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  • 101. Daw, Stephen
    Ruth Tatlow: Bach and the Riddle of the Number Alphabet1992In: The Musical Times, ISSN 0027-4666, Vol. 133, no 1787, p. 26-Article, book review (Other (popular science, discussion, etc.))
  • 102.
    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)
  • 103.
    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.))
  • 104.
    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.))
  • 105.
    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.))
  • 106.
    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)
  • 107.
    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)
  • 108.
    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)
  • 109.
    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)
  • 110.
    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.))
  • 111.
    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.))
  • 112.
    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)
  • 113.
    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)
  • 114.
    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)
  • 115.
    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.))
  • 116.
    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)
  • 117.
    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)
  • 118.
    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)
  • 119.
    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)
  • 120.
    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.

  • 121.
    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.

  • 122.
    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).

  • 123.
    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)
  • 124.
    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.))
  • 125.
    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)
  • 126.
    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)
  • 127.
    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.

  • 128.
    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)
  • 129.
    du Quercy Ahrén, Thomas
    Stockholm University.
    Orkesterdirigering: en studie av orkesterdirigentens gestik, repetitionsteknik och ledarskap ur ett didaktiskt perspektiv2002Doctoral thesis, monograph (Other academic)
  • 130.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Note from the Guest Editor2019In: The Opera quarterly, ISSN 0736-0053, E-ISSN 1476-2870, Vol. 35, no 1-2, p. 1-6Article in journal (Other academic)
  • 131.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    An Incomplete Life: Lulu and the Performance of Unfinishedness2019In: The Opera quarterly, ISSN 0736-0053, E-ISSN 1476-2870, Vol. 35, no 1-2, p. 20-39Article in journal (Refereed)
  • 132.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    George Benjamin: Lessons in Love and Violence2018In: The Opera quarterly, ISSN 0736-0053, E-ISSN 1476-2870, Vol. 34, no 1, p. 103-111Article, book review (Other academic)
  • 133.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas, Department of History of Literature.
    (Im)possibilities of Communication: Celan, Ruzicka, Dittrich2008In: Perspectives of New Music, ISSN 0031–6016, Vol. 46, no 2, p. 5-32Article in journal (Refereed)
  • 134.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    ’L’invisible et l’inaudible’: aspects de la performativité chez Celan et Leibowitz2015In: Paul Celan, la poésie, la musique: avec une clé changeante / [ed] Antoine Bonnet, Frédéric Marteau, Paris: Editions Hermann, 2015, p. 377-391Chapter in book (Other academic)
    Abstract [en]

    As a written poem is read aloud or performed in a musical setting, how might the transition from a visible to an audible materiality alter its meaning and its way of generating meaning? What impact does this change have on the relation between semantics and sound structure? How might the particular vocalization of the speaking or singing individual affect the interpretations of the text? The present paper approaches such questions through two late poems by Paul Celan. The po- ems are followed from their written existence on the page through a recorded reading by the author and, finally, into a musical setting by René Leibowitz. Not only do these texts explicitly thematize their own suspension between writtenness and orality, but they also enact the sensory disappearance and threatening collapse of their own language. Spoken and sung, moreover, the poems are subjected to the risks of misrepresentation and misinterpretation inherent in any performance, with concrete and crucial effects on their meaning as a result.

  • 135.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Operakonsten fylld av sexuella maktrelationer2012In: Svenska dagbladet, ISSN 1101-2412, no 17 juliArticle in journal (Other (popular science, discussion, etc.))
  • 136.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Sluta sår: Wagner och Adorno läser Heine2011In: Okonstlad konst ?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund & Anna Jörngården, Lindome: Brutus Östlings Bokförlag Symposion AB , 2011, p. 183-195Chapter in book (Other academic)
  • 137.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Still Songs: Music In and Around the Poetry of Paul Celan2012Book (Refereed)
    Abstract [en]

    What does it mean for poetry and music to turn to each other, in the shadow of the Holocaust, as a means of aesthetic self-reflection? How can their mutual mirroring, of such paramount importance to German Romanticism, be reconfigured to retain its validity after the Second World War? These are the core questions of Axel Englund's book, which is the first to address the topic of Paul Celan and music. Celan, a Jewish Holocaust survivor who has long been recognized as one of the most important poets of the German language, persistently evoked music and song in his oeuvre, from the juvenilia to the posthumous collections. Conversely, few post-war writers have inspired as large a body of contemporary music, including works by Harrison Birtwistle, György Kurtág, Wolfgang Rihm, Peter Ruzicka and many others. Through rich close readings of poems and musical compositions, Englund's book engages the artistic media in a critical dialogue about the conditions of their existence. In so doing, it reveals their intersection as a site of profound conflict, where the very possibility of musical and poetic meaning is at stake, and confrontations of aesthetic transcendentality and historical remembrance are played out in the wake of twentieth-century trauma.

