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  • 1.
    af Wåhlberg, Daniel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Bosse Broberg: I huvudet på en trumpetare1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Ageberg, Erik
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Who's that girl?: Skivbolagskultur och dess påverkan på Robyn2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    ABSTRACT

    Erik Ageberg: Who's that girl? – Skivbolagskultur och dess påverkan på Robyn. Uppsala Universitet: Institutionen för Musikvetenskap. C-uppsats, 2006.

    Robyn has been one of the most successful Swedish pop stars during the last decade. She has during these ten last years gone from being a young star to being the owner of her own record label, Konichiwa Records. As a result of her last record she became an artist, highly respected by her fellow artists and the audience. The aim of this essay is to discuss the term artistic freedom in the light of Robyn's career. The organization of the music industry is the starting point of the discussion. The way the record companies create their artists are linked to the demands of the public regarding the music they wish to purchase. Accordingly, the artistic freedom is limited by the public in an indirect manner. When artists refer to artistic freedom, or lack of it, it is the author's opinion that it should be understood as a confusion of conceptual arguments. The claim of this thesis is that as the artist refers to the negligence of artistic freedom he or she is in fact targeting on the organizational culture of the music company.

  • 3.
    Agnevik, Maja
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Sara Wennerberg-Reuter: att vara kvinna och kompositör kring sekelskiftet 1800 / 19002013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details.

    Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach.

    The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are;

    a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time.

    b) the access to a network of musically active women, from which a sense of being part of a female community can be created.

    c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

  • 4. Aldskogius, Maj
    "… kunn’ I dock så wackert låta …": Uppsala Akademiska Kammarkör 50 år2007Collection (editor) (Other academic)
    Abstract [en]

    A 50th anniversary portrait of the artistically ambitious Academy Chamber Choir of Uppsala is drawn by a variety of authors: choristers, listeners and musicologists,all familiar with choral singing and choral music.

    The characteristics of the choir repertoire are extensively described by conductors, composers, Swedish and foreign soloists and instrumentalists. The choir has commissioned and delivered first performances of works by a number of Swedish composers.

    It can also be noticed how economic and organizational changes in society influence the motility of choristers, the number of performances in concert halls, churches as well as other circumstances and possibly also the very choral sound.

    The choir is invited to choral festivals, goes on tours in Europe and North America and hosts visiting choirs. The choir can also be heard on records.

  • 5.
    Ali, Nadja
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Nina Simone In Concert: Identifying Activism and Self-awareness Through Interactive Qualities2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The singer and activist Nina Simone played a crucial role in the political and musical outcome of the Civil Rights Movement in the 1960’s. This thesis aims to assess how Simone’s activism and self-awareness are expressed through interactive qualities by doing a case study of the performances of “Go Limp” and “Mississippi Goddam” on the live album In Concert. A relational approach has been suggested, where the focus has been on sociological elements of musical encounter such as interaction, rather than the aesthetical. Searching within four dimensions of social relations within which culture is enacted (division of labor, relations of power, tuning in and cultural embeddedness), constructed by sociologist of culture William G. Roy, shows that musical encounter is highly dependent of the social relations within which it manifests. Expressing social strategies such as irony, sing-along and humor as interactive methods shows that the performances of “Go Limp” and “Mississippi Goddam” were not solely defined by their composition and musical content, but also by how they were performed.

    Seeking beyond aesthetical features on the album In Concert have shown that the interactive qualities within the performances of “Go Limp” and “Mississippi Goddam” are highly dependent of and defined by Simone’s activism and self-awareness.

