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  • 51.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Habemus lineas! – och linjerna skapades: På spaning efter gregorianikens melodiska precision2013In: Tidig musik, ISSN 1400-5123, no 2, p. 30-31Article in journal (Other (popular science, discussion, etc.))
  • 52.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hermann (d.ä.) Berens, Erstes Gesellschafts-Quartett Op.232015Other (Other academic)
  • 53.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Karl-Birger Blomdahl et Ingvar Lidholm: Enjeux mélodiques, tonals et organiques des années 19402012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism.

    Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works.

    This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

  • 54.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    La mélodie selon Schenker, Meyer et Narmour: comparaison, évaluation et rencontre de procédés analytiques2015In: Regards sur le comparatisme en musicologie: enjeux et méthodes, 2015Conference paper (Refereed)
    Abstract [fr]

    Au cours du XXe siècle, de nombreux théoriciens s’intéressent à la dimension mélodique. Parmi eux, Heinrich Schenker et Leonard B. Meyer ont élaboré des théories concernant son fonctionnement, sa structure, son déploiement et son implication dans l’organicisme d’une œuvre. Malgré l’influence de Schenker sur Meyer, leurs théories semblent diverger et elles constituent postérieurement la source de courants théoriques différents. Narmour (1977) pose toutefois la question de la pertinence de leur rencontre. La communication proposera une étude comparative des principaux outils et des représentations graphiques des théories de Schenker et de Meyer. Une présentation systématique accompagnée d’exemples d’analyses thématiques éclairera efficacement les sens accordés, d’une part, aux niveaux d’analyse, et d’autre part, à la figure d’élaboration mélodique de type gap-fill (en relation avec le rythme et l’harmonie). Cette étude comparative permettra également d’établir une évaluation méthodologique et épistémologique des deux théories. Il sera finalement montré que ces théories présentent, en ce XXIe siècle, la possibilité de se compléter et de conduire à de nouveaux résultats musicologiques. 

  • 55.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Melodic Structures through the Syncretic Method: Towards a Deeper Understanding of Musical Elaborations and Gestures2016In: 32nd World Conference On Music Education ISME Conference, Glasgow, UK, 24th-29th July 2016.: Music: for Identity, for Well-being, for Justice, 2016Conference paper (Refereed)
    Abstract [en]

    Melodic Structures through the Syncretic Method: Towards a Deeper Understanding of Musical Elaborations and Gestures

     

    Teaching melody comes usually at best down to a necessary but basic phraseology, without any regard to melodic elaborations, intervallic functions, and musical gestures. However, the syncretic method gives renewed perspectives on melodic analysis, and on composition and performance. It critically gathers principles and tools mainly from the theories of Heinrich Schenker and Leonard B. Meyer, and from the pedagogical method of Emile Jaques-Dalcroze. Basically, the Schenkerian approach is central to the syncretic method because of its structure through synchronic levels; the Meyerian approach is important because of its melodic classification and terminology, which refer to gestural representations (such as axial melodies); and Dalcroze Eurhythmics comes within the mentioned theoretical framework by bringing a physical and cognitive dimension.

    The syncretic method is concerned with the functions played by disjunct and conjunct intervals within melodic structures. It enables to represent these functions and the melodic elaborations through three levels (surface, intermediate, and deep). The mental approach and understanding of melodic processes are deepened through bodily training. Thus, the syncretic method clarifies the melodic unfolding, its main directed motion and its successive gestural ornamentations.

     

    This paper aims to present how accessible and beneficial the syncretic method is for students at different levels. Thus, it requires two main comparisons. The first one regards the comparison between not trained and trained students within using the method. Questions to be answered are: what knowledge do students get quantitatively and qualitatively, when studying and applying this method? How efficient and useful is the method and its learning? Does the method influence the students’ intellectual approach of the music and their practical musicianship?

    The second comparison concerns the students involved, all from Stockholm. The first group gathers students from a sixth-form music school, the second group studies at the university, and the third group follows the Eurhythmics program at the Royal College of Music. Is the method possibly as efficient for all these students or do their respective musical education play a role regarding the learning, and the response to the method?