  • 138.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas, Department of History of Literature.
    "Streicht dunkler die Geigen": Berio and Birtwistle in Dialogue with Celan2008In: Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis, Hillsdale, NY: Pendragon Press , 2008, p. 119-141Chapter in book (Other academic)
  • 139.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    'The Invisible' / 'The Inaudible': Aspects of Performativity in Celan and Leibowitz2012In: Word and Music Studies: Essays on Performativity and on Surveying the Field / [ed] Walter Bernhart, Amsterdam: Rodopi , 2012, p. 121-142Chapter in book (Other academic)
    Abstract [en]

    As a written poem is read aloud or performed in a musical setting, how might the transition from a visible to an audible materiality alter its meaning and its way of generating meaning? What impact does this change have on the relation between semantics and sound structure? How might the particular vocalization of the speaking or singing individual affect the interpretations of the text? The present paper approaches such questions through two late poems by Paul Celan. The poems are followed from their written existence on the page through a recorded reading by the author and, finally, into a musical setting by René Leibowitz. Not only do these texts explicitly thematize their own suspension between writtenness and orality, but they also enact the sensory disappearance and threatening collapse of their own language. Spoken and sung, moreover, the poems are subjected to the risks of misrepresentation and misinterpretation inherent in any performance, with concrete and crucial effects on their meaning as a result. 

  • 140.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Mahlerian mask: Heine's voice and visage in post-war Germany2014In: Word and music studies: on voice / [ed] Walter Bernhart, Lawrence Kramer, Amsterdam: Rodopi, 2014, p. 129-148Chapter in book (Other academic)
    Abstract [en]

    The lyrical oeuvre of Heinrich Heine was a vastly important textual source of German vocal music in the nineteenth century. Heine’s impact on music was reciprocated by the composers’ impact on his poetry, which can scarcely be read without the echoes of Ro- mantic lieder making themselves heard. A century later, the critics and composers of post- war Germany attempted to give a different image of the poet precisely by means of music. Heine remained a complex and controversial writer in the twentieth century, and high stakes were invested in his figure – not only because of his status as a canonized poet, but also because of the difficulties he faced as a German-Jewish writer, both in his lifetime and in the afterlife of literary reception. The present paper addresses three musical (or musical- ly tempered) post-war interpretations of his poetry, in which Theodor W. Adorno, Reiner Bredemeyer, and Hans Werner Henze all claim to unmask the ‘real’ Heine, to see his true face or hear his true voice. Interestingly, all three seem to agree that this ‘real’ Heine has much in common with another German-Jewish artist: Gustav Mahler.

  • 141.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan2019In: Music, Narrative and the Moving Image: Varieties of Plurimedial Interrelations / [ed] Walter Bernhart, David Francis Urrows, Leiden: Brill Academic Publishers, 2019, p. 185-198Chapter in book (Refereed)
    Abstract [en]

    The present paper takes a look at the relation between opera and film through the lens of Danish director Kasper Holten’s movie debut Juan (2010), a 90-minute screen adaptation of Don Giovanni. Trimming about half of Mozart and Da Ponte’s opera and presenting the libretto in an irreverently contemporary English translation, the film makes full use of the visual language and fast pace of the movie thriller. Yet at the same time, by having all the singers perform live on the set, it aspires to the condition of filmed live opera. Whether intentionally or not, however, it seems less to effect a smooth fusion of these two sets of media conventions than to underscore their incompatibility. The resulting conflict, I will argue, is mirrored by the film’s take on the protagonist, who fails miserably at living up to the Kierkegaardian ideal of unreflective vitality: instead, the media-specific techniques of cinematic narrative intervene, turning him into an introspective, self-conscious and deeply conflicted hero.