    The full text will be freely available from 2018-07-01 11:20
  • 6.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

    In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

  • 7.
    Andersson, Erik
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Rak hård pop - Mottagandet i svensk press av The Jimi Hendrix Experiences konserter 19672005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Erik Andersson: RAK HÅRD POP: Mottagandet i svensk press av The Jimi Hendrix Experiences konserter 1967. Uppsala universitet: Institutionen för musikvetenskap uppsats för 60 p., 2005

    Jimi Hendrix var en komplex artist med en karismatisk personlighet. Han var även en skicklig musiker och kompositör. Dessutom var han en färgad rockartist som främst lockade till sig en vit publik. Det fanns med andra ord mycket för en svensk journalist att lägga vikt vid. Syftet med den här uppsatsen är således att beskriva hur Hendrix mottogs av Svenska dags- och kvällstidningar under turnéerna i maj respektive september 1967. Utifrån detta källmaterial fann jag flera intressanta reflektioner.

    Bandet Experience med Hendrix i spetsen verkade redan i och med första Sverigeturnén i maj vara en omåttligt populär grupp. Anledningar till denna stora popularitet kan spåras ända tillbaka till The Jubilee Singers 100 tidigare.

    De svenska recensenterna lade stor vikt vid att beskriva scenshowen med det akrobatiska gitarrspelet. När det gäller hur musiken beskrivs finns två grundattityder. Den ena utrycker att bandet spelar en enkel musik för unga människor. Den andra uttrycker att bandet spelar musik på hög nivå och Hendrix beskrivs som en ljudkonstnär som skapar utomjordiska klanger.

     

  • 8.
    Andersson, Erik
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Utanför murarna.: En studie av Ulf Lundells och rockkulturens outsiderpositionering.2008Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Erik Andersson: Utanför Murarna: En studie av Ulf Lundells och rockkulturens outsiderpositionering. Uppsala universitet: Institutionen för musikvetenskap, 2007.

    The main aim of this essay is to show how the artist Ulf Lundell presents himself as someone with an outsider's view of life. This also includes showing that this aspiration is a common one among artists in the rock culture.

    The aim was reached by studying texts, lyrics, interviews, articles of and with Lundell and then applying theories about authenticity and performativity on this material. In order to put this in a context I looked at a similar material but with a much broader perspective, artists from different countries, genres and eras is here included.

    The conclusion of this study is that a kind of norm system in the rock culture has developed and Lundell is acting accordingly to these rules. The outsider position has become an important ingredient in Lundell's persona and this position can also be seen as a given norm in the wider context. However, the expectations from fans and critics of which kind of Lundell they want may look different and the norms can be broken.

  • 9.
    Andersson, Greger
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts.
    Bildning och nöje: bidrag till studiet av de civila svenska blåsmusikkårerna under 1800-talets senare hälft1982Doctoral thesis, monograph (Other academic)
  • 10.
    Anerfält, Linnéa
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Bullriga basar och kvittrande sopraner: En studie om socialt konstruerade könsrollers påverkan på vår sångutövning2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Abstract

    Syftet med uppsatsen är att ur genusperspektivet bidra till ökad förståelse om kvinnors och mäns olika förutsättningar för sångutövning. Existerar den kulturellt konstruerade sångrösten eller är anatomin faktorn som styr sångrösten? I en fallstudie där fyra sångpedagoger och dirigenter medverkar, uppmärksammas genus som pågående konstruktion och visar hur detta återkommande reproduceras i sångutövningen. Sångpedagogernas erfarenheter har jag ställt mot verifierad forskning, som bland annat ponerar hur det finns inlärda röstdrag som fysiologin inte kan förklara. 

    Förhoppningen är att uppsatsen visar på hur socialt konstruerade könsroller påverkar sångutövningen. Idealet att sjunga inom sin egen könstillhörighet är enligt mina informanter hårt, tufft och kraftfullt för killar och känsligt, mjukt, och vackert för tjejer. Vi ”ska” vara bullriga basar och kvittrande sopraner, efter socialt konstruerade könsroller. Genus påverkar sångutövningen genom att tjejer generellt inte har lika starkt självförtroende som killar, vilket resulterar i att killar gärna tar större utrymme i exempelvis en kör. Jag har funnit tendenser att mina informanter får jobba mer fysiskt med killarna, att de inte ska vara låga på tonen, och mer psykiskt med tjejerna, att de ska våga låta mer. Sammanfattningsvis anser jag att sång reflekterar vår identitet och killar och tjejer anpassar sin person efter samhällets förväntningar.   

