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Knust, Martin
Publications (10 of 29) Show all publications
Knust, M. (2018). 20th-century Music in Sweden. An Overview. Muzikoloski Zbornik, 54(2), 31-43
Open this publication in new window or tab >>20th-century Music in Sweden. An Overview
2018 (English)In: Muzikoloski Zbornik, ISSN 0580-373X, Vol. 54, no 2, p. 31-43Article in journal (Refereed) Published
Abstract [en]

Sweden appeared as a music exporting country on the map in the beginning of the 20th century. Located between different shifting military and political blocks it maintained a politics that contributed to some extent to the specific shape of Sweden's music life which this overview outlines.

Keywords
Sweden, art music, 20th-century music, music politics, historical overview
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-79105 (URN)10.4312/mz.54.2.31-43 (DOI)000450232700003 ()
Available from: 2018-12-06 Created: 2018-12-06 Last updated: 2018-12-06Bibliographically approved
Knust, M. (2016). Armas Järnefelt (1869−1958). Stockholm: The Royal Swedish Academy of Music
Open this publication in new window or tab >>Armas Järnefelt (1869−1958)
2016 (English)Other (Other academic)
Abstract [sv]

Edvard Armas Järnefelt föddes 14 augusti 1869 i finska Viborg och dog 23 juni 1958 i Stockholm. Svensk-finländsk dirigent och tonsättare. 1889−1903 dirigent för Viborgs stadsorkester. 1905−32 dirigent för Kungl. Hovkapellet (1911 hovkapellmästare, 1923 förste hovkapellmästare). 1932−36 dirigent och konstnärligt ansvarig för Finlands opera i Helsingfors. 1942−43 dirigent för Helsingfors stadsorkester. Järnefelt skrev ett flertal orkesterverk och vokalverk, men också den första filmmusiken i Sverige. Invald i Kungl. Musikaliska akademien 1908 som utländsk ledamot, 1909 svensk ledamot (samma år som han blev svensk medborgare).

Abstract [en]

Edvard Armas Järnefelt born 14 August 1869 in Vyborg, died 23 June 1958 in Stockholm. Swedish-Finnish conductor and composer. First engagements as répétiteur in the 1890s in Germany. 1898–1903 conductor of Municipal Orchestra in Vyborg. 1905–32 conductor of the Royal Court Orchestra in Stockholm (1911 Chief Conductor of the Royal Court Orchestra; 1923 First Chief Conductor of the Royal Court Orchestra). 1932–36 Conductor and artistic director of the Finnish Opera in Helsinki. 1942–43 Conductor of the Helsinki City Orchestra. Guest performances in Vienna, Berlin, Rome, Gothenburg, Malmö, among others. Became Swedish citizen 1909.

Place, publisher, year, pages
Stockholm: The Royal Swedish Academy of Music, 2016
Keywords
Armas Järnefelt, compositions, Sweden, musical heritage
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59794 (URN)
Projects
Levande Musikarv
Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-01-23Bibliographically approved
Knust, M. (2016). Eine Oper ihrer Epoche: Joseph Weigls ‘Die Schweizer-Familie’. Operapoint, 16(2), 5-8
Open this publication in new window or tab >>Eine Oper ihrer Epoche: Joseph Weigls ‘Die Schweizer-Familie’
2016 (German)In: Operapoint, ISSN 1854-4023, Vol. 16, no 2, p. 5-8Article in journal (Other academic) Published
Place, publisher, year, edition, pages
Köln: , 2016
Keywords
Joseph Weigl, Schweizerfamilie, opera, Biedermeier, early 19th century
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59792 (URN)
Note

Ej belagd 170329

Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-03-29Bibliographically approved
Knust, M. (2016). Lully und Wagner: über Gestik und die Neugründung von Operntraditionen (1ed.). In: Katrin Eggers, Ruth Müller-Lindenberg (Ed.), Richard Wagner: Musikalische Gestik – gestische Musik (pp. 39-66). Würzburg: Verlag Königshausen & Neumann
Open this publication in new window or tab >>Lully und Wagner: über Gestik und die Neugründung von Operntraditionen
2016 (German)In: Richard Wagner: Musikalische Gestik – gestische Musik / [ed] Katrin Eggers, Ruth Müller-Lindenberg, Würzburg: Verlag Königshausen & Neumann, 2016, 1, p. 39-66Chapter in book (Other academic)
Place, publisher, year, edition, pages
Würzburg: Verlag Königshausen & Neumann, 2016 Edition: 1
Series
Wagner in der Diskussion ; 14
Keywords
Wagner, Lully, gesture, opera, composition process
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59788 (URN)978-3-8260-5731-1 (ISBN)
Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-03-02Bibliographically approved
Knust, M. (2016). Mit der Oper im Gepäck am Viktoriasee: Als Gastlehrer in Kenia. Operapoint, 16(3), 15-19
Open this publication in new window or tab >>Mit der Oper im Gepäck am Viktoriasee: Als Gastlehrer in Kenia
2016 (German)In: Operapoint, ISSN 1854-4023, Vol. 16, no 3, p. 15-19Article in journal (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Köln: , 2016
Keywords
Guest teacher, music, Kenya, Maseno University, Linnæus-Palme
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59791 (URN)
Note

Ej belagd 170329

Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-03-29Bibliographically approved
Knust, M. (2016). Musical and Theatrical Declamation in Richard Wagner’s Works and a Toolbox for Vocal Analysis. Danish Musicology Online, Special Edition(17th Nordic Musicological Congress), 81-105
Open this publication in new window or tab >>Musical and Theatrical Declamation in Richard Wagner’s Works and a Toolbox for Vocal Analysis
2016 (English)In: Danish Musicology Online, ISSN 1904-237X, Vol. Special Edition, no 17th Nordic Musicological Congress, p. 81-105Article in journal (Refereed) Published
Abstract [en]

Richard Wagner’s musical declamation is strongly influenced by the theatrical declamation style of 1820s and 1830s Saxony, as I have shown in my doctoral thesis.[1] This has consequences for the analysis of his music because the artistic speech of the actors – a historical acoustic phenomenon that can be reconstructed roughly – determines his singing parts in many instances. In my paper, I present a new type of musical analysis, one that enables the systematic comparison of the sound of spoken language with the composed vocal melody. Positing similarities and differences between musical and theatrical declamations requires a multipronged approach. Toward this aim, I have developed an analysis consisting of eighteen different methods. The prosody – that is, the rhythmical organization of long and short syllables – the melody, the shift of tempo, the accentuation and dynamics of the spoken German language will be among other elements considered in this analysis. As I can demonstrate, all these language parameters have informed Wagner’s works to a great extent. In his case, the theatrical declamation became the germinating element of his music. To prove my thesis and to illustrate my method, I will present an analysis encompassing the entire vocal solo parts of all of Wagner’s works for the stage, finished works as well as fragments. Since this type of analysis is useful in describing and evaluating not only the final product of composition, the full score, but the composition process as well, all of Wagner’s sketches will be considered. Finally, I will reflect upon whether this kind of analysis could be applicable to other forms and styles of vocal music too.

[1] Martin Knust, Sprachvertonung und Gestik in den Werken Richard Wagners. Ein­flüsse zeitgenössischer Rezitations- und Deklamationspraxis (Berlin: Frank & Timme Verlag für wissenschaftliche Literatur, 2007), 524 pages printed + 308 pages on CD-ROM with separate paginations.

Keywords
Music, declamation, Richard Wagner, composition process, music analysis
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59789 (URN)
Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-01-19Bibliographically approved
Knust, M. (2016). [ Review of ] Richard Wagner : Werk und Wirkungen / His Works and Their Impact. A Symposium 2013, hrsg. von Anders Jarlert: (Konferenser Kungl. Vitterhets Historie och Antikvitets Akademien, Bd. 86), Stockholm : Kungliga Vitterhets Historie och Antikvitets Akademien 2014 [Review]. wagnerspectrum, 12(1), 211-214
Open this publication in new window or tab >>[ Review of ] Richard Wagner : Werk und Wirkungen / His Works and Their Impact. A Symposium 2013, hrsg. von Anders Jarlert: (Konferenser Kungl. Vitterhets Historie och Antikvitets Akademien, Bd. 86), Stockholm : Kungliga Vitterhets Historie och Antikvitets Akademien 2014
2016 (German)In: wagnerspectrum, ISSN 1614-9459, Vol. 12, no 1, p. 211-214Article, book review (Other academic) Published
Place, publisher, year, edition, pages
Würzburg: Verlag Königshausen & Neumann, 2016
Keywords
Wagner symposion, Stockholm, 2014, Kungl. Vitterhets Historie och Antikvitets Akademien
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59795 (URN)
Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-01-19Bibliographically approved
Knust, M. (2016). Von Åbo nach Helsinki: Die Grundlegung eines neuen Musikzentrums (1ed.). In: Martin Loeser (Ed.), "Verwandlung der Welt?": Die Musikkultur des Ostseeraums in der Sattelzeit (pp. 123-140). Berlin: Frank & Timme
Open this publication in new window or tab >>Von Åbo nach Helsinki: Die Grundlegung eines neuen Musikzentrums
2016 (German)In: "Verwandlung der Welt?": Die Musikkultur des Ostseeraums in der Sattelzeit / [ed] Martin Loeser, Berlin: Frank & Timme, 2016, 1, p. 123-140Chapter in book (Other academic)
Place, publisher, year, edition, pages
Berlin: Frank & Timme, 2016 Edition: 1
Series
Greifswalder Beiträge zur Musikwissenschaft, ISSN 0946-0942 ; 21
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-59793 (URN)978-3-7329-0140-1 (ISBN)
Available from: 2017-01-12 Created: 2017-01-12 Last updated: 2017-02-22Bibliographically approved
Knust, M. (2015). Jean Sibelius und das Musiktheater. Operapoint, 15(3), 5-8
Open this publication in new window or tab >>Jean Sibelius und das Musiktheater
2015 (German)In: Operapoint, ISSN 1854-4023, Vol. 15, no 3, p. 5-8Article in journal (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Köln: Verein zur Pflege klassischer Musik, 2015
Keywords
Sibelius, music theatre, opera
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-48283 (URN)
Available from: 2015-12-10 Created: 2015-12-10 Last updated: 2016-04-27Bibliographically approved
Knust, M. (2015). Music, Drama, and Sprechgesang: About Richard Wagner’s Creative Process. 19th Century Music, 38(3), 219-242
Open this publication in new window or tab >>Music, Drama, and Sprechgesang: About Richard Wagner’s Creative Process
2015 (English)In: 19th Century Music, ISSN 0148-2076, E-ISSN 1533-8606, Vol. 38, no 3, p. 219-242Article in journal (Refereed) Published
Abstract [en]

Wagner’s music, aesthetics, and personality were influenced profoundly by the declamation and recitation techniques of his time. ‘Declamation’ as an optic-acoustic phenomenon embraces in this context both the actor’s artificial speech and physical delivery. The theatrical declamation of Wagner’s childhood and youth, i.e., the declamation of Saxon actors in Dresden and Leipzig during the 1820s and 1830s, differed widely from today’s practice. The wide range of pitch, tempo, and dynamics, as well as the highly idealized expression of 19th-century German actors, can be described as manifest musical qualities. These qualities have been lost during the course of history, but are preserved by Wagner in his music. As his sketches, letters, and theoretical explanations show, his way of creating a drama can be interpreted as a chain of different performative processes, which employed declamation, recitation, and acting. The final goal of this process was not to create a score or any other scriptural document, but to provide posterity with a fixed tradition of the staging of his works which would remain unchangeable. Wagner’s hybrid ambitions in this context become comprehensible if his way of creating a drama is taken into consideration. To put it simply: the vocal lines—especially those exhibiting Sprechgesang—resemble the actor’s speech very closely, while the orchestral part often has the function of determining the rhythm and expression of the gestures, attitudes and actions on stage. That theatrical declamation was Wagner’s point of departure when he created his works became forgotten some decades after his death due to profound changes in theatrical performance practice.

Place, publisher, year, edition, pages
University of California Press, 2015
Keywords
Richard Wagner, drama, composition process, 19th century opera, declamation, gesture
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
urn:nbn:se:lnu:diva-47670 (URN)10.1525/ncm.2015.38.3.219 (DOI)000354147200002 ()
Available from: 2015-11-27 Created: 2015-11-27 Last updated: 2017-12-01Bibliographically approved
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