  • 142.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Music and cultural identity among Kurdish musicians in Stockholm2008In: Music and Identity: Transformation & Negotiation, 2008Chapter in book (Refereed)
  • 143.
    Engström, Andreas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Vilken musik är nutida konstmusik?2008In: Nutida Musik, no 2Article in journal (Other (popular science, discussion, etc.))
  • 144.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Metastasiansk opera i Lovisa Ulrikas Sverige: En studie av fyra drammi per musica av Arvid Niclas von Höpken och Francesco Antonio Uttini2003Doctoral thesis, monograph (Other academic)
  • 145.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Music as mimetic representation and performative act: Semiramide riconosciuta and musical construction of sexuality and gender2008In: STM-Online, Vol. 11, p. 43-Article in journal (Refereed)
    Abstract [en]

    The purpose of this article has been to investigate the question of the musical construction of sexuality and gender in the opera Semiramide riconosciuta (Venice 1745), set by Johann Adolf Hasse to the drama by Pietro Metastasio. Apart from analysing the music in relation to the drama, the method has been to analyse and to interpret the music in relation to the concept of performativity. The investigation has consisted of a comparative analysis between the two main characters in the opera, and between the two singers performing these characters.

    At the two high points of the performance, when the audience most likely were attentive to what happened on stage, there seems to have been a performative manifestation of the two main characters musically. The singers did different things to audience and the audience did different things to the singers and indirectly also to the musical constructions of the characters. In this way Hasse, who provided the singers with vocally suitable material, musically confirmed the message of Metastasio's drama: woman connected with passion and man connected with reason.

  • 146.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Musik, kön och genus i Händels Julius Caesar2006In: Tidig musik, ISSN 1400-5123, no 3, p. 12-17Article in journal (Other academic)
  • 147.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musikalisk konstruktion av det exotiska i opera seria under tidigt 1700-tal2008Report (Other (popular science, discussion, etc.))
    Abstract [en]

    That opera seria of the early eighteenth century can be interpreted in terms of the theoretical model of Edward Said’s “Orientalism”, has been established by scholars during the last decades. The drama often shows a polarity between two characters, the Ideal and the Exotic (Other). This dichotomy has been interpreted as a manifestation of the absolutistic ideal of the socio-historical context. If interpreted in relation to the drama the music often seems to confirm this model of representation.

    However, if one takes an opera seria’s multimedial constitution into consideration, and focuses on the independence of the music in relation to other means of expression, the construction of the Exotic appears as more nuanced than what has previously been established. In the following article this is demonstrated through a performative analysis of the opera Semiramide riconosciuta, set by Johann Adolf Hasse to the drama by Pietro Metastasio. The opera, performed in Venice during the carnival season 1744-1745, contains an exotic character that deviates from the stereotypical representation of the “barbaric” in for example Handel’s Giulio Cesare (1724) and Hasse’s Cleofide (1731). Challenging the dichotomy of Ideal and Other both dramatic and musically, the exotic character here appears as suited to the specific context of the performance situation in Venice, manifesting both the tradition of the carnival and the republican form of government.

  • 148.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera seria and Musical Representation of Gender2006In: Twelfth Biennial Conference on Baroque Music, Warszawa 26 30 juli 2006, 2006Conference paper (Refereed)
    Abstract [en]

    In what ways can musical representation be said to correspond to general ideas about gender during the first half of the 18th century? An investigation of musical representation of characters in the Italian genre opera seria has resulted in the hypothesis that music was an important means to reflect contemporary ideas of power and gender. An opera seria consists of a number of musical styles connected to specific affects, situations and characters in the drama. In Georg Friedrich Händel’s Giulio Cesare (1724) the musical construction of the two main characters Giulio Cesare and Cleopatra appears to be an indication of contemporary ideas concerning gender. Whereas the hero is tied to a traditional ideal the heroine does not follow a specific pattern regarding musical styles. The freedom concerning constellation of affects as well as musical styles may be due to her position as main character and as a woman. She is not as the primary male character and the secondary characters connected to a conventional pattern in the frame of a ceremonial rhetoric.

  • 149.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera som politiskt maktmedel i Lovisa Ulrikas Sverige2003In: Tidig musik, ISSN 1400-5123, no 4, p. 22-26Article in journal (Other academic)
  • 150.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tidsresor, dröm och verklighet: I den samtida operan citeras musikhistorien2003In: Nutida Musik/Tritonus, ISSN 1652-005X, no 2, p. 17-21Article in journal (Other academic)
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