  • 11.
    Axelson, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    En studie i text/musikproblematik: Relationen mellan dikt och ton i sånger av Lille Bror Söderlundh och Emil Sjögren.2004Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    ABSTRACT

    Anna Axelson: En studie i text/musikproblematik. Relationen mellan dikt och ton i sånger av Lille Bror Söderlundh och Emil Sjögren. – Uppsala: Musikvetenskap 2004. C-uppsats.

    Syftet med denna uppsats är att belysa ordens och tonernas inbördes relation i romanser och visor. För detta ändamål har två visor av Lille Bror Söderlundh och två romanser av Emil Sjögren studerats. Sångernas rytmik, melodik, harmonik och dynamik har analyserats i relation till texternas innehåll. Målet var att påvisa de nära sambanden mellan ord och ton – mellan tonsättarnas bruk av musikens parametrar, och dikttexternas handlingar och stämningar. Ambitionen med uppsatsen är även att den ska förmedla olika perspektiv på text/musikproblematik som ämne. Analyserna av de fyra sångerna placeras in i ett större sammanhang.

    Perspektiven på text/musikproblematik tillhandahålls av litteratur skriven av musikteoretiker och litteraturvetare som diskuterar dikttonsättandets möjligheter och begränsningar. En del iakttagelser beträffande Sjögrens romanser jämförs mot det som skrivits i musikteoretiska avhandlingar om hans musik.

    Resultatet av undersökningen indikerar att Emil Sjögren främst genom sin harmonibehandling tolkar dikt i musik. Behandlingen av harmoniken är framträdande i jämförelse med behandling av melodik och rytmik. Kromatiska ackordprogressioner är vanliga, liksom elliptiska tonartsutvikningar. Ackord med stark färgverkan (klangreiz) utnyttjas. Lille Bror Söderlundh tolkar texten i de analyserade visorna främst genom rytmik och harmonik. En strofisk dikt får en melodirytm som fångar dikttextens kärnord. Modala harmonier återspeglar dikttexternas folkliga teman.

  • 12.
    Bengtsson, Ingmar
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Philosophy.
    J.H. Roman och hans instrumentalmusik: käll- och stilkritiska studier1955Doctoral thesis, monograph (Other academic)
  • 13. Bengtsson, Ingmar
    et al.
    Danielsson, Ruben
    Handstilar och notpikturer i Kungl. Musikaliska akademiens Roman-samling1955Book (Other academic)
  • 14.
    Bergel, Erik
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Folkmusik, främlingsfientlighet och Sverigedemokraterna: Debatt kring svensk folkmusik under 2010/20112012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Under det senaste året har det friskt debatterats om svensk folklig kultur och inte minst folkmusikens traditioner; debatten initierades vid manifestationer, som väcktes under hösten 2010, mot presentationen av Sverigedemokraternas främlingsfientliga åsikter rörande den svenska kulturen.

    Uppsatsen redovisar hur debatten mellan folkmusiken och Sverigedemokraterna förts i media och vad SD:s vilja att värna folkkulturen skulle tänkas leda till. I texten tas det upp olika exempel som i sig ställer frågor om vad ”svenskhet” innebär och om traditioner skall konserveras eller kunna förändras. Utifrån artiklar och uttalanden i olika medier redovisas de åsikter som yttrats, främst koncentrerat på fyra folkmusikmagasin: Folkmusik & Dans, Hembygden, Lira Musikmagasin och Spelmannen.

    Studien visar att begrepp, som exempelvis ”folksjäl” och ”tradition”, har med tiden bytt innebörd. Folkmusik som begrepp och musik har förändrats över tid, och även synen på den. Ett genomgående intryck, som yttras från ett flertal håll, är ifrågasättandet av Sverigedemokraternas argument om värnandet av den svenska kulturen. De anses tendera att användas som slagträ för dess politiska åsikter.

