885−95, 2:e kapellmästare vid Kungl. Operan 1892−97, dirigent för Sydsvenska filharmoniska sällskapet i Malmö 1902−07 och lärare i komposition vid Kungl. Musikkonservatoriet 1909−19. Hallén var en pionjär för den nytyska musiken i Sverige och hans Harald Viking var den första svenska wagnerska operan. Senare avtog detta inflytande samtidigt som Hallén utvecklade en nordiskt färgad stil. Invald i Kungl. Musikaliska akademien 1884.

  • 6.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Daniel Börtz – a composer in a constant state of development2003In: Highlights, no 14, p. 2-4Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”…ett mosaikarbete av oväntade överraskningar och oförmedlade övergångar…”: om finalen i Hugo Alfvéns första symfoni2012In: Alfvéniana, ISSN 1101-5667, no 3-4Article in journal (Other academic)
  • 8.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Form och innehåll i Hugo Alfvéns symfoniska dikt En skärgårdssägen2010In: STM-Online, ISSN 1403-5715, E-ISSN 1403-5715, Vol. 13Article in journal (Refereed)
  • 9.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Förälskad i och förundrad inför primtalen: Om den rytmiska konstruktionen i Anders Eliassons Disegno per quartetto d’archi2002In: NM/T Nutida Musik/Tritonus, ISSN 0029-6597, E-ISSN 1402-4837, Vol. 45, no 1, p. 19-24Article in journal (Other academic)
  • 10.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Hollywood under 1930- och 40-talen2006In: Filmmusik – det komponerade miraklet, Liber, Malmö , 2006, p. 23-39Chapter in book (Other (popular science, discussion, etc.))
  • 11.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hugo Alfvén och Gertrud Dahlgren2014In: Alfvéniana, ISSN 1101-5667, no 1-2, p. 3-6-20-22Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    I den stores fotspår: Beethovens betydelse för den första satsen i Hugo Alfvéns tredje symfoni2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92, p. 31-49Article in journal (Refereed)
  • 13.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    "inte längre, men ännu inte": om musiken i Lohengrin2012In: Lohengrin: Opera av Richard Wagner / [ed] Claes Wahlin, Stockholm: Kungliga Operan , 2012, p. 28-33Chapter in book (Other (popular science, discussion, etc.))
  • 14.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”Jag ville dikta en apoteos över den jordiska kärlekens högsta lycka”: om tillkomsten av Hugo Alfvéns fjärde symfoni och dess erotiska innehåll2012In: Hugo Alfvén: Liv och verk i ny belysning / [ed] Gunnar Ternhag & Joakim Tillman, Hedemora: Gidlunds förlag , 2012, p. 191-237Chapter in book (Other academic)
  • 15.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Ledmotivstekniken i Arnljot2006In: Wilhelm Peterson-Berger - en vägvisare, Gidlunds förlag , 2006, p. 106-138Chapter in book (Refereed)
  • 16.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Marie-Louise Rodén och Daniele D. Godor, Mästersångaren från Västerås : Set Svanholm, Atlantis, 20152017In: Scandia, ISSN 0036-5483, Vol. 83, no 1, p. 119-120Article, book review (Other academic)
  • 17.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Martin Fröst: Nordic Concertos2016In: Nutida Musik, ISSN 1652-6082, Vol. 58, no 259-260, p. 104-105Article, book review (Other (popular science, discussion, etc.))
  • 18.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Några anteckningar om Hugo Alfvéns andra symfoni2011In: Alfvéniana, ISSN 1101-5667, no 1-2, p. 3-8Article in journal (Other academic)
  • 19.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Några aspekter på Hugo Alfvéns femte symfoni2012In: Alfvéniana, ISSN 1101-5667, no 1-2Article in journal (Other academic)
  • 20.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Om att spela repriserna i Alfvéns symfonier2010In: Alfvéniana, ISSN 1101-5667, no 3-4, p. 7-10-15-18Article in journal (Other academic)
  • 21.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Om de olika versionerna av Hugo Alfvéns första symfoni2011In: Alfvéniana, ISSN 1101-5667, no 3-4, p. 14-22Article in journal (Other academic)
  • 22.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recension: Daniel Börtz: Hans namn var Orestes, En gycklares berättelser2008In: Nutida musik, ISSN 1652-6082, Vol. 51, no 1, p. 61-Article, book review (Other (popular science, discussion, etc.))
  • 23.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Recension: Ethan Haimo: Schoenberg’s Transformation of Musical Language. Cambridge: Cambridge University Press, 2006.2007In: Nutida Musik, ISSN 1652-6082, Vol. 50, no 3Article, book review (Other (popular science, discussion, etc.))
  • 24.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recension: Göran Bergendal: Ingvar Lidholm. Kungl. Musikaliska Adademien/Atlantis2008In: Nutida musik, ISSN 1652-6082, Vol. 51, no 2, p. 53-Article, book review (Other (popular science, discussion, etc.))
  • 25.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Recension: Hannu Salmi: Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces. Reception, Enthusiasm, Cult. Rochester, NY: University of Rochester Press, 2005, 310 s., ill., ISBN 1-58046-207-32007In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 89Article, book review (Other academic)
  • 26.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Recension: Thomas Vilhelm: Det visuelle øre. Filmmusikkens historie. Århus: Systime, 2005, 325 s., ill., ISBN 87-616-0970-62007In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 89Article, book review (Other academic)
  • 27.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Recension: Åke Hermanson: Alarme. Caprice, CAP 22056.2007In: Nutida Musik, ISSN 1652-6082, Vol. 50, no 2Article, book review (Other (popular science, discussion, etc.))
  • 28.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Receptionen av Wagners musikdramer i Stockholm under det tidiga 1900-talet: från Rhenguldet till Parsifal2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [en]