    The study will be done through a series of workshops, mainly based on music of the common practice area and the 20th century.

     

    A systematic presentation at the conference will highlight the syncretic method and the results of this study. This paper will thus put forward what the method may imply for music education, especially regarding a renewed approach of the melodic phenomenon.

  • 56.
    Bardoux Lovén, Cécile
    Stockholm University.
    Porträtt över en samhällelig, konstnärlig och pedagogisk bakgrund i vilken rytmiken övriga aktiva musikpedagogiska metoder skapades2007Other (Other (popular science, discussion, etc.))
  • 57.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Themes from the galant style through the syncretic method2015Conference paper (Refereed)
    Abstract [en]

    The syncretic method contributes to renew the analytical understanding of tonal and post-tonal music, especially concerning the melodic dimension. Its main purpose consists in manifesting how melodies are structured, regarding linearity and elaborations. Its efficiency resides in the logical combination of terminologies and graphic representations of the music, which mainly emanate from the theories of Schenker and Meyer. Besides some new stylistic aspects that it highlights, it is able to transmit a spatial understanding of the musical movement. This has consequences both for musicology and music pedagogy.

    This paper will critically (1) set out the principal tools and the graphic representation of the method, (2) submit the analysis of themes from the period of the galant style, and (3) put forward some new stylistic aspects that the syncretic method highlights, compared to analyses of previous theories. Thus, the paper will show how the syncretic method gives a gathered and useful response regarding musicological and music pedagogical perspectives. 

  • 58.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Théorie et analyse musicale à Stockholm: unicité ou multiplicité des pratiques?2015In: Analyse et pratiques interprétatives, 2015Conference paper (Refereed)
    Abstract [fr]

    En Suède, les enseignements du secondaire et du supérieur ont récemment connu des réformes. Concernant la formation théorique de la musique, j’ai néanmoins pu observer une méconnaissance des pratiques mises en œuvre au sein même de certains établissements et entre les établissements. Aussi l’étude proposée visera-t-elle à établir un état des lieux des enseignements de la théorie et de l’analyse musicale actuellement pratiqués dans les cursus pré- et post-baccalauréat des établissements spécialisés de la région de Stockholm.L’étude examinera les méthodes pédagogiques et analytiques employées, les objectifs prononcés et réalisés, la continuité et la cohérence éducatives, la progression des niveaux, la place attribuée à l’analyse musicale et les répertoires abordés. Des enquêtes de terrain (comprenant questionnaires et entretiens) seront effectuées. La communication en présentera la synthèse et elle répondra à un intérêt exprimé aux échelles régionale, nationale et européenne. En Suède, les enseignements du secondaire et du supérieur ont récemment connu des réformes. Concernant la formation théorique de la musique, j’ai néanmoins pu observer une méconnaissance des pratiques mises en œuvre au sein même de certains établissements et entre les établissements. Aussi l’étude proposée visera-t-elle à établir un état des lieux des enseignements de la théorie et de l’analyse musicale actuellement pratiqués dans les cursus pré- et post-baccalauréat des établissements spécialisés de la région de Stockholm.

    L’étude examinera les méthodes pédagogiques et analytiques employées, les objectifs prononcés et réalisés, la continuité et la cohérence éducatives, la progression des niveaux, la place attribuée à l’analyse musicale et les répertoires abordés. Des enquêtes de terrain (comprenant questionnaires et entretiens) seront effectuées. La communication en présentera la synthèse et elle répondra à un intérêt exprimé aux échelles régionale, nationale et européenne.