  • 15.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Amor in Deum. Representationen av eros i Christian Geists gudstjänstmusik för Karl XI:s hov2007In: Barock: historia, litteratur, konst, ISSN 1234-3233, Vol. specialnummer 2007, p. 127-141Article in journal (Other scientific)
    Abstract [en]

    The concept of love is a complex one. The early Christian church inherited from the ancient Greeks the dicotomy between eros and agape. Eros signified desire, obsession and yearning and is primarily associated with sexual urge; agape instead meant a benevolent and self-sacrifiying love. Agape (or caritas) was associated with Christian love, whereas eros or amor was more problematic. Still, it was part of tradition through the Song of Songs, a erotic love poem which was reinterpreted as an allegory of the love between the believing soul and Jesus – a love articulated in a vast repertory of religious poems during medieval and early modern time.

    In my article I examine a number of settings to Latin devotional poems by Christian Geist (c1650–1711), composed for royal Communion services at the Swedish court during the 1670s. Five central motifs can be discerned in the texts of these works: yearning, desire, sickness and death, lamentation and tears, and finally sweetness. They are all characteristic for the imagery of the Song of Songs, and for the concept of eros.

    In his treatise Musurgia universalis (Rome 1650) Athanasius Kircher discussed the musical representation of the passion of love. He made a distinction between the earthly affectus amoris on the one hand, and affectus amoris on the other. The latter is described as more moderate in its expression. Kircher also remarks that love is a complex passion, which can include several sub-passions, such as joy, grief, etc.

    This complexity is seen in Christian Geist’s compositions. To be able to express the love for God or Jesus, he employs different means and sub-affects. Some things are difficult, to represent by musical anologies: thus, for motifs such as desire and yeaning he chooses a generally strong and intense musical expression; yearning and longing can however also be illustrated by a streching of musical notes. For the motifs of lamenting and crying, and for the illustration of how the soul is sick of love Geist employs conventional musical schemes such as descending musical lines, cromaticism, and the musical imitation of sighs. In these works one do not find the kind of moderation advocated by Kircher. His representation of love is instead in line with contemporary secular settings of erotical texts.

  • 16.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Angels or Sirens?: Questions of Performance and Reception in Roman Church Music Around 16502012In: Performativity and performance in baroque art / [ed] Peter Gillgren & Mårten Snickare, Farnham, Surray: Ashgate , 2012, p. 99-113Chapter in book (Other academic)
  • 17.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Att förstå musik, att uppleva historia: Reflektioner kring en madrigal av Claudio Monteverdi2010In: Det åskådliga och det bottenlösa: Tankar kring konst och humaniora, Stockholm: Eidos , 2010, p. 20-25Chapter in book (Other academic)
  • 18.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Axel Teich Geertinger: Die Italienische Opernsinfonia 1680-17102010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92, p. 191-194Article, book review (Other academic)
  • 19.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Bonifazio Graziani: Motets for two to six voices op 12011Book (Other academic)
  • 20.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Christian Geist och hans musik för Karl XI:s hov2005In: Årsbok / Kungl. Humanistiska vetenskaps-samfundet i Uppsala, ISSN 0349-0416Article in journal (Other (popular scientific, debate etc.))
  • 21.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Christian Geist’s 'Vide, pater mi, dolores' and his application for the Johanneumskantorat in Hamburg2002In: Schütz-Jahrbuch, ISSN 0174-2345, Vol. 24, p. 7-29Article in journal (Refereed)
  • 22.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    De musica pathetica: Diskussionen om musik och affekt i Athanasius Kirchers Musurgia universalis2008In: Själens uttryck.: Passion, dygd och andakt – samspel mellan själ och kropp i 1600-talets människosyn / [ed] Peter Gillgren, Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2008, p. 90-107Chapter in book (Other academic)
  • 23.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Det musikaliska uttryckets historicitet: om tidigmodern musik och lyssnande2017In: Kungl. Vitterhets Historie och Antikvitets Akademiens årsbok, ISSN 0083-6796, Vol. 36Article in journal (Other academic)
  • 24.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Düben versus Österreich/Bokemeyer: A comparison between two great music collections2015In: Zwischen Schütz und Bach: Georg Österreich und Heinrich Bokemeyer als Notensammler / [ed] Konrad Küster, Stuttgart: Carus , 2015, p. 11-23Chapter in book (Refereed)
  • 25.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Dübensamlingen på nätet2006In: Tidig musik: Tidskrift för medeltid, renässans och barock, Vol. 26, no 4Article in journal (Other (popular scientific, debate etc.))
  • 26.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Femte stråkkvartetten2005In: Dag Wirén - en vägvisare, Hedemora: Gidlund , 2005, p. 260-282Chapter in book (Other academic)
  • 27.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Fonti carissimiane nella Collezione Düben di Uppsala2016In: Giornate carissimiane 2016 nei luoghi del Maestro / [ed] Flavio Colussi, Rom: Musicaimmagine , 2016Conference paper (Other academic)
  • 28.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Italian Music in the Düben Collection2017In: Musicologica Istropolitana, ISSN 1337-9070, no 13, p. 147-167Article in journal (Refereed)
    Abstract [en]