    Wagner’s romantic operas were introduced at The Royal Swedish Opera in the 1870s. Despite some initial critical resistance they were appreciated by the audience and im-mediately established themselves in the repertoire. The attitude towards the later music dramas, though, was more skeptical, as is apparent from Adolf Lindgren’s influential book Om Wagnerismen [“On Wagnerism”] (1881). When Die Meistersinger, as the first of the later Wagner works, eventually was performed in 1887 the critics and audience were divided into two opposing camps, with the negative side gaining the upper hand. Die Meistersinger disappeared from the repertoire and was not played again until 1899/1900. Die Walküre performance in 1895, however, met with an enthusiastic audience reception, and the critics were more balanced in their views even though many of them still were negative towards some aspects of the work.This paper will consider the critical reception of the remaining music dramas in Stock-holm, from Das Rheingold in 1901 to Parsifal in 1917. After the first Swedish performan-ce of Siegfried in 1905, Wagnerian critic and composer Wilhelm Peterson-Berger (1867-1942) wrote that Wagner “nowadays has become classic”. Therefore, he continued, his usual Wagner sermon was no longer required. Thus, in less than 20 years the Swedish reception of Wagner’s music dramas developed from a strongly negative view to a com-plete acceptance. The works were given a firm and central place in the repertoire, provi-ding a foundation for the emergence of a large number of internationally renowned Swedish Wagner singers in the 20th century, from Nanny Larsén-Todsen to Nina Stemme.

  • 29.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Richard Wagner's Influence on Swedish Opera between 1880 and 19202013In: Ars Lyrica, ISSN 1043-3848, Vol. 22, p. 157-178Article in journal (Refereed)
    Abstract [en]

    The influence of Wagner is one of the most important trends in late nineteenth-century and early twentieth-century music. This paper will analyze Wagner's influence on the music dramas of Swedish composers Andreas Hallén (1846-1925), Wilhelm Stenhammar (1871-1927), and Wilhelm Peterson- Berger (1867-1942). As Carl Dahlhaus points out, Wagnerian influence is a complex phenomenon that may concern a number of aspects. According to Stephen Huebner, Wagner'sshadow in French fin-de-siècle opera is manifest both on a local level, revealing the effect of his individual operas and even individual passages, and on a broad level of aesthetics and dramaturgy. This is also the case in the Swedish works, where the influences range from Wagnerian quotations and allusions, use of leitmotif technique and chromatic harmony, to Peterson-Berger's views on the genesis, nature and function of music drama. Peterson-Berger was very negative of stylistic imitation of Wagner, dismissing both his Swedish colleagues, and composers from other countries, above all Richard Strauss, as Wagnerian eclectics. His published views on the importance of originality clearly betray an anxiety ofinfluence. The Nietzsche admirer Peterson-Berger was no uncritical follower of Wagner, and his ambition was to create a specifically Swedish music drama that overcame the imperfections in Wagner's works.