  • 59.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Théorie et analyse musicales à Stockholm: inventaire des contenus et pratiques pédagogiques2017In: Musurgia. Analyse et Pratique musicales, ISSN 1257-7537, E-ISSN 2271-1856, Vol. 24, no 1-4, p. 65-81Article in journal (Refereed)
    Abstract [en]

    In Stockholm, the teaching of music theory is under remodelling due to national reforms and to the teachers’ work in order to give prominence to the theoretical subjects. A lack of knowledge of the pedagogical practices between schools and institutions, and within some schools, is however obvious. This study, conducted in 2015 in Stockholm, aims to establish the current situation of the music theory and analysis teaching in the specialized schools and institutions. Firstly, the article gives a survey of the Swedish education system and of the participating schools and institutions. Secondly, it reports the actual courses (titles, hour volumes, aims), the course literature (books, teaching methods) and the analytical methods used. The article concludes on the functions mainly given to music, theory, and analysis within the different teaching forms.

  • 60.
    Bardoux Lovén, Cécile
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Une méthode syncrétique pour l’analyse mélodique d’œuvres suédoises des années 19402013Conference paper (Refereed)
  • 61.
    Beverloo, Sebastian
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Damn Pinkerton, and all such as he!: Om orientalism i Madame Butterfly 2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Sebastian Beverloo: "Damn Pinkerton, and all such as he! – Om orientalism i Madame Butterfly." Exa- mensarbete på kandidatnivå i musikvetenskap, Institutionen för musik- och teatervetenskap, Stockholms universitet, ht 2014.

    Orientalism är teorin att Väst, genom representation i konsten, har förmedlat en ofördelaktig bild av Ori- entens folk, seder och bruk. Begreppet förklarar de estetiska strömningar som följde med den ostindiska handeln och den europeiska kolonialismen. Problemen som teorin om kulturell orientalism sätter fingret på innefattar olika aspekter av representation; hur orientalerna (redan det ett problematiskt begrepp i sig) har gestaltats i konsten. Ett av de centrala problemen är att etnicitet lyfts fram före individualitet: en orien- talisk man är i första hand orientalisk, och bara i andra hand man. Det här arbetet problematiserar repre- sentationen av rollpersonerna i den kvartett av verk, som jag kallar för Madame Geisha-berättelsen (Lotis Madame Chrysanthème (1887), Longs Madame Butterfly (1898), Belascos Madame Butterfly (1900), Puc- cinis Madama Butterfly (1904-7)). Mer specifikt undersöks hur den japanska kvinnan gestaltas genom alla de fyra verken – i synnerhet med hänsyn till relationen mellan japansk kvinnlighet och västerländsk man- lighet. Ett av huvudproblemen är att centralfiguren i berättelsen är en japansk kvinna, trots att ingen av de inblandade författarna var varken japansk eller en kvinna. Verken studeras sida vid sida och jämförs utifrån orientalistiska och genusrelaterade problem. En del av undersökningen ägnas även åt Butterflys påstaådda verkliga ursprung. 

  • 62.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Bengt Edlund: Riff inför rätta2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 63.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Olle Edström: Evert Taube. Sånger och musikalisk värld2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 64.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Utländska inflytanden på den svenska visan2007Book (Other academic)
    Abstract [en]

    This is an in-depth study of an aspect discussed in the book ”Visor till nöjets estrader”. Den populära svenska visan. (Songs for Entertainment. The Popular Swedish Modern Ballad.), by Holger Larsen and myself. The focus is on foreign musical influences on the popular Swedish modern ballad. Although this genre is generally regarded as an expression of a typically Swedish musical idiom, various foreign influences have played an important role in its development during the 20th century. From the outset, Continental European styles affected the ballad, especially the very popular waltz song. Later on, influences from Latin and North America made themselves felt even stronger, especially during the second half of the century. In this study, those influences, the manner and the degree to which they were absorbed into the traditional style, are traced in some detail. There is also discussion of how the lyrics portray various images of foreign people and settings in relation what is generally viewed as “typically Swedish”. The study demonstrates that the foreign influences have considerably enlarged the stylistic range of the Swedish popular ballad, although without erasing its profile.

  • 65.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Fridavisornas musik: På spaning efter Birger Sjöbergs personstil1999In: STM-online, ISSN 1403-5715, Vol. 2Article in journal (Refereed)
  • 66.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Från Sven Scholander till Lars Winnerbäck: Svenska trubadurer under 1900-talet2009In: Parnass, no 4, p. 6-13Article in journal (Other (popular science, discussion, etc.))
  • 67.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    ...vid denna källa: Bellman och Stockholms universitet2007Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Behandlar miljöer och människor i Frescatis närhet som porträtterats av Bellman, samt de epistlar och sånger där detta sker.

