The development of musical performance as a research subject at Luleå University of Technology

Godkänd; 2010; 20100825 (andbra

Revival, Improvement, Fidelity : Aspects of Organ-Related Transcriptions of J. S. Bach’s Music in the 19th and Early 20th Centuries

The chapter discusses organ-related transcriptions as an aspect of the Bach reception of the 19th and early 20th centuries, departing from three key concepts: revival, improvement (related to the idea of general progress current in the 19th century) and fidelity. The three main figures discussed represent different approaches to transcribing, while sharing the same basic attitudes and beliefs. Franz Liszt's organ-related transcriptions show a varied picture; in some of them, he observes extreme fidelity to the letter of the original, whereas in others he makes substantial additions and changes. Ferruccio Busoni not only published his own transcriptions for piano of many of Bach's larger organ works; he also developed pedagogical methods and principles for such transcriptions, believing these works to be an indispensable part of the pianist's repertoire. Sigfrid Karg-Elert transcribed Bach for the organ, in particular some of the larger clavier works, since he saw the 'modern organ' of his time as the ideal instrument for conveying the expressive qualities of these compositions. The transcription activities of each of the three composes is discussed using the three keywords as probing tools.

1921 års koralbok - progressiv eller tillbakablickande?

  1921 års koralbok – progressiv eller tillbakablickande? 1921 års svenska koralbok (KB 1921) var den första som stadfästes av Konungen och därigenom blev officiellt påbjuden för bruk i landets kyrkoförsamlingar. I den kommitté under ordförandeskap av ärkebiskop Nathan Söderblom som utarbetade förslaget var tonsättaren och organisten Otto Olsson den drivande kraften. Den Haeffnerska koralboken av år 1820 var, om än utan officiell status, ännu den utan jämförelse mest brukade i landet (i ursprunglig gestalt eller lätt reviderade utgåvor). Under de nära hundra år som gått efter Haeffners koralbok hade mycket hänt på kyrkosångens område, däribland historicerande och restaurativa reformrörelser, strävanden efter en mer rörlig psalmsång, utvecklandet av frikyrklighetens sångskatt och kontakter med andra kyrkomusikaliska traditioner. Allt detta påverkade förutsättningarna för koralarbetet, samtidigt som kommittén hade att förhålla sig till en stark traditionalistisk och Haeffnervänlig opinion. KB 1921 har flera likheter med sin föregångare. Den körmässiga Haeffnerska fyrstämmigheten har bibehållits, så även mestadels halvnoten som taktenhet. Men även skillnaderna är betydande. Ungefär hälften av psalmerna har fått andra melodier än hos Haeffner. Det stora flertalet ”nya” melodier är från äldre källor, bland dem 1697 års koralpsalmbok. Post-Haeffnerska melodier, inklusive sådana som tillkommit i själva kommittéarbetet, förekommer mer sparsamt Melodibyten tycks ofta spegla en strävan att ge psalmerna melodier som svarar mot textens karaktär. Av bibehållna melodier har de flesta på något sätt förändrats eller restaurerats, ofta till en mer omväxlande rytmisk gestalt eller genom [åter]införande av melismer. Endast en mindre del av melodierna har lämnats oförändrade. Framställnings fokus är jämförelsen med KB 1820, men jag kommer även att diskutera hur KB 1921 både återanknyter till 1697 års koralpsalmbok och föregriper senare tiders psalm- och koralförnyelse, inte minst det intensiva arbete med såväl restaurering som nykomposition som började i slutet av 1950-talet och kulminerade i 1986 års psalmbok och 1987 års koralbok

In the borderland of art and science : musical performance as a new research discipline at the Luleå University of Technology

