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  • 1.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Aesthetical versus scientistic formalism: The introduction of an anti-aesthetical poetics in the American Art Music of the 1950's and 60's2016Conference paper (Other academic)
  • 2.
    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.))
  • 3.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Att frigöra klangen, att frigöra tiden: Ett halvt sekel med grafisk notation2003In: Stockholm New Music festivalmagasinArticle in journal (Other (popular science, discussion, etc.))
  • 4.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Att komponera rätt - och fritt: Om synen på konstfärdighet och genialitet i musiken1996In: Musikliv: Musica Vitae. Program våren 1996Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bokhyllan: Björn Hellström. Noise Design. Architectural Modelling and the Aesthetics of Urban Acoustic Space.2003In: Nutida Musik/Tritonus: NMT, ISSN 1652-005X, no 4Article, book review (Other academic)
  • 6.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Demagoger och aristokrater.: Om gestaltningen av ett tema hos Platon, Hanslick och Adorno. Karaktäristik och kritik.1990In: Musikologen.: Musikvetenskaplig bulletinArticle in journal (Other academic)
  • 7.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Filosofens försvarstal.: Louis Althusser: L'avenir dure longtemps suivi de Les faits. Autobiographies.1992In: Häften för kritiska studier, ISSN 0345-4798, Vol. 25, no 4Article, book review (Other academic)
  • 8.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Finn Egeland Hansen: Layers of Musical Meaning.2007In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 89Article, book review (Other academic)
  • 9.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Mathematics and Ideology in Modernist Music Theory2007In: What Kind of Theory is Music Theory?: Epistemological Exercises in Music Theory and Analysis, Stockholm: Acta Universitatis Stockholmiensis , 2007, p. 217-251Chapter in book (Other academic)
  • 10.
    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, p. 174-188Chapter in book (Other academic)
  • 11.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Museala mönster missgynnar musiken2016In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Musikvetenskapliga texter: Festskrift Holger Larsen 20112011Collection (editor) (Other academic)
  • 13.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om kvinnligt och manligt i musiken2003In: Nutida Musik/Tritonus: NMT, ISSN 00296597, no 1Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om musik som autonomt, självtillräckligt objekt, om musik som destillerad livserfarenhet, om musik som kommunikationsmedel och om musik som projektionsskärm för ideologier.1989In: Ord om ton: 14 uppsatser om musikforskning, Musikvetenskapliga institutionen, Stockholms universitet , 1989Chapter in book (Other academic)
  • 15.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Om musikvetenskap som musiklivets kavaljer och om musikvetenskap som en lydig tjänare till den sanna musiken1989In: Musikologen.Musikvetenskaplig bulletin. 1989.: Texter från konferens för yngre forskare, Göteborg 7-8 april 1989, 1989Conference paper (Other academic)
  • 16.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Peter Wang: Affinitet og tonalitet. En analyse af dur-mol-tonalitetens grundspœrgsmål.2001In: Dansk Årbog for Musikforskning, Vol. XXIXArticle, book review (Other academic)
  • 17.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Påläst: Fruktan, fascination, frändskap2008In: Nutida Musik/Tritonus, no 2Article, book review (Other (popular science, discussion, etc.))
  • 18.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Påläst: L'Inouï. Revue de l'Ircam, #22006In: Nutida Musik, no 2Article, book review (Other (popular science, discussion, etc.))
  • 19.
    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, p. 73-74Article, book review (Other (popular science, discussion, etc.))
  • 20.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recensioner: François-Joseph Fétis: Esquisse de l'histoire de l'harmonie. An English-language translation of the François-Joseph Fétis History of harmony. Translated, annotated, edited and with an introduction by Mary I. Arlin.1997In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 79, no 2Article, book review (Other academic)
  • 21.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Recensioner: Madeleine Hsu: Olivier Messiaen, the musical mediator. A study of the influence of Liszt, Debussy, and Bartók.1997In: STM: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 79, no 1Article, book review (Other academic)
  • 22.
    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, p. 180-185Article, book review (Other academic)
  • 23.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Recension/Review: Marschner, Bo: At studere musikvidenskab: En stafet. BoD Norderstedt: Books on Demand, 2015. 201 s., ill. ISBN 978-87-7145-480-22015In: Svensk tidskrift för musikforskning/Swedish Journal of Music Research/STM-SJM, ISSN 2002-021XArticle, book review (Other academic)
  • 24.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Siri Derkert2004Book (Other (popular science, discussion, etc.))
  • 25.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Siri Derkert och Valle Rosenberg1996Other (Other (popular science, discussion, etc.))
  • 26.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Siri Derkert: teckningar1995Other (Other (popular science, discussion, etc.))
  • 27.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The ambiguities of individualist versus collectivist interpretations in the early reception of Debussy and their contexts2014In: Utopia: University of Helsinki, Finland, 29-31 August 2014, 2014Conference paper (Refereed)
    Abstract [en]