  • 68. Broman, Per F.
    et al.
    Engebretsen, Nora A.
    What kind of theory is music theory?: Epistemological exercises in music theory and analysis2008Collection (editor) (Refereed)
    Abstract [en]

    Music theory has long aligned itself with the sciences - particularly with physics, mathematics, and experimental psychology - seeking to cloak itself in the mantle of their epistemological legitimacy. This affinity, which was foreshadowed in music's inclusion in the medieval quadrivium alongside geometry, astronomy, and arithmetic, is evident throughout the history of music theory from the scientific revolution onward. Yet, as eager as music theorists have been to claim the epistemological privilege accorded the sciences, they have also been wary of limitations attending such an alliance.

    This collection of essays will provide a historical as well as a philosophical and aesthetic context regarding music theory's relationship to science. The thirteen authors work in a range of fields and traditions including music theory, musicology, and philosophy.

  • 69.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    En egenartad och mystisk pianoman vid namn Povel Ramel, som spelar egentligen precis vad som faller honom in2013Other (Other (popular science, discussion, etc.))
  • 70.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Med Gårdagens Dörr på glänt: Povel Ramel och melodins epok2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to examine the style of the Swedish entertainer Povel Ramel (1922-2007) as a composer and lyricist of popular songs, and to elucidate his relation to the older popular music culture, denoted "the age of melody". In the main part of the study the author analyses more than 80 works by Ramel, which he created in the 1950s and 60s. Many of the most characteristic features of the age of melody are outlined as a background to the analysis.

    The age of melody was the first period of popular music in the Western world - from the music hall to the bossa nova. It ended when rock became dominant over older types of popular song ("schlager"). Its musical roots were in the 19th century European parlour and dance music but gradually it became more and more influenced by American folk music. Along with the development from the pre-industrial world to the modern, urban, industrial world there emerged strong tensions between old familiar national traditions and new foreign temptations and threats. These tensions marked both the intellectual modernism and the popular culture through the whole age.

    Povel Ramel was in many ways the typical composer of the age of melody. His work encompasses all its predominant styles, genres and features; he catches the humour, the optimism, the distance and the tension between the old and the new, the Swedish and the foreign. And yet he was unique. His uniqueness lies in his attention and awareness of these styles and features, and in his concentrated and varied interpretations of them. He reflected the notional worlds of the age of melody in both poetical and philosophical ways, but most of all - with an unusual sincere playfulness.

  • 71.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    När "en äkta mexikanare" blev populär i Sverige: Den latinamerikanska musikens internationalisering under melodins epok2013In: Inte bara samba och reggae: Den latinamerikanska musikkontinenten / [ed] Mats Lundahl, Åsa da Silva Veghed, Carlsson Bokförlag, 2013, p. 263-280Chapter in book (Other academic)
  • 72.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Om nostalgi och svenskhet i Mando Diaos tolkning av Strövtåg i hembygden2015In: Nordisk musikblad Visor/viser - Nordisk tidskrift för visor & singer/songwriters, ISSN 1893-9694, no 5, p. 52-54Article in journal (Other (popular science, discussion, etc.))
  • 73.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Povel Ramel - lekens mästare2009In: Parnass, ISSN 1104-0548, no 4, p. 34-36Article in journal (Other academic)
  • 74.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Povel Ramel och musiken2007Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    I den här boken berättar Johanna Broman Åkesson om Povels barndom, ungdom och hur karriären tog fart. Om melodierna, grammofonskivorna, radioprogrammen, revyerna, filmerna...ja, allt som denne unike underhållare drabbat svenska folket med.

    Man får också en inblick i Povels stil och livsfilosofi.

    Och som vanligt i "och musiken"-serien naturligtvis mängder av hans underbara melodier med noter, text och ackordanalyser.