    The Düben Collection in Uppsala contains many unique compositions and a rela-tively large share of Italian music. About a third of the composers represented in the collection are Italian, and their music constitutes about a sixth of the 2200 com-positions. In the article, a survey of the Italian music is presented and the routes of dissemination are traced. A large share of the compositions by Italian composers have been copied from prints into manuscripts. Some of the prints are still in the Düben Collection, others must have been available to Gustav Düben at some point. As much as half of the Italian compositions belong to this category. There is also a relatively large share of pieces that reached Stockholm in manuscripts, but were originally copied from prints on the Continent – in some cases perhaps even in several steps of manuscript dissemination.

    The numbers of works that reached Sweden through manuscript dissemination only, never having appeared in print, is comparatively small but important, since this group contains several unique Italian works and manuscripts with an interesting dissemination history. About fifteen such manuscripts travelled to Sweden with an ensemble of Italian singers and musicians recruited to the court of Queen Christina in 1652, with Vincenzo Albrici as maestro di cappella. In addition, there are thirty-six manuscripts copied by Gustav Düben and his helpers. This group of manuscripts contains unique works by, for example, Giacomo Carissimi and Francsco Foggia.Two case studies shed light on the complexity of dissemination routes in the case of the Düben Collection. The ten compositions each by Simone Vesi and Gio-vanni Carisio reached Sweden in different ways: they were copied from prints, aquired in manuscript via Lübeck or Hamburg, and via Danzig. Some works have been re-texted and adapted for local purposes.The case of Italian music in the Düben Collection illustrates the complexity of the collection and its routes of dissemination and the necessity to scrutinize and contextualize every single manuscript.