    The French musical life around 1900 was dominated by collectivist conceptions of the (ideal) role of music , with rather well explicated aims and poetics, and heated debates. One of the main parties was the Academic, a form of extremely centralized education of citizens, according to which ar tistic technique was treated as a discipline , and a dogmatic rule poetics based on authority was the central tenet. In the late 19th and the early 20th century, it was on the defensive, though perhaps less than in other arts is this to be ascribed to an offensive of ar tistic individualism. In music , the main opponent of the Academy was a current (“the Franck School”) exposing historical idealism, invoking Catholicism and Nationalism, often combined with paradigms of terroir. Historically based studies (and Hegelian dialectics) supplanted rule poetics, but the conform adaption to a collective identity was left unchanged. Somewhat later, a musical modernism seemingly exposing a more marked individualism developed, whose main representative was Debussy.The main characteristics of the transcendental individualism of Debussy were a lack of obvious systematic regularity in the work, as also the lack of an explicit systematic poetics. Thereby his œuvre early became the target for quite different interpretations.

  • 28.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tonalitet och harmonisk artikulation i Claude Debussys verk: Om reception, harmonikteori och analys1998Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is a study of ways to analyze some harmonic features of the music of Claude Debussy. It begins with a critical survey of the discussion of tonality and dissolution of tonality in Debussy's works, as it did manifest itself in contemporary French criticism and in the Germanspeaking countries after World War I. It tries to clarify the notion of 'tonality' involved in this discussion. It comes to a critical conclusion concerning the characterization of Debussy's music as embodying dissolution of tonality, which is found to be either rather trivial or speculative, i.e. unproven and difficult to test. A conceptual clarification is suggested, which gives a slightly different, at once more general and more precise, meaning to the trivial version of the discussed characterization.

    Next we turn to a discussion of the use of different scale-forms found in Debussy's music. We show that, in spite of the absence of tonality at the chord level, and in spite of the presence of a wide variety of different scale-forms, a scale-based conception of keys can be used to analyze at least some works of Debussy as embodying an articulation of keys. We then turn to ways to analyze the scale-form variation in itself. Lastly, we note that key-articulation in Debussy's music is due to two factors: transposition and scale-form variation. We present a simple method to single out the contributions of these two factors.