    Det finns ingen som Povel!

  • 75.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Taubes toner tas på allvar: Evert Taube pekar mot populärmusikens kärna2007In: Annex: Recensionsbilaga till Axess, no HöstenArticle, book review (Other academic)
  • 76.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Utan att Andersson anar'e verkar han faktiskt cubanare": Latinamerikanska influenser i svensk populärmusik 1930-19602006In: Noterat, no 14Article in journal (Other academic)
  • 77.
    Bruér, Jan
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Guldår & krisår: Svensk jazz under 1950- och 60-talen2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The purpose of this dissertation is to examine the history of jazz in Sweden during two dynamic and critical decades, the 1950s and ’60s. My analysis also discusses methodological challenges that a (Swedish) jazz historian can face. It is a descriptive study which complements my production of a series of CD albums – including text booklets – called Svensk Jazzhistoria (Swedish Jazz History), issued by Caprice Records between 1999 and 2005. The 1950s have often been regarded as “The Golden Years” in Swedish jazz, while the ’60s witnessed a general “crisis.” The dissertation illustrates the principal differences between these periods, from both a musical and sociological perspective. The sources for this investigation are interviews with musicians and other people involved in the production of jazz performances and recordings, as well as jazz magazines and other printed material. The controversial connection between jazz and drugs is discussed. This dissertation also identifies what is typically Swedish in Swedish jazz during both periods. Lars Gullin’s recording of his composition Danny’s dream (1954) is examined from both musical and historical perspectives. There is a discussion of the influences of folklore on jazz musicians such as Jan Johansson and Bengt-Arne Wallin in the ’60s. Many Swedish musicians started as accordionists, and the significance of this instrument in Swedish jazz is considered. With the exception of the Swedish Radio Studio Orchestra under the direction of Harry Arnold, Swedish big band music of the ’50s was not up to international standards. Almost all big bands in Sweden disappeared in the late ’50s, but in the late ’60s there was a strong big band revival, together with swing – almost forgotten in the decade of free form and experimentation. Another topic is Swedish jazz vocalists, mainly female. When Monica Zetterlund made her “sensational” debut in 1958, Alice Babs had been the leading jazz singer in Sweden for many years. Zetterlund developed new areas of musical expression, including jazz singing in her native language, which was at first suspiciously viewed as a commercial strategy. Two different venues for jazz are examined: the famous dance hall Nalen in Stockholm and a small part-time jazz club for concerts in the northern city of Sundsvall. Finally, important and influential media such as the jazz magazines Orkester Journalen and Estrad, together with the Metronome Records company are considered.

  • 78.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Albert Löfgren (1872−1930)2016Other (Other academic)
    Abstract [sv]

    Gustaf Albert Löfgren (f. Andersson Gren) föddes 21 september 1872 i Hasslösa, Västergötland, och dog i närliggande Eggby 4 januari 1930. Han var musiker, dirigent, tonsättare och arrangör. På klarinett var den mångsidige instrumentalisten Löfgren en av sin tids mest framstående solister. Han skolades inom militärmusiken, medan kompositionerna utgick från folkmusiken. Rapsodierna SlåttergilleSvensk fantasi och Forna dar fick ett brett erkännande i samtiden.

  • 79.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Björn Schildknecht (1905-1946)2015Other (Other academic)
    Abstract [sv]

    Björn Albert Schildknecht, född 7 juni 1905 i Stockholm och avliden där 10 juli 1946, var tonsättare, arrangör och kapellmästare. Hans kompositionsverksamhet utvecklades huvudsakligen inom film- och teatermusik, men han komponerade även symfonisk orkestermusik, piano- och kammarmusik, schlager, sånger och visor. Hans symfoni tillhör de mer experimentella symfoniska verk som skrevs i Sverige under 1930-talet. Operan Giorgione väntar fortfarande på sitt uruppförande.

