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  • 1.
    Adam, Jonathan
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Street Music, City Rhythms: The urban soundscape as heard by street musicians2018Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    The soundscape plays a key, if often overlooked, role in the construction of public urban space. Street music – a conscious deliberate propagation of sound in public space – opens an entryway into comprehending the role of sound in the city, and what it reveals about the city’s inhabitants. Ethnographic fieldwork in Brussels and Stockholm focuses on street musicians of all kinds, exploring how their music is shaped by their personal motivations, how their practices negotiate meaning in sound and in space, and how their rhythms shape, and are shaped by, the city. These explorations give reason to question R. Murray Schafer’s philosophies on soundscape studies, particularly in the urban context. Drawing from Henri Lefebvre’s notions of the production of space, and rhythmanalysis as an analytical tool, the urban soundscape is understood as an ongoing negotiation of individual actions, where dynamics of power, identity, and ideology become audible. Street musicians and their sound cultures feature not just as a topic worthy of study, but also as a guide of how and why to listen to and analyze the rhythms of the city.

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  • 2.
    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
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  • 3.
    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.

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  • 4.
    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.

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    MajaAgnevik_SaraWennerbergReuter
  • 5.
    Akkerman, Renske
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Film music as a guide in complex temporal narratives: An analysis of the narrative function of Hans Zimmer’s film music in Inception (2010) and Interstellar (2014)2023Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    This thesis analyses Hans Zimmer’s film music in Inception (2010) and Interstellar (2014) that resulted from his collaboration with director Christopher Nolan. The focus lies on the narrative and temporal functions that film music can attain when used in temporal complex narratives. The analysis looks into how time is presented, manipulated, and connected through the music. Three aspects that are examined are: 1) how musical motifs function as a guide for understanding narrative themes, 2) how music gives temporal clarity within a narrative, and 3) how sound design contributes to an understanding of the temporal structure of the narrative. This thesis offers more insight into how music can function temporally, a subject worthy of more academic attention. It concludes that Zimmer’s “minimalistic maximalism” style and his creative process with Nolan are essential to how the music of Inception and Interstellarfunctions.

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  • 6.
    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.

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  • 7.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Schildt, Maria
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    I segerns larm: Ljudlandskapet kring 1701 års troféparad2018In: Minnet av Narva: Om troféer, propaganda och historiebruk / [ed] Klas Kronberg; Anna Maria Forssberg, Lund: Nordic Academic Press, 2018, p. 79-103Chapter in book (Other academic)
  • 8.
    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.

     

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  • 9.
    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.

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  • 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.   

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  • 11.
    Arlestrand, Kamilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Vad sjunger barnen och varför?: En studie av barnkörledares val av repertoar inom Svenska kyrkan2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Svenska kyrkan har en stark musiktradition, en tradition som historiskt sträcker sig ända tillbaka till gammaltestamentlig tid. Det är rimligt att utgå från att barn deltog med sång redan i de första kristna församlingarna. I dagens svenskkyrkliga församlingar finns vanligtvis ett stort utbud av körer. Barnkören finns med som en självklar och viktig del av kyrkans verksamhet.

    Syftet med uppsatsen är att ge en bild av vad som kan bidra till de repertoarval barnkörledare gör inom ramen för Svenska kyrkans barnkörsarbete. För att uppnå studiens syfte har fyra intervjuer med erfarna barnkörledare genomförts och därefter analyserats med en hermeneutisk metod. Intervjumetoden som använts är den kvalitativa forskningsintervjun med en halvstrukturerad form.1Tonvikten på intervjupersonens upplevelser av ämnet har varit viktig. Intervjuerna föregicks av en webbaserad enkät. Enkäten kom att ligga till grund för de kommande intervjuerna.

    Resultatet av studien visar att de intervjuade körledarna har stor frihet i sina val av repertoar. Styr-och policydokument inom Svenska kyrkan centralt, samt i de lokala församlingarna, saknar riktlinjer vad gäller synen på repertoar för barnkörerna. Det visade sig även att körledarnas utbildning i väldigt liten utsträckning har präglat hur de idag arbetar och förhåller sig till repertoarfrågan.Barnkörledarnas val av repertoar visar sig snarare ta avstamp i kyrkoåret och dess berättelser. Körledarnas egna barnkörserfarenheter och det kollegiala lärandet visar sig vara grunden för hur körledarna utformar sitt arbete och förhåller sig till de många aspekter som påverkar repertoarvalet de gör för sin barnkörer.

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  • 12.
    Arvidsson, Daniel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Hammarby är dom bästa!: Om hejaramsor och hejande i Hammarbyklacken 1990-971998Independent thesis Advanced level (degree of Master (One Year)), 30 credits / 45 HE creditsStudent thesis
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  • 13.
    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.

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  • 14.
    Bartels, Kevin
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    "Då tog kullan fiolen och fortsatte": En studie om kvinnliga instrumentalister inom svensk folkmusikhistoria2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 15.
    Beckman Sundh, Ulla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Levande musik, efterklang eller eko?: Om äldre barnvisor med utgångspunkt i Alice Tegnérs viskompositioner2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay focuses on the survival of older children’s songs, the songs that were composed by the end of the 19th century and still sung today. The purpose has been to explore what circumstances and factors may contribute to the survival and good health of these old songs, and what makes them still well-known today. Childrens songs by the composer Alice Tegnér represent older childrens songs in the essay. 

    The essay consists of two main parts, the first includes a short biography of Alice Tegnér, and discusses some musical aspects of her compositions for small children. The other main part contains a discussion of how music in the compulsory school may have influenced what songs became known throughout the country, and how this may have contributed to formation of a canon that is still in existence. The essay discusses how the subject music has changed in the schools since public schools were introduced and became compulsory in the mid-19th century, until today, and how this may affect singing and what is being sung.    