  • 30.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Samma verk i nya kläder - om Anders Hillborgs reviderade solokonserter2013In: Nutida Musik, ISSN 1652-6082, no 3-4, p. 46-55Article in journal (Other academic)
  • 31.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Soloinstruments and internal focalization in Dario Marianelli’s Pride & Prejudice and Atonement2017In: Contemporary film music: Investigating cinema narratives and composition / [ed] Lindsay Coleman, Joakim Tillman, London: Palgrave Macmillan, 2017, p. 155-186Chapter in book (Other academic)
    Abstract [en]

    The essay explores how Dario Marianelli uses solo instruments to represent individual characters, a convention that has a long tradition in opera, programme music and film music. In representing characters, solo instruments most often speak for and not just about those characters, and Marianelli states that in Pride & Prejudice (2005) ‘the piano is the inner voice of Elizabeth’. In this way, solo instruments are used for what French literary theorist Gérard Genette calls internal focalization, that is, the narrator presents information from the point of view of a character. The essay examines the role different solo instruments play in conveying the inner states of Elizabeth Bennet in Pride & Prejudice and Robbie Turner in Atonement (2007), but also how the subjective perspective in the latter film is made ambiguous by its denouement.

  • 32.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Sångbarhet, publikkontakt och stilpluralism: Några tendenser i de senaste decenniernassvenska operaboom2003In: NM/T Nutida Musik/Tritonus, ISSN 0029-6597, E-ISSN 1402-4837, Vol. 46, no 2, p. 10-16Article in journal (Other academic)
  • 33.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The introduction of Richard Wagner’s music dramas in Stockholm: the reception of Die Meistersinger and Die Walküre2012In: Opera on the move in the Nordic countries during the long 19th century / [ed] Anne Sivuoja, Owe Ander, Ulla-Britta Broman-Kananen, Jens Hesselager, Helsingfors: Sibelius Academy , 2012, p. 195-220Chapter in book (Refereed)
  • 34.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Tonsättaren, älskarinnan och hustrun: om slutet på ett kärleksförhållande (och ett äktenskap)2013In: Alfvéniana, ISSN 1101-5667, no 1-2, p. 9-10-15-17Article in journal (Other academic)
  • 35.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Topoi and intertextuality: Narrative Function in Hans Zimmer's and Lisa Gerrard's Music to Gladiator2017In: Music in Epic Film: Listening to Spectacle / [ed] Stephen C. Meyer, New York: Routledge, 2017, p. 59-85Chapter in book (Refereed)
  • 36.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Wagnerallusioner i Wilhelm Peterson-Bergers Ran2008In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 90, p. 78-102Article in journal (Refereed)
  • 37.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Wagnerinfluenser i Wilhelm Peterson-Bergers dramatiska dikt Ran2007In: Parnass, ISSN 1104-0548, no 4, p. 34-37Article in journal (Other (popular science, discussion, etc.))
  • 38.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Wagner's Influence on Swedish Opera between 1880 and 19202014In: Richard Wagner: Werk und Wirkungen: his works and their impact: a Wagner symposium 2013 / [ed] Anders Jarlert, Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2014, p. 124-137Chapter in book (Other academic)
  • 39.
    Tillman, Joakim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    “You have to know how to read it”: John Williams's sketch scores and the role of the orchestrator2014Conference paper (Other academic)
    Abstract [en]

    John Williams is known for his complete and detailed sketch scores. “If you look at it carefully,” stated Williams’s longtime orchestrator Herbert Spencer, “all the information is there.” Why then does Williams use an orchestrator, and not just a copyist? According to film composer and orchestrator Conrad Pope the reason is that Williams “can write in shorthand and go quite quickly”: “In other words, it’s all there but it’s like a secretary’s shorthand. You have to know how to read it.”

    This paper will analyze samples from Williams’s sketch scores to show how they are organized, and how his “shorthand” works. Furthermore, using examples from Family Plot (1976), Star Wars: Episode III - Revenge of the Sith (2005) and Memoirs of a Geisha (2005), a comparison will be made between Williams’s sketches and the full orchestral scores in order to illustrate the kind of contributions made by orchestrators Herbert Spencer, Eddie Karam and Conrad Pope. For instance, as Pope points out, a single line with the designation “tutti woodwinds” tell him that he has to write a piccolo part up an octave and put the bassoon down an octave, or more generally that “this is John’s tutti woodwinds Jurassic Park-style.”

  • 40.
    Tillman, Joakim
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Drottningens juvelsmycke" som postmodern opera: Vad musiken har att säga till om i Lars Johan Werles "Tintomara"2010In: Dramatikern Almqvist / [ed] Anders Burman, Roland Lysell och Jon Viklund, Hedemora: Gidlunds förlag , 2010, p. 204-218Chapter in book (Other academic)
1 - 40 of 40
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf