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  • 1.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    20th-century Music in Sweden. An Overview2018In: Muzikoloski Zbornik, ISSN 0580-373X, Vol. 54, no 2, p. 31-43Article in journal (Refereed)
    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.

  • 2.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Allan Pettersson / Sigvard Hammar: Radiointerview aus dem Jahre 19722013In: Musik-Konzepte: die Reihe ueber Komponisten, ISSN 0931-3311, Vol. 162, no 7, p. 94-105Article in journal (Other academic)
  • 3.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Armas Järnefelt (1869−1958)2016Other (Other academic)
    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.

  • 4.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Das Wunder der Heliane: Deutsche Oper Berlin2018In: operapoint, ISSN 1864-4023, Vol. 18, no 2, p. 27-28Article, book review (Other (popular science, discussion, etc.))
  • 5.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Der Park: Malmö, Oper2018In: operapoint, ISSN 1864-4023, Vol. 18, no 3, p. 19-20Article, book review (Other (popular science, discussion, etc.))
  • 6.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die finnische Oper: Eine Introduktion2018In: operapoint, ISSN 1864-4023, Vol. 18, no 1, p. 5-7Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die historische Szene: ‘Revaluing Theatrical Heritage: Challenges and Opportunities’. Konferenz der Freien Universität Brüssel und der Universität Gent am 22. und 23. Januar 2013 in Kortrijk/Courtrai, Belgien2013In: Operapoint: magazin für Oper und Konzert, ISSN 1864-4023, Vol. 13, no 1, p. 5-7Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die kompositorische schwedische Griegrezeption vor und nach der Auflösung der Union Norwegens mit Schweden2018In: Edvard Grieg, sein Umfeld, seine Nachfolge: Neue Forschungen / [ed] Helmut Loos, Patrik Dinslage, Leipzig: Gudrun Schröder Verlag , 2018, p. 196-214Chapter in book (Other academic)
  • 9.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die Oper als Schaffensmittelpunkt (I): Tradition und Abschluß in Richard Strauss’ musiktheatralischem Werk: Zum 150. Geburtstag von Richard Strauss (1864-1949)2014In: Operapoint, ISSN 1864-4023, Vol. 14, no 3Article in journal (Other (popular science, discussion, etc.))
  • 10.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die Oper als Schaffensmittelpunkt (II): Tradition und Abschluß in Richard Strauss’ musiktheatralischem Werk: Zum 150. Geburtstag von Richard Strauss (1864-1949)2014In: Operapoint, ISSN 1864-4023, Vol. 14, no 4, p. 5-7Article in journal (Other (popular science, discussion, etc.))
  • 11.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die Oper Lyon: Ein Portrait2018In: Operapoint, ISSN 1864-4023, Vol. 18, no 2, p. 13-14Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die Rezeption von Allan Petterssons Werk in Schweden und Deutschland: Ein Vergleich2013In: Musik-Konzepte: Allan Pettersson / [ed] Ulrich Tadday, München: Richard Boorberg Verlag GmbH&Co KG , 2013, 1, p. 73-92Chapter in book (Other academic)
    Abstract [en]

    This study about the reception of Allan Pettersson’s work deals with the performances and broadcasting and also with the texts and films made about him and his music both in his homeland Sweden and in Germany. What was Pettersson’s image? In which way was his music interpreted? How often was it played and is it played currently? The Pettersson receptions in Sweden and Germany, which have been non-synchronous and contrary in many respects, reveal some characteristic features about the music markets and politics in these countries. In Sweden, his music was appreciated mostly during about ten years after the spectacular first performance of his Seventh Symphony 1968. However, the interest in Pettersson faded quickly here after his death 1980. In West Germany, his breakthrough took place shortly after his death and his works were most often performed here until the mid-1990s. Until his 100th anniversary 2011 the interest in his music was declining but seems now to gain more appreciation, at least in Sweden.