Godkänd; 2007; 20071205 (johsod

Introduction: Creating Dialogues on Artistic Research

The article, serving as an introduction to the special issue on artistic research in music, defines and puts into perspective five main problem areas that figure prominently in the ongoing debate on artistic research and that are also discussed in the remaining articles of the present issue. The areas discussed are: the identity of the artistic researcher; questions of methods and methodology; epistemological issues; problems relating to the presentation of research results; and the relationship of artistic research to other research areas and to the art world.Artikeln diskuterar några viktiga teman i diskussionen kring konstnärlig forskning, exemplifierade i de artiklar som ingår i Svensk tidskrift för musikforsknings temanummer 2013. Artikeln ställer både ontologiska, epistemologiska och mer praktiska frågor frågor. t.ex.: Vem är den konstnärlige forskaren? Vilka metoder används (bör användas) i konstnärlig forskning? Vilken är arten av den kunskap som vinns? Hur kan/bör resultaten presenteras?Validerad; 2013; 20130917 (svejul

Transcription as the performer’s strategic tool : the case of Edwin Lemare and the organ

The British-American organist Edwin Lemare (1865–1934) enjoyed worldwide fame as a virtuoso in the early 20th century. A prolific composer for his instrument, he was especially noted for his transcriptions. Lemare strove to regain lost territory for the organ – by then often dismissed as a dull and inflexible instrument – in general musical life. He adopted a strategy for this purpose, the key elements of which were the instrument, the performance style, and the repertoire. Lemare’s artistic medium was the Anglo-American concert organ with its orchestra-imitating sound architecture, and he took himself active part in its development. His ideal of organ performance – ‘orchestral playing’ – included frequent change of tone colour, flexible dynamics, differentiated articulation, and generous rubato. His recital programming was based on a principle of variety, where original works were only one element, together with improvisations and transcriptions, especially of orchestral works. Transcriptions were essential to his strategy, making up for the scarcity of repertoire presumed to be attractive to the audience, and offering opportunities of demonstrating the capacity of the ‘modern’ organ for fine dynamic and colouristic nuance, similar to the symphony orchestra. Lemare’s strategy for the organ’s emancipation was thus one of adapting and conforming to current tastes, rather than highlighting the unique qualities of the instrument. His success was huge but relatively short-lived; he formed no school, and the ideals of New Objectivity, beginning to gain ground in his later years, represented the opposite of his performance aesthetics.The British-American organist Edwin Lemare (1865-1934) enjoyed worldwide fame as a virtuoso in the early 20th century. A prolific composer for his instrument, he was especially noted for his transcriptions. Lemare strove to regain lost territory for the organ - by then often dismissed as a dull and inflexible instrument - in general musical life. He adopted a strategy for this purpose, the key elements of which were the instrument, the performance style, and the repertoire. Lemare's artistic medium was the Anglo-American concert organ with its orchestra-imitating sound architecture, and he took himself active part in its development. His ideal of organ performance - ‘orchestral playing' - included frequent change of tone colour, flexible dynamics, differentiated articulation, and generous rubato. His recital programming was based on a principle of variety, where original works were only one element, together with improvisations and transcriptions, especially of orchestral works. Transcriptions were essential to his strategy, making up for the scarcity of repertoire presumed to be attractive to the audience, and offering opportunities of demonstrating the capacity of the ‘modern' organ for fine dynamic and colouristic nuance, similar to the symphony orchestra. Lemare's strategy for the organ's emancipation was thus one of adapting and conforming to current tastes, rather than highlighting the unique qualities of the instrument. His success was huge but relatively short-lived; he formed no school, and the ideals of New Objectivity, beginning to gain ground in his later years, represented the opposite of his performance aesthetics. Udgivelsesdato: 2008Godkänd; 2008; 20081226 (svejul

Fantasia and Fantasy : Two Homonymic Genres of German Chorale-Based Organ Music

The chapter deals with chorale-based organ works by German composers from the early 17th century to the late 19th century that have been given the title of fantasia or Fantasie, either by the composer or by later generations. The emphasis is twofold: the use of the term for baroque pieces, including the history of the label “chorale fantasia” for compositions of the north German baroque, and the emergence of the modern (“romantic”) chorale fantasy around the middle of the 19th century. The(im)possibility of a relationship between these two types of chorale-based works is also discussed.The publication is exclusively web-based</p