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  • 251.
    Kjellander Hellqvist, Eva
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Smak för musik?2016In: M&STE: Elektronisk tidskrift för konferensen Musik & Samhälle, E-ISSN 2002-4622, Vol. 1, p. 52-60Article in journal (Other (popular science, discussion, etc.))
  • 252.
    Kjellander Hellqvist, Eva
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Spellistan som husapotek2018In: Musik och Samhälle IX: Tema: Musik och Hälsa, 18–19 oktober 2018, LUX, Lund: Lund University , 2018Conference paper (Other academic)
  • 253.
    Kjellander Hellqvist, Eva
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Spellistan som husapotek2019In: M&STE : Elektronisk tidskrift för konferensen Musik & Samhälle / [ed] Askander & Lundin, elektronisk tidskrift , 2019, 6, p. 14-19Chapter in book (Other (popular science, discussion, etc.))
  • 254.
    Kjellander Hellqvist, Eva
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Eriksson, Karin L.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Ämnesspråk i klassrummet2018In: Musikforskning idag 2018, Uppsala 13–15 juni: Abstracts, Uppsala: Uppsala University, 2018, p. 8-8Conference paper (Other academic)
    Abstract [sv]

    Som en del i ett större projekt om ämnesspråk vid Centrum för ämnesdidaktisk forskning vid Linnéuniversitetet (CÄHL), studerar vi ämnesspråket i högstadiets klassrumsundervisning i musik. Studien är deskriptiv till sin karaktär, och syftet är primärt att beskriva hur ämnesspråket i musikundervisningen på högstadiet gestaltar sig. Studien baseras på filminspelningar av sex lektioner i musik runt om i södra Sverige.

    Två centrala utgångspunkter för studien är att det finns ett ämnesspråk i musikundervisningen och att det är multimodalt till sin karaktär. Det vill säga att ämnesspråket inte enkelt kan beskrivas som något som sägs (verbalt) eller gestaltas genom olika skriftliga strategier (exv. på tavlan, i textmaterial och liknande).

    Vid Musikforskning i dag vill vi ge en överblick över vilka olika former av ”språk” (vardagligt,skolspråk, ämnesspråk, ”musikerspråk”, vetenskapligt språk) som förekommer i de lektioner vihar dokumenterat. Därefter vill vi beskriva de delar av materialet som vi har kategoriserat som ämnesspråk och ge exempel på hur vi arbetat med dem utifrån ett multimodalt perspektiv i vår analys. Mer specifikt analyserar vi det insamlade materialet utifrån ett social-semiotiskt perspektiv med fokus på vilka semiotiska resurser som lärarna använder sig av i sin undervisning.

    Studiens preliminära resultat visar att olika semiotiska resurser såsom tal, skrift, sång, instrumentspelande, gestik och liknande, ofta samverkar för att framföra ett innehåll i undervisningen. Dessutom samsas musikundervisningens ämnesspråk, med språk från andra domäner, såsom skolspråk, vardagsspråk, ”musikerspråk”, vetenskapligt språk.

  • 255.
    Kjellander Hellqvist, Eva
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Hallgren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Kultur och kommersialism: några exempel från svenskt 1970-tal2019In: HumaNetten, E-ISSN 1403-2279, no 42, p. 180-201Article in journal (Refereed)
  • 256.
    Kjellander Hellqvist, Eva
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    L. Eriksson, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Gestaltande av ämnesinnehåll i högstadiets klassrumsundervisning i musik2019In: HumaNetten, E-ISSN 1403-2279, no 42, p. 31-59Article in journal (Refereed)
  • 257.
    Klint, Ludvig
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Trummor på gitarr: Ett sätt för låtskrivaren att slå sig fram?2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Detta är en studie om instrumental låtskrivning genom adaption – från trummor till gitarr. Mitt syfte med studien var att undersöka hur trumkomp och rudiments kan tolkas på gitarren och användas som verktyg för låtskrivning. Genom att använda trumkomp och rudiments för att skapa gitarrkomp samt rudiments som verktyg och inspiration till melodi-skrivande på gitarr skapades fyra instrumentala låtar. I uppsatsen beskrivs hur denna tolkning gick till och hur adaptionen kunde vara mer eller mindre kreativ beroende på om trumkomp eller rudiments var ursprunget till låten. De fyra låtarna fullbordades med enklare arrangemang och spelades in. I diskussionen resonerar jag kring hur min kreativitet har stimulerats men också hämmats av det här sättet att skriva komponera musik. Slutsatser som jag gör är t.ex att det tillvägagångssätt som beskrivs i uppsatsen kanske bör ses som ett inspirerande första steg i en kreativ process snarare än ett verktyg som ska följas strängt under hela komponerandet av en låt.

  • 258.
    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.

  • 259.
    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)
  • 260.
    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.

  • 261.
    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.))
  • 262.
    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.))
  • 263.
    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.))
  • 264.
    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.))
  • 265.
    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)
  • 266.
    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.))
  • 267.
    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.))
  • 268.
    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.))
  • 269.
    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.