  • 29.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Kampen om Euridice2006In: Tidig musik: Magasinet för musik från medeltid, renässans och barock, no 4Article in journal (Other (popular scientific, debate etc.))
  • 30.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Kantor, Director Musices oder Organist?: Der kirchenmusikalische Beruf in Schweden im 18. Jahrhundert2007In: Das Kantorat des Ostseeraums im 18. Jahrhundert: Bewahrung, Ausweitung und Auflösung eines kirchenmusikalischen Amtes, 2007, p. 87-94Conference paper (Other scientific)
  • 31.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Kaspar Förster d.y.: doldis bland barockens tonsättare1995In: Tidig musik: magasinet för musik från medeltid, renässans och barock, ISSN 1400-5123, no 1Article in journal (Other (popular scientific, debate etc.))
  • 32.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Kaspar Förster och 1600-talets sonata a 3: biografi - analys - edition1994Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 33.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Marvels of the Holy City.: On the use of Roman church music at Lutheran courts in the mid-seventeenth century2011In: Commonplace Culture in Western Europe in the Early Modern Period II: Consolidation of God-given Power / [ed] Kathryn Banks & Philiep G. Bossier, Leuven: Peeters , 2011, p. 159-175Chapter in book (Other academic)
  • 34.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Mats Arvidsson: Ett tonalt välordnat samhälle eller anarki? Estetiska och sociala aspekter på svensk konstmusik 1945-19602008In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 90, p. 108-110Article, book review (Refereed)
  • 35.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Mattias Lundberg: The tonus peregrinus in the polyphony of the Western church2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, ISSN 0081-9816Article, book review (Refereed)
  • 36.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Monteverdi seglade operan i hamn2008In: Svenska Dagbladet: Under strecket, ISSN 1101-2412, no 26/8Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Monteverdis L'Orfeo 400 år: innovation och extravagans när Mantua utmanade Florens2007In: Tidig musik, ISSN 1400-5123 , no 2, p. 24-26Article in journal (Other (popular science, discussion, etc.))
  • 38.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musical patronage theorized: Katrin Losleben: Musik, Macht, Patronage : Kulturförderung als politisches Handeln im Rom der Frühen Neuzeit am Beispiel der Christina von Schweden (1626–1689)2014In: Early music, ISSN 0306-1078, E-ISSN 1741-7260, Vol. 41, p. 470-471Article, book review (Other academic)
  • 39.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musik på metervara.: En essä om musik, mening och musikanalysens eventuella gränser2013In: Löftet om lycka.: Estetik, musik, bildning / [ed] Anders Burman, Rebecka Lettevall,Sven-Eric Liedman, Göteborg: Daidalos, 2013, p. 279-293Chapter in book (Other academic)
  • 40.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Om konsten att förstå en mycket gammal opera: Claudio Monteverdis Orfeo2006In: Operavärldar från Monteverdi till Gershwin: Tjugo uppsatser / redigerade av Torsten Pettersson, Stockholm : Atlantis , 2006, p. 370-Chapter in book (Other scientific)
  • 41.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    On Style and Tradition in the Sonatas by Kaspar Förster1996In: Polish-Swedish Cultural Relations During the Vasa Dynasty: Stockholm, February 10th-12th 1995 : conference papers, 1996, p. 89-94Conference paper (Other scientific)
  • 42.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Routes to the Düben Collection: The Acquisition of Music by Gustav Düben and his Sons2015In: De musica dissidenda, ISSN 1854-3405, Vol. 11, no 1-2, p. 51-66Article in journal (Refereed)
    Abstract [en]

    The article describes the practices of acquisition of music behind the üben Collection. Music was copied into manuscripts from prints, but was also obtained in the form of groups of manuscripts from different regions of Europe. Close personal contacts and networks seem to have been more important than traditional trade routes.

  • 43.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Sorge-Musique för en död drottning: om musiken vid Ulrika Eleonora den äldres begravning 16932004In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 86, p. 27-48Article in journal (Refereed)
    Abstract [en]

    Mourning music for a dead Queen. On the music for the funeral of Queen Ulrika Eleonora the younger in 1693

    Ulrika Eleonora the younger, Queen of Sweden since 1680, died in July 1693. She was buried in the Royal funeral church, Riddarholmskyrkan, on November 28 the same year. The Queen’s funeral was shaped to be one of the most magnificent ceremonies of state in Sweden during the baroque era. The decorations for the ceremony were created by the Royal court architect, Nicodemus Tessin the younger (1654–1728). For the Queen’s coffin he built a castrum doloris with a huge black pyramid, covered with emblems and inscriptions painted in golden colour, which were illuminated by lamps inside the construction (see illustration).

