{"title":"Om det fysiske utgangspunktet for intonasjon på fele","authors":"Per Åsmund Omholt","doi":"10.18261/issn.1504-2960-2021-01-02","DOIUrl":"https://doi.org/10.18261/issn.1504-2960-2021-01-02","url":null,"abstract":"","PeriodicalId":33004,"journal":{"name":"Studia Musicologica Norvegica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42594947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What Else Can Grieg’s Historical Recordings Tell Us?","authors":"A. Mattes","doi":"10.18261/issn.1504-2960-2020-01-04","DOIUrl":"https://doi.org/10.18261/issn.1504-2960-2020-01-04","url":null,"abstract":"Between 1903 and 1906, Edvard Grieg recorded several of his most popular pieces on piano rolls and gramophone discs for commercial use. Like many of his peers, Grieg, as a composer and virtuoso, grasped the opportunity of the new century’s technology for disseminating his music outside concert halls for broader audiences. The remastered release of Grieg’s collected recordings from 1992 by the label SIMAX offers a unique access to Grieg’s performances of his own works. The overall issue, what a modern listener might learn from a historical audio document like this, will be addressed in the examination of a selected track on the historical recording: the ‘Norwegian Bridal Procession’ (Brudefølget drar forbi), No. 2 in Pictures from Folk Life, Op. 19, belonged to his most popular pieces and was recorded by Grieg both on piano roll and gramophone disc. Opus 19 is a cornerstone of Grieg’s ‘national romantic’ aesthetic, and marks the beginning of a fruitful period of music-dramatic cooperation with Bjørnstjerne Bjørnson, from the 1870s on. Grieg’s recordings have, as any other mechanical sound reproduction, their interpretive limitations. However, they provide unique insight into what is the most emergent of all historical sources, musical performance, when analysed carefully and combined with other sources of information, such as musical sketches, scores, the composer’s and his contemporaries’ testimonies, or concert reviews. Moving from generic features of Grieg’s performance style to the individual peculiarities of his interpretation, the aim of this inquiry is to enable a new understanding of Grieg’s performance practice as deeply related to the aesthetic conception of music as musical poetry.","PeriodicalId":33004,"journal":{"name":"Studia Musicologica Norvegica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43371907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Composition of Vocal Music. Against Primacy of Content","authors":"Rebecka Sofia Ahvenniemi","doi":"10.18261/issn.1504-2960-2020-01-03","DOIUrl":"https://doi.org/10.18261/issn.1504-2960-2020-01-03","url":null,"abstract":"This article critically examines the common idea that language itself carries pure content, while the acoustic or musical dimensions are something additional. According to philosopher Vibeke Tellmann, a ‘gap’ has emerged between music and language, especially where the formalist approach to music, deriving from 19th century romanticism, is concerned. Building further on the idea of this gap, five ‘myths’, in the sense of established but possibly false ideas about the relationship between music and language, are discussed in this article. The aim is to investigate the issue specifically from the perspective of composition of vocal music. The emphasis lies on theories that focus on timbral, embodied, and cultural aspects of performed language, such as the phenomenological concept of ‘dramaturgical voice’, presented by Don Ihde, and the ‘grain’ of the voice, as Roland Barthes describes it. A central question is whether language can ever be denied its musical or dramaturgical axis as constitutive of its","PeriodicalId":33004,"journal":{"name":"Studia Musicologica Norvegica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48649003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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