  • 270.
    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.))
  • 271.
    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.))
  • 272.
    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.))
  • 273.
    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)
  • 274.
    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.))
  • 275.
    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)
  • 276.
    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.))
  • 277.
    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.))
  • 278.
    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.

  • 279.
    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.

  • 280.
    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)
  • 281.
    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.))
  • 282.
    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.))
  • 283.
    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)
  • 284.
    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.))
  • 285.
    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.

  • 286.
    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)
  • 287.
    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.))
  • 288.
    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.

  • 289.
    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)
  • 290.
    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)
  • 291.
    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)
  • 292.
    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)
  • 293.
    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.))
  • 294.
    Kraus, Anja
    et al.
    Linnaeus University, Faculty of Social Sciences, Department of Education.
    Palm, Lars
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Displacement as a Didactical Strategy: How to use contemporary art methods in school education2017In: Presented at ECER 2017, 2017Conference paper (Refereed)
    Abstract [en]

    Referring to the artist Robert Smithson, Brohl (2003) unfolds the “displacement” as an (art-)didactical strategy and form of learning, as well as a method of art-based research. On the one hand she recurs to Foucault's interpretation of space and sites as nodal points of disparate discourses, institutional linkages, historical bondings etc. On the other hand she refers to theories of everyday practical acting and to positions of a special branch in art, “Land Art”. Brohl (2008, p.35) writes, “displacement at first describes a spatial relocation of art situated in the institution of the museum and then moved to public spaces. Displacement signifies a change in the understanding of art: The production of art works is replaced by the discursive practices of doing art based on a special location. Moreover, displacement is the special artistic work of the reading of a location by another location, the intuitive relating of materials, information and associations.” Fundamentally, the principle of displacement is based on the reciprocal interpretation of an object (here artwork) and its context. Hereby, not so much the “truth of the things” is the matter. Brohl moreover illustrates how an object invades and also sometimes intervenes in common discourses and semantic fields. In this way new issues can merge into familiarities (vgl, Waldenfels 1999, p. 167). Connections between facts can be built that have not been conceivable before. Via displacement, these discourses can be clarified and reflected. At the same time, discourses can be put into question and so be changed by other, new forms of use of things and their reasonable foundations (cp. Brohl 2008). This is a quite exact description of a learning process… This parallel is used for the practise in a school that uses contemporary art concepts and methods not as a topic of itself but as a method which includes all of the school subjects. In the presentation we will follow, step by step, a teacher manual (working procedure) followed by some pupil examples from a site specific project. It will show and discuss the importance of several languages and text forms such as photography, drawing, sound and body in school education. I will also discuss how contemporary art methods could be of importance regarding analytical skills and reflexivity.

    References

    Brohl, C. (2003): Displacement als kunstpedagogical Strategie: Vorschlag einer heterotopie- und kontextbezogenen Diskurspraxis des Lehrens und Lernens. Norderstedt: BoD GmbH. 

    Brohl, C. (2008): Displacement als ortsbezogene künstlerische Forschungspraxis. In: Brenne, A. (ed.): Zarte Empirie: Theorie und Praxis einer künstlerisch-ästhetischen Forschung. Kassel: Kassel university press, 34–50.

    Waldenfels, B. (1999): Vielstimmigkeit der Rede. Studien zur Phänomenologie des Fremden 4. Frankfurt/M.: Suhrkamp.

  • 295.
    Krüger Jakobsson, Magnus
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Fritiofs Saga: Från Esaias Tegnérs diktverk till Elfrida Andrées och Selma Lagerlöfs opera2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats har varit att studera vad som har hänt med diktverket Frithiofs Saga av Esaias Tegnérs, när det har omarbetats till fullängdsoperan Fritiofs Saga av Elfrida Andrée och Selma Lagerlöf, vilken i sin tur komprimerats till ett konsertframträdande på en timme, som gavs i Karlstad av Wermland Opera 2013. Här har det undersökts vilka olika narrativ som har skapats i dessa två bearbetningar, där en huvudfråga har varit att undersöka om representationen av kvinnligt och manligt har förändrats längs med vägen.

    Undersökningen har skett genom närläsning av Tegnérs diktverk, vilka sedan jämförts med notmaterialet till Fritiofs Saga, samt den direktupptagning som Sveriges radio gjorde av Wermland Operas framförande. Materialet har därefter sammanställts i tabellformat och analyserats enligt Vladimir Propps systematisering för sagor, samt genom Ingrid Åkessons teori om återskapande, omskapande och nyskapande.

    Undersökningen visar att bearbetningar av ett litterärt material, skapar om inte nya så åtminstone andra typer av berättelser, än den litterära förlagan, samt att representationen av kvinnligt och manligt skiljer sig åt i de tre undersökta materialen.