  • 29.
    Derkert, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tvetydigheter i den tidiga receptionen av Debussys Nocturnes, La Mer och Images pour orchestre: Konstnärliga strategier i den offentliga sfären i Frankrike runt 19002014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Detta är en rapport om ett pågående arbete om Debussyreception. Arbetet avser att lyfta fram tvetydigheter i den tidiga kritikerreceptionen och hur dessa implicerar möjliga och plausibla kontexter och meningar för Debussys verk. Men också att söka en förklaring till varför Debussy i receptionen framstår som utpräglat tve- eller mångtydig.Det franska konstmusiklivet runt 1900 dominerades av kollektivistiska musikupp-fattningar, i polemik med varandra och en hög grad av explicit poetik knutna till sig, poetiker som troget reflekteras i receptionen av dessa riktningar. Den akademiska ström-ningen kan förstås som en form för centraliserad medborgarfostran, i vilken konstnärlig teknik lärs ut som disciplin, och för vilken en dogmatisk regelpoetik baserad i auktoritet snarare än teori och argument är central. Mot denna står under det sena 1800- och det tidiga 1900-talet en historieidealistisk strömning som åberopar katolicism och terroirna-tionalism som bevekelsegrunder. Regelpoetiken ersätts av historiskt baserade studier men inpassningen i ett kollektivt system för musikproduktion är oförändrad. Något senare än historieidealismen utvecklas en musikalisk modernism som representerar en ultraindivi-dualism med grogrund i den borgerliga offentlighetens funktionssätt och de ideologier som utvecklas kring denna. Termen transcendental individualism föreslås, en individua-lism som inte bara markerar en position inom ramen för ett kollektiv utan en väsentligen egendefinierad position.Skotten mellan riktningarna är inte vattentäta, varken när det gäller stil och teknik el-ler konstnärliga uppfattningar. T.ex. är föreställningen om konstnärlig sensibilitet viktig inom både den historieidealistiska och den transcendentalt individualistiska strömning-en.En tes är att Debussys verk innesluter två grupperingar, i stort sett motsvarande två faser, som bägge på en gång manifesterar transcendental individualism och ett tätt men ogenomskinligt förhållande till andra riktningar inom den franska konstmusiken. Den första fasen (med La Mer som sista stora verk) domineras av ett krav på individuell autenticitet, den andra av metamusikaliska ambitioner (med Images pour Orchestre som nyckelverk).

  • 30.
    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)
  • 31.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Derkert, Carlo
    [Efterord]: [Efterord till Göran Odbratt och Anders Petersen: Rågång till kärleken.]1991In: Rågång till kärleken, Norstedts Förlag, Stockholm , 1991Chapter in book (Other academic)
  • 32.
    Derkert, Jacob
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Musik igår, ljudkonst idag!2003In: Nutida Musik/Tritonus: NMT, ISSN 1652-005X, no 3Article in journal (Other (popular science, discussion, etc.))
  • 33.
    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)
  • 34.
    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)
  • 35.
    Derkert-Rosenberg, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Debussy and the Shift in Manner Around 1905: From Transcendental Individualism to Individualist Distanciation2017In: The 20th International Congress of the International Musicological Society, Tokyo 2017: Program and Abstracts, 2017, p. 246-246Conference paper (Refereed)
    Abstract [en]

    In this paper I will argue for an interpretation of a shift in Debussy’s œuvre, from transcendental individualism to individualistic distanciation. The notion of a shift in style or manner, either manifested in La Mer 1905 or afterwards, was common in the contemporary reception. In one version, it is about the substitution of a classical manner for an impressionist one, though perhaps unified by a symbolist attitude common to both. In another version it is about a shift from profundity of a sort to superficiality. There are other interpretations as well. Subscribing to the thesis of a shift in attitude in Debussy’s œuvre, this paper questions the ways in which this shift has been understood. On the basis of analytical study of main works like Nocturnes, La Mer, Images for Orchestra and Préludes for piano book I, put in context and comparison with their critical reception as well as the broader musical landscape of France, this paper identifies two dominant strategies of Debussy. Before La Mer it is a question of transcendental individualism, i.e. a highly individualistic use of given genres for serious expression. After La Mer, it is a question of a more distanciated use of genre conventions and style markers. On the basis of “hidden program-me”-interpretations of these in the cases of Images and Préludes, it is suggested that Debussy’s reaction to the politicized and polemical musical life of France evoked by historians like Fulcher is not so much one of taking actual stand as one of irony and distance, perhaps even alienation. In that he is true to the feature of individualism normally imputed to his works, but sometimes with a qualification for a lack of inspiration in the later work (e.g. Images), a thesis in different ways exposed by biographers like Dietschy and Lesure.

  • 36.
    Derkert-Rosenberg, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The neo-formalist mo(ve)ment in American Art music revisited: A reflection on/of Meta-Variationsat 40 years distance2015Conference paper (Refereed)
1 - 36 of 36
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