  • 13.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Don Carlos: Lyon, Opéra National2018In: operapoint, ISSN 1864-4023, Vol. 18, no 2, p. 18-19Article, book review (Other (popular science, discussion, etc.))
  • 14.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Drachenreiter: Lübeck, Theater2018In: operapoint, ISSN 1864-4023, Vol. 18, no 3, p. 36-37Article, book review (Other (popular science, discussion, etc.))
  • 15.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Eine Diva hoch zu Roß: Birgit Nilsson zum 100. Geburtstag2018In: operapoint, ISSN 1864-4023, Vol. 18, no 4, p. 5-9Article in journal (Other (popular science, discussion, etc.))
  • 16.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Eine Oper ihrer Epoche: Joseph Weigls ‘Die Schweizer-Familie’2016In: Operapoint, ISSN 1854-4023, Vol. 16, no 2, p. 5-8Article in journal (Other academic)
  • 17.
    Knust, Martin
    Stockholm University.
    Gibt es einen schwedischen Ton?: Kontinentale Reflexionen zur schwedischen Kunstmusik um 19002011In: Musikvetenskapliga texter: festskrift Holger Larsen 2011 / [ed] Jacob Derkert, Stockholm: Stockholms universitet, Institutionen för musik- och teatervetenskap , 2011, 1, p. 32-61Chapter in book (Other academic)
  • 18.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Jean Sibelius und das Musiktheater2015In: Operapoint, ISSN 1854-4023, Vol. 15, no 3, p. 5-8Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Lully und Wagner: über Gestik und die Neugründung von Operntraditionen2016In: 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)
  • 20.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Macbeth: Lyon, Opéra National2018In: operapoint, ISSN 1864-4023, Vol. 18, no 2, p. 16-17Article, book review (Other (popular science, discussion, etc.))
  • 21.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Mit der Oper im Gepäck am Viktoriasee: Als Gastlehrer in Kenia2016In: Operapoint, ISSN 1854-4023, Vol. 16, no 3, p. 15-19Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Ernst Moritz Arndt Univ Greifswald, Germany.
    Music, Drama, and Sprechgesang: About Richard Wagner’s Creative Process2015In: 19th Century Music, ISSN 0148-2076, E-ISSN 1533-8606, Vol. 38, no 3, p. 219-242Article in journal (Refereed)
    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.

  • 23.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musical and Theatrical Declamation in Richard Wagner’s Works and a Toolbox for Vocal Analysis2016In: Danish Musicology Online, ISSN 1904-237X, Vol. Special Edition, no 17th Nordic Musicological Congress, p. 81-105Article in journal (Refereed)
    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.

  • 24.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [ 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 20142016In: wagnerspectrum, ISSN 1614-9459, Vol. 12, no 1, p. 211-214Article, book review (Other academic)
  • 25.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [review of] Wagner-Handbuch / Laurenz Lütteken (Hrsg.). Bärenreiter/Metzler, 512 S., mit Abbildungen. ISBN 978-3-7618-2055-1 oder ISBN 978-3-476-02428-22014In: Operapoint, ISSN 1864-4023, Vol. 14, no 4, p. 52-53Article, book review (Other (popular science, discussion, etc.))
  • 26.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [review of] WortKulturen, TonWelten: Festschrift für Alfonsina Janés Nadal / Marisa Siguan, M. Loreto Vilar und Rosa Pérez Zancas (Hrsg.). Tectum Verlag, 294 S., mit Abbildungen. ISBN 978–3–8288–3284–82014In: Operapoint, ISSN 1864-4023, Vol. 14, no 4, p. 54-54Article, book review (Other (popular science, discussion, etc.))
  • 27.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [review of] D. M. Grimley: Carl Nielsen and the Idea of Modernism2015In: Die Musikforschung, ISSN 0027-4801, Vol. 68, no 1, p. 82-83Article, book review (Other academic)
  • 28.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Richard Wagner als Regisseur2013In: Operapoint: Magazin für Oper und Konzert, ISSN 1864-4023, Vol. 13, no 1, p. 5-7Article in journal (Other (popular science, discussion, etc.))
  • 29.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Richard Wagner: ein Leben für die Bühne2013 (ed. 1)Book (Other academic)
    Abstract [de]

    Wagners Leben zerfällt in zwei Hälften: die erste, während der er Einflüsse jeder Art aufnahm und sein dramatisch-musikalisches Idiom auszuprägen begann, und die zweite, in der er sich ausschließlich in den Dienst seiner eigenen Sache, d.h. seines Werkes, stellte. Diese Biografie trägt dem Rechnung, indem sie sich darauf konzentriert, das Umfeld seiner Kindheit und Jugend detailliert zu rekonstruieren, das ihn formte, und seine zweite Lebenshälfte als Abschnitt begreift, in dem es ihm darum ging, seine Spur in der Geschichte zu hinterlassen. Inwieweit ihm das gelang, beschreibt das abschließende Kapitel über sein Nachleben. Dabei geht es darum, sein Umfeld und Wirken so konkret wie möglich zu beschreiben. Welche Künstler haben ihn beeinflusst? Wie war es, mit Wagner als Kollegen zusammenzuarbeiten? Wie schuf er seine Werke? Was für ein Mensch war er im privaten Umgang? Wie sah eine Aufführung unter seiner Leitung aus? Diesen und anderen Fragen wird auf den Grund gegangen. Was sich ergibt, ist das Bild eines visionären Künstlers, dessen Persönlichkeit, Weltanschauung und Verhalten sich durchweg mit theatralischen Kategorien beschreiben lassen.