  • 296.
    Kuuse, David
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Det börjar i verkligheten: Glitch Hop skapad utifrån jazzlåtar2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 180 HE creditsStudent thesis
  • 297.
    Kuylenstierna, Johan
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musikterapins roll i det pedagogiska arbetet med särskoleelever: en kartläggande studie över högstadie och gymnasiesärskiolor2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Titel: Musikterapins roll i det pedagogiska arbetet med särskoleelever – en kartläggande studie av högstadie- och gymnasiesärskolor.

    English title: The role of music therapy in special education –  a swedish nationwide study within secondary schools

    Language: Swedish

    Nyckelord: Musikterapi, pedagogik, högstadiet, gymnasiet, lärare

     

    En uppsats på grundläggande nivå som undersöker i vilken omfattning musikterapi integreras i det pedagogiska arbetet med särskoleelever i 8 stycken utvalda skolor inom högstadiet och gymnasiet i Sverige samt vilka förutsättningar som påverkar en möjlig integrering. Tidigare forskning tar upp såväl nordiska som internationella perspektiv på musikpedogisk integrering i särskolearbetet. Metoden som används för att insamla empiriskt material är intervjuer via telefon och e-post enkäter. Resultatet visar att musikterapi förekom som en integrerad del av det pedagogiska arbetet på 4 av 8 skolor. I en av de övriga skolorna fanns en extern musikterapeut anställd vilken tog emot eleverna individuellt en gång i veckan. I diskussionsdelen förs ett kritiskt resonemang gällande val av metod, lärdomar och hinder som uppstod under arbetets gång.

  • 298.
    L. Eriksson, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Låtkurser som sociala mötesplatser och tillfällen för lärande: [ Workshops as social meeting places and opportunities for learning ]2019In: Puls: Musik- och dansetnologisk tidskrift, ISSN 2002-2972, Vol. 4, p. 26-46Article in journal (Refereed)
    Abstract [en]

    This article examines different actors’ perspectives on traditional music workshops in Sweden. The material consists of questionnaires answered by workshop participants, and interviews with teachers at the same workshops. The workshops are regarded as educational arenas characterised by non-formal learning practices for adult amateurs in the field of Swedish folk music. The study shows that the workshops are of importance to the participants in two ways: as opportunities for learning and as opportunities for socialising with others. These two aspects of the workshops are important also for the teachers. In my discussion of the results of the study, I raise the question whether learning and socialising should be seen as two sides of the same coin, and if this double nature can be regarded as a central aspect of the importance of the workshops for both participants and teachers.

  • 299.
    Lagnebrant, Mikael
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Läroböcker i bildämnet: Fem bildlärares uppfattningar om läroböcker2013Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

     

    Syftet med detta arbete har varit att undersöka om och hur bildlärare på gymnasiet använder sig av läroböcker för att förankra teoretiska och praktiska arbetsmoment och hur de anser att detta påverkar elevernas lärande i bildämnet. Detta har gjorts utifrån kvalitativa intervjuer utifrån en kunskapsteoretisk ståndpunkt där tyngden har legat på att få en förståelse av hur bildlärarna upplever sin sociala verklighet. Resultatet av den här undersökningen visar att bildlärarna använde sig av läroböcker men oftast efter att först ha bearbetat innehållet. Anledningen var för att läroböckerna i sin helhet inte ansågs kommunicera sitt innehåll väl samt för att läroböckerna ansågs hämma eleverna av olika anledningar. Lärarna valde själva ut vilka läromedel de skulle använda och kunskapsresultaten ansågs bli bäst om de varvade teori och praktik även under de teoretiska momenten. Vad gäller lärarnas konceptioner i relation till deras användning av läroböcker så har två tolkningar av resultaten gjorts. Antingen pekar resultatet mot att konceptionerna har en stark förankring i deras undervisning i och med att ämnets status bland lärarna sågs som kommunikativt och i ständig förändring eller  att det starka behovet av att behöva konkretisera de teoretiska inslagen snarare kan ses som en pedagogisk nödvändighet än att ha en ämneskonceptionell orsak.

     

    Sökord: Läromedel, läroböcker, pedagogik, didaktik, ämneskonception, lärare, bildlärare

  • 300.
    Lamberth, Marion
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Atonalt triangeldrama: kontextuell analys av Arnold Schönbergs andra stråkkvartett2013In: OPUS - Skandinaviens största tidskrift om klassisk musik & opera, ISSN 1653-2619, Vol. maj-juni, no 47, p. 60-64Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Denna text är en kontextuell analys av Arnold Schönbergs andra stråkkvartett som tillkom mitt under en äktenskapskris som eklaterade 1908. Samma år övergår Schönberg också till atonaliteten vilket av många forskare ha ansetts stå i viss samband med hans äktenskapskris. Lamberths analys som bygger på verkets musikaliska och verbala referenser visar att så inte är fallet utan att Schönberg tycks ha sökt efter nya, anliga, dimensioner i sitt liv. Se f ö Lamberths avhandling.

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