  • 80.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    En aktuell vetenskap om musiken: Är musikvetenskaplig forskning om nutidens musiksamhälle möjlig?2016In: Musikliv i snabb förändring – hur förändras forskningen?: Konferensbidrag, 2016, p. 10-10Conference paper (Refereed)
  • 81.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Experimentell musikproduktionsvetenskap som kulturforskande musikvetenskap: Ett produktionsperspektiv på musik2015In: Danish musicology online, ISSN 1904-237X, p. 7-27Article in journal (Refereed)
    Abstract [en]

    The article discusses how musicological research on recorded music and “Music Production Studies” perspectives, respectively, together can help shape a media and production-centered research paradigm in musicology. It begins with an overview of how the production of music has been studied as a scientific object. A proposal is presented on how the interdisciplinary field of research – studying production of music and the mediatization of recorded music – can be developed into a broader media paradigm in musicology as a discipline. “The production perspective”, which includes production as a method, is then introduced. It is exemplified by a case study. 

  • 82.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gullö, Jan Olof (red). Elva studier om kreativitet I musikproduktion. Till invigningen av Kungl. Musikhögskolans nya campus 2017. Utgiven av Kungl. Musikhögskolan, 2017. 142 s. ill.  ISBN 978-91-983869-0-52018In: STM-SJM, ISSN 0219-4937, E-ISSN 1946-5238, Vol. 100Article, book review (Other academic)
  • 83.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunnar Malmström (1892−1961)2016Other (Other academic)
    Abstract [sv]

    Erik Gunnar Malmström, född i Uppsala 25 mars 1892 och död i Stockholm 4 februari 1961, var tonsättare, arrangör, kapellmästare, musikdirektör och pianist. Hans viktigaste musikaliska insatser gjordes inom filmmusikens område, först inom stumfilm och sedan ljudfilm, både som arrangör och tonsättare. Han var en varm anhängare av konsekvent tillämpad wagneriansk ledmotivteknik i filmmusiken. Som tonsättare av konstmusik skapade han också flera kammarmusikverk och melodramer.

  • 84.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Helmer Alexandersson (1886-1927)2015Other (Other academic)
    Abstract [en]

    Karl Helmer Alexandersson, born on 16 November 1886 and died in Stockholm on 24 December 1927, was a composer and violinist. During his life he gained considerable success both with his second symphony and his film music, although without achieving true recognition. Within film music he was one of the most important Swedish pioneers. However, he died early, at the age of 41 in extreme poverty.

  • 85.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hjalmar Meissner (1885-1940)2015Other (Other academic)
    Abstract [en]

    Carl Hjalmar Meissner was born 1 March 1865 in Helsinki, Finland and died 28 May 1940 in Stockholm. He was a Finnish-Swedish pianist, conductor, arranger, composer and author. As a conductor, he worked mainly as a bandleader for military music and theatre ensembles, but also as an opera and symphony orchestra conductor. His profession as a composer arose mostly from his work as pianist and conductor. He was married to operetta singer Emma Meissner in 1899.

  • 86.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lång-Kalles och Edvins sånger: Muntligt traderad och medialiserad proletär musikkultur från skillingtryck och 78-varvsskiva till rullband och digitaliserat ljud2019In: Puls Musik- och dansetnologisk tidskrift, ISSN 2002-2972, Vol. 4, p. 47-79Article in journal (Refereed)
    Abstract [en]

    Lång-Kalle’s and Edvin’s Songs: Orally Transmitted and Mediatised Proletarian Music Culture from Chapbooks and 78’s to Tape and Digitised Sound