  • 30.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Sprachvertonung und Gestik in den Werken Richard Wagners: Ein­flüsse zeitgenössischer Rezitations- und Deklamationspraxis2018Doctoral thesis, monograph (Other academic)
  • 31.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The Exterminating Angel - Der Würgeengel: Kopenhagen, Königliche Oper2018In: operapoint, ISSN 1864-4023, Vol. 18, no 2, p. 15-16Article, book review (Other (popular science, discussion, etc.))
  • 32.
    Knust, Martin
    Stockholms universitet.
    The Rôle of Gesture in the Genesis of Wagner’s Dramas2011In: Proceedings of the International Conference ‘Consequences of Wagner / Consequências de Wagner’, Lisbon, Portugal – November 26 – 28 2009 / [ed] Paulo Ferreira de Castro, Gabriela Cruz, David Cranmer, Lissabon: Centro de Estudos de Sociologia e Estética Musical (CESEM), Universidade Nova de Lisboa , 2011, 1, p. 83-89Chapter in book (Other academic)
  • 33.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Towards a Social History of Music in Ancient Angkor: The Iconography of Music on the Bayon Temple Carvings2013In: Music in Art : International Journal for Music Iconography, ISSN 1522-7464, Vol. XXXVIII, no 1–2, p. 127-143Article in journal (Refereed)
    Abstract [en]

    The culture of ancient Angkor – a medieval empire that ruled a large part of the Southeast peninsula for about four centuries – remains still to be puzzling for researchers due to the lack of written sources. The excavations, which took place in Cambodia since the late 19th century, have revealed and are still revealing many new and sometimes astounding facts about this dense populated kingdom and its cities. Archeology and iconography play a crucial role if it comes to gain information from the preserved artifacts and buildings, for instance, about the division of Angkor’s history into different periods. In this context the iconography of music can contribute with valuable additional observations which allow us even to go so far to outline a social history of Angkor. The largest variety of pictures of musicians in Angkor Thom – the former temple town of the Angkor capital, nowadays located at the city of Siem Reap – can be found on the Bayon temple, which was erected at the end of the 12th century. I will present a first iconographical evaluation and interpretation of the depictions of musicians on this unique and mysterious building. My paper will describe the different sorts of instruments – of which some are still in use today in Southeast Asia –, ensembles, and audiences which were carved skillfully on the walls of the Bayon. From these bas-reliefs we can get an idea about the former musical life of the different social classes.

  • 34.
    Knust, Martin
    Stockholms universitet.
    Virtuose, Dirigent, Propagandist und Wegbereiter: Die Oper in Liszts Wirken und Schaffen2011In: Grane. Richard Wagner-kultuurilehti, ISSN 1458-2864, Vol. 12, no 2, p. 10-16Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Von Åbo nach Helsinki: Die Grundlegung eines neuen Musikzentrums2016In: "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)
  • 36.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Wagnerismen: Über einige Trends in der europäischen Wagnerrezeption2014In: Richard Wagner – ein einmaliger Rezeptionsfall / [ed] Berta Raposo, Heidelberg: Universitätsverlag Winter, 2014, 1, p. 11-39Chapter in book (Other academic)
  • 37.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Wagnerrezeption im Norden: Wagner in der Musik Schwedens und Finnlands2013In: ’Kinder! macht Neues!’: "Beiträge zum Wagner-Jahr 2013",  Wagner und die Folgen / [ed] Reinhard Schäfertöns and Rüdiger Pohl on behalf of the German Richard-Wagner-Society, Tutzing: Schneider , 2013, 1, p. 87-114Chapter in book (Other academic)
  • 38.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Wagners Kompositionsprozess: Eine Detailbetrachtung2013In: Richard Wagner: Persönlichkeit, Werk und Wirkung / [ed] Helmut Loos, Beucha/Markkleeberg: Sax Verlag , 2013, 1, p. 137-142Chapter in book (Other academic)
  • 39.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Zwischen den Zeiten: Carl Philipp Emanuel Bach zum 300. Geburtstag2014In: Operapoint, ISSN 1864-4023, Vol. 14, no 1, p. 8-10Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Tägil, Ingela
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The Careers of Jenny Lind and Wilhelmine Schröder-Devrient: A Comparison2015In: Begegnung – Vermittlung – Innovation: Annäherungen an Musik- und Kompositionspraktiken im Europa des 19. Jahrhunderts / [ed] Melanie von Goldbeck, Christine Hoppe, Göttingen: Universitätsverlag Göttingen, 2015, 1, p. 85-132Chapter in book (Other academic)
1 - 40 of 40
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