    Little or nothing has been known about the music played during this ceremony. According to the official relation two musical works were performed. In this article I am able to show that the works referred to consisted in one composition by the French court violinist Pierre Verdier, Kristus är mitt liv, and one by the Flemish composer Daniel Danielis, Ascpice e caelis, with a new text in Swedish. This can be shown by means of source and watermark studies and by analysing the texts. The bible word “Kristus är mitt liv och döden är min vinning” (Phil. 1:21: “to me, to live is Christ and to die is gain”) serving as text base for Verdier’s piece was the Queens motto and the text for the sermon. An interesting fact is that Danielis’ Aspice e caelis was originally composed in 1672 for the funeral of a princess of Güstrow-Mecklenburg, who was a cousin to Ulrika Eleonora’s husband the King, and who bore the same name as the deceased Queen.

    Both works are marked by a sad, plaintive affect appropriate for such an occasion. Both are set in c minor and scored for gamba consort, which in this time was associated with tears and sorrow. Arguably, one could relate the specifically sweet and tearful character of these pieces to the Queens’ female gender. Contemporary funeral music for Kings and male heroes seem to have had a more dignified and moderate affect. In both works we find instances of symbolic, rhethorical personification: in Verdiers composition the duet between bass and soprano can arguably be associated with the Queens’ tender relation to Christ. In Danieli’s motet the solo soprano voice can be linked to female gender of the person being buried.

  • 44.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Stockholm julen 1672 - Festmotetter av Christian Geist: Om firandet kring Karl XI:s tontillträde1998In: Tidig musik: Tidskrift för medeltid, renässans och barock, Vol. 19, no 4Article in journal (Other (popular scientific, debate etc.))
  • 45.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Studier i Christian Geists vokalmusik2002Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is an historical and analytical study of the vocal works of Christian Geist (c1650–1711), composed for the royal Swedish court and for the German church in Gothenburg. Theoretically it draws on the model of genre history advocated by Carl Dahlhaus.

    The first three chapters deal with Geist’s biography and milieu, the manuscript sources and the uses of his music. The second part deals with Geist’s compositions, and the relation between use, musical design and genre traditions are studied. The compositions are analysed and interpreted as individual solutions to problems in the history of composition, related to questions of genre and to important changes in compositional techniques from around 1650.

    A typical feature of Geist’s music is a resistance to regular solutions. This is manifested in the reciprocal relation between the use of generic and schematic models on the one hand, and the constant effort to break, differentiate and modify these models. The most individualistic solutions are to be found in his settings of Latin devotional poetry, some of which were composed for royal Communion services. These are designed as clearly sectionalised, stylistically differentiated arias with very strong affect, accomplished mainly by harmonic means. His concertos for regular worship services and solemn occasions stay closer to the norms of the genre. Still, they are marked by the integration of a modern, italianate approach to harmony based on cadence progressions and a regular grouping of phrases, which radically changes the design of the concerto textures.

  • 46.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Swedish Monuments of Music and Questions of National Profiling2018In: Article in journal (Other academic)
  • 47.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    The Aria, the Stylus Melismaticus and the Holy Communion: Devotional Music from Northern Courts in the Late Seventeenth Century2005In: The Cultural Heritage of Medieval Rituals: Genre and Ritual, 2005, p. 336-Conference paper (Refereed)
  • 48.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    The Concerto Principle in Kaspar Förster's Psalm Compositions : Confitebor tibi Domine in C2004In: Musica Baltica. Im Umkreis des Wandels - von den cori spezzati zum konzertierenden Stil, 2004, p. 352-Conference paper (Other scientific)
  • 49.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Establishment of Swedish Musicology2018In: Wege zur Musikwissenschaft: Länder und Regionen im Vergleich / [ed] Annette van Dyck-Hemming, Kassel: Bärenreiter Verlag, 2018Chapter in book (Other academic)
  • 50.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Gabrielis transferred to the North. On the reception of Andrea and Giovanni Gabrieli in Scandinavia during the seventeenth century2017In: Musica Iagellonica, ISSN 1233-9679Article in journal (Refereed)
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