    In this article, etic-emic problems in the study of early 20th century Swedish working class culture are examined through the analysis of two Swedish and Norwegian proletarian songs; the navvy song “Järnvägsvisa”, from the Ofoten railway project in northern Norway in 1898–1903, and the strike song “Hamnarbetarnes Strejkmarsch”, from 1907. The songs are studied as orally transmitted and mediated tradition as well as technologically mediatised cultural artefacts. My perspective in this study is double: the songs represent working class history and the early labour movement in Sweden, but they are also a part of my own family history. The song tradition stems from Karl-Wilhelm “Lång-Kalle” Larsson, who was a navvy in Norway in 1902. Lång-Kalle learned the “Järnvägsvisa” song there, maybe from the songwriter Edvard Unger, and eventually taught his daughter Ragnhild the song, which later was recorded on reel-to-reel tape recorder in a family environment in 1970. Lång-Kalle and his brother Edvin Larsson were both well-known dockers in the Örebro port in the early 20th century. In that context the Larsson brothers were key individuals in organising the first dockers’ trade union in the town, and the strike song, “Hamnarbetarnes Strejkmarsch”, is probably connected to a conflict with English blacklegs. The “Järnvägsvisa” song was digitised from tape in 2017, and “Hamnarbetarnes Strejkmarsch” was reinterpreted as a song in 2018.

  • 87.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik av Urminnes Hävd: perspektiv på Norrlåtars fonogramproduktion 1974-19942015In: Musikk, folk og landskap / [ed] Paal Fagerheim & Ove Larsen, Stamsund: Orkana Forlag, 2015, 1, p. 201-236Chapter in book (Refereed)
    Abstract [no]

    Denne boken belyser ulike musikkpraksiser i nordområdene. Bidragene i artikkelsamlingen kommer fra norske og svenske forskere innen musikkvitenskap og spenner fra forskning på nyere samisk musikk, rock, rap, reggae til folkemusikk.

    • Når kom egentlig The Beatles til Korgen?
    • Er Nord-Norge og Nord-Sverige preget av mer musikalsk kreativitet enn sentrale strøk?
    • Hva betyr verdensmusikksjangeren for sørsamisk identitet?
    • Kan man spille samisk musikk, uten å være same?
    • Hvorfor blir rap og reggae ofte knyttet til Bodø?
    • Hva er sammenhengen mellom følelser av vemod og nordsvensk populærmusikk?

    Alle disse spørsmålene berøres og diskuteres i denne boken, i tillegg til andre tema. Det gis ingen entydige svar, men sammenhenger mellom musikk og geografi er sentralt for mange av tekstene.

  • 88.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik och spatialitet i 2000-talets amatör- och semiprofessionella musikproduktion2015In: Konferensbidrag: Vidgade vyer över musiken: Stockholms Universitet, november 2015, 2015, p. 8-9Conference paper (Refereed)
  • 89.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sounds and Songs from the Amateur Super Sonic Scientist(s): The Tape Recorder and Home Tape Recording Culture in Sweden 1950– 19702017Conference paper (Other academic)
  • 90.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svedbom, Pehr Jonas Fredrik Vilhelm, Kompositör, Litteraturhistoriker, Musikhistoriker (1843 – 1904)2016In: Svenskt biografiskt lexikon, H. 168, De Suremain-Svedelid / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2016, , p. 5Chapter in book (Other academic)
  • 91.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sven Sköld (1899−1956)2016Other (Other academic)
    Abstract [sv]

    Sven Josua Sköld föddes på Lidingö, Stockholm, 20 juli 1899, och avled på samma ort 23 oktober 1956. Han var cellist, dirigent och tonsättare. Sina mest betydande musikaliska insatser gjorde han som tonsättare, arrangör och kapellmästare vid Radiotjänst och som kompositör av musik till svensk ljudfilm. I båda medierna tillhör han de mest produktiva och inflytelserika musikskaparna i Sverige under 1940- och 1950-talen.

  • 92.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Art of Record Production: An Introductory Reader for a new Academic Field. Red: Simon Frith och Simon Zagorski-Thomas. Farnham: Ashgate, 2012. xix + 301 s., ill., ISBN 978-14-09406-78-52014In: STM-SJM, ISSN 0219-4937, E-ISSN 1946-5238, Vol. 96:1, no 1, p. 1-3Article, book review (Other academic)
  • 93.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The cretation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson's back catalog box sets2019In: Proceedings of the12th Art of Record Production Conference Mono: Stereo: Multi / [ed] Jan-Olof Gullö, Stockholm: Kungliga Musikhögskolan (KMH) , 2019, p. 37-53Chapter in book (Refereed)
  • 94.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The making of virtual space in the King Crimson Box sets Larks tongues in aspic: Complete recordings, Starless, Road to Red, On [and off) the Road and Thrak Box: Live and Studio Recordings 1994–19972017Conference paper (Refereed)
    Abstract [en]

