Jämförelser mellan Mozart och Brahms liv och sätt att skriva musik

"My emoitons are a palette of colours for the director to use."

The music repertoire (both songs and scenic works) invludes many stories of violence executed on women. The singer who interprets these parts rehearses and performs violence on a daily basis.  The cult of the male genius-conductor/director establish a power play where unhealthy behaviour can emerge and survive. How does this affect the audience? If the audience is a statistical representation, it will include both survivors and perpetrators of sexual violence. How does visual violence on the opera/consert stage affect them? The vibrant communication between stage and audience builds an area that differs depending on where in the processing fractions you are.

The communication between singer and audience needs to be investigated in an interdisciplinary way including artistic research in order to take all parabels into account.

Text i konsertprogram för orkesterkonsert från Högskolan för scen och musik vid Göteborgs universitet. En beskrivning av ljudbilder; hur instrumentgrupperna balanseras i inspelningar av Bruckners symfonier, respektive vid live-framföranden, samt Beethovens inre ljudbilder som döv och drabbad av tinnitus.

Female archetypes in women satire emanate from Ancient Roman time and are still in use. Their purpose was to ridicule and/or categorise women. One typical example is the elderly, love sick woman. She occurs in early, Roman comedy, in operas by Mozart and in slapstick today. She can also be portrayed as a witch. An other one is the young woman, too young to know about love, but old enough to long for it. 

The partakers are invited to try out and play with various vocal technics which makes this paper an investigation in artistic methods as well as artistic pedagogy. How do the archetypes manifest physically and emotionally in the voice and the body? In addition the paper asks how unique an individual voice is. Do ancient female archetypes still lurk within the new liberal concept of the unique individual?

Text i konsertprogram från Högskolan för scen och musik vid Göteborgs universitet. Tillkomsten av fyra orksterverk; Bränningar av Munktell, Concerto for Marimba and Strings av Séjourné, On the waterfront av Bernstein och Symfoniska danser av Rachmaninov.

En jämförelse mellan levnadsförhållandena för tre tonsättare, två män och en kvinna, under 18- och 1900-talet.