    When the founding fathers of progressive rock, British (-American) group King Crimson, produced their groundbreaking LP In the Court of the Crimson king in 1969, they established an eclectic yet recognizable style, with a strong musical and production virtuosity. Continuing for four decades, they became the only band of its generation to continually developing and expanding it’s style and techniques. Their music is not easily categorized: from the advanced rock music inspired by modern jazz and art music on the first four LP albums – and a lot of changes in the band personnel and set up of instruments – the music developed in the mid 1970’s to a dynamic, experimental hard rock with an art music attitude, containing sound worlds of percussion, violins and softer melodic elements blended with heavy, rhythmically complex, asymmetrical guitar riffs: The albums Larks tongues in aspic (1973), Starless and bible black (1974) and Red (1974) was highly influential. When the band was reformed with partly new musicians in 1981, they arrived with a different, of New wave and minimalism, influenced style. In a short span of three years, 1981–1984, they released albums Discipline, Beat and Three of a perfect pair, and reformed once more in 1994 to release the CD Thrak.   

    Importantly, in the same period they managed to take total creative and commercial control of all their recorded output, and it put them in a uniquely strong independent artistic position, connected to their loyal followers. Guitarist Robert Fripp, together with producer David Singleton, started up the company Discipline Global Mobile (DGM), and took care of all the recorded material of King Crimson and their spin off projects. As a consequence, they were able to release a lot of older recordings, partly through their ”Collector’s Club”.

    From 2010 and onwards all of their back catalogue was systematically re-released, some of their albums was also re-packaged in deluxe box sets: In the court of the crimson king, Larks tongues in aspic: Complete recordings, Starless, The Road to Red, On (and off) the Road and Thrak Box: Live and Studio Recordings 1994–1997. They all covering both studio recordings and live recordings that was produced in and around the period of the original recording sessions, in a various set of mixes, alternate takes and sound codec’s. In this presentation the focus is on sketching out an analysis of the mixing strategies on the surround mixes in DTS-HD Master Audio and LPCM 5.1 Surround of the studio recordings and live recordings, as it can be heard, using models for analysis of recordings, the Representation Model and the Room Model (Burlin 2008, 2012, 2015), showing how emerging conventions for surround mixing of experimental rock music is connected to recording ideals of documentarism and hyper realism.

  • 95.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Trådspelaren och rullbandspelaren: Interaktivitet och konvergens i tidig magnetisk amatörinspelning 1949–19752019In: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige / [ed] Ulrik Volgsten, Lund: Mediehistoria, Lunds universitet , 2019, p. 71-104Chapter in book (Refereed)
  • 96.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vilhelm Svedbom (1843-1904)2014Other (Other academic)
    Abstract [en]

    Per Jonas Fredrik Vilhelm Svedbom, born 8 March 1843 in Stockholm, died 25 December 1904 in Stockholm, was a literary historian, pianist, composer, conservatory music teacher and music administrator. His compositional production was derived essentially from the areas in which he had his education and where he had his professional occupation, the ‘academy’ in its broadest sense. His compositions comprise mainly works for the piano, solo songs with piano accompaniment, and choral pieces. Svedbom’s wife was a pianist, Hilma Svedbom, née Lindberg (1856−1921); they were married in 1884.

  • 97. Butt, John
    Ruth Tatlow: Bach and the Riddle of the Number Alphabet1992In: Music and Letters, ISSN 0027-4224, Vol. 73, no 1, p. 105-107Article, book review (Other (popular science, discussion, etc.))
  • 98. Clement, Albert
    Ruth Tatlow: Bach and the Riddle of the Number Alphabet1991In: Het Orgel, ISSN 0166-0101, Vol. 87, p. 281.282-Article, book review (Other (popular science, discussion, etc.))
  • 99. 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)
  • 100. 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)
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