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  • 16.
    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.

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  • 17.
    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.

  • 18.
    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)
  • 19.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Arde Fillis / Isti sunt: a contrafactum by Gustav Düben based on a madrigal by Stefano Landi, and previously attributed to Giacomo Carissimi2020In: Contrafacta. Modes of Music Re-textualization in the Late Sixteenth and Seventeenth Century / [ed] Marina Toffetti, Gabriele Taschetti, Krakow: Musica Iagellonica , 2020, p. 187-208Chapter in book (Refereed)
    Abstract [en]

    A Düben collection manuscript with the shelf number Vmhs 11:2 contains a com-position ascribed to Giacomo Carissimi, with the text incipit Isti sunt triumphatores. The attribution to Carissimi has been regarded as uncertain, but it is still included in several work catalogues. This article shows that the attribution is certainly false. The piece is a re-texted version of a madrigal composed by Stefano Landi, included in his first collection of madrigals, printed in Venice 1619. The title of the original madrigal is “Arde Filli d’un viso”. The text is a poem by Matteo Piacentini published first in Vicenza in 1600, and then again in Venice in 1611, but in Landi’s madrigal the text is modified, or likely misread; the title of the original poem is “Arde Fillide in viso”.The Vmhs 11:2 manuscript in Uppsala contains a complete set of partbooks of two madrigals for five voices, the one by Stefano Landi, and Galeazzo Sabbatini’s “Io amo che tanto basta”. They were prepared by the young Gustav Düben in the early 1650s, perhaps originally intended for instrumental performance. At a later moment, prob-ably after 1663, Düben started to prepare a contrafactum of Landi’s madrigal, using a Latin liturgical text, Isti sunt triumphatores. The text appears to have been borrowed from a printed collection of motets by Gasparo Casati, in that case most likely from the Antwerp reprint published by Marie and Madeleine Phalèse. Liturgically, the text is associated with the Feasts of Apostles, and the contrafactum could possibly have been intended for such a service in the German Church in Stockholm, where Gustav Düben was the organist. It was most likely at this point that Düben misattributed the piece to Carissimi, perhaps associating the manuscript with the time when an en-semble of Italian singers visited the Swedish court between 1652 and 1654, bringing with them a large number of works by Carissimi.The contrafactum is not completed. Only the first thirty-seven bars of the canto primo part have text underlay, and eleven bars of the alto. Since the Latin text was very dif-ferent than the Italian madrigal text, both regarding meter and content, the re-texting involved a number of challenges. In the preserved part, a number of modifications have been made to the music, which is typical of re-texting practices. The melismatic passage opening the madrigal has been set syllabically in the contrafactum, thus annihi-lating the word painting in the original. Notes have been split in two to accommodate the text, or on the contrary joined in melismas. The attempt at a re-texting does not seem very successful, and it is possible that Düben abandoned the task for this reason, even though such an assumption must remain tentative.

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  • 20.
    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)
  • 21.
    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, E-ISSN 2002-021X, Vol. 92, p. 191-194Article, book review (Other academic)
  • 22.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Barockmusik i våra svenska kyrkor1997In: Tidig musik: Tidskrift för medeltid, renässans och barock, Vol. 18, no 2Article in journal (Other (popular scientific, debate etc.))
  • 23.
    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)
  • 24.
    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.))
  • 25.
    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)
  • 26.
    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)
  • 27.
    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)
  • 28.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Det progressiva Rom: Antika idéer och djärv harmonik2020In: Tidig musik, ISSN 1400-5123, Vol. 4, p. 14-17Article in journal (Other (popular science, discussion, etc.))
  • 29.
    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)
  • 30.
    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.))
  • 31.
    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)
  • 32.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Fra Danzig og Lübeck til Düben: om kilderne til Kaspar Försters musik2021In: Tidskriftet Custos, ISSN 1603-8266, no 2, p. 4p. 4-Article in journal (Other (popular science, discussion, etc.))
  • 33.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    I centrum av Roms musikliv: de påvliga sångarna2020In: Tidig musik, ISSN ISSN 1400-5123, no 3, no 3Article in journal (Other (popular science, discussion, etc.))
  • 34.
    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.

  • 35.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Jukka Sarjala: Music, Morals and the Body2002In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 84, p. 115-16Article, book review (Other (popular science, discussion, etc.))
  • 36.
    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.))
  • 37.
    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)
  • 38.
    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.))
  • 39.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Kaspar Förster Jun. (1616–1673): Sacrae cantiones 1, 2, & 3 vocuum2021Book (Refereed)
    Abstract [en]

    A critical edition of 12 concertato motets for 1 to 3 voices by Kaspar Förster jnr (1616-1673). Förster was born in Danzig (Gdansk) and studied in Rome for Giacomo Carissimi in the 1630s. From c. 1637-1652 he was a singer at the Polish court, and from 1652-1667 Hofkapellmeister in Denmark. He died in Oliwa 1673. Förster's music is Italianate in style, with smooth vocal melodies and a sectionalized motet style with a variation of styles and textures. His music is highly expressive, with a harmonic language where he develops the Roman tradition in new direction. He was an important mediator of the new Italian musical style in Northern Europe.

  • 40.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Kaspar Förster Jun. (1616-1673). Sacrae cantiones 3, 4, & 5 vocuum2021Book (Refereed)
    Abstract [en]

    A critical edition of 10 concertato motets for 1 to 3 voices by Kaspar Förster jnr (1616-1673). Förster was born in Danzig (Gdansk) and studied in Rome for Giacomo Carissimi in the 1630s. From c. 1637-1652 he was a singer at the Polish court, and from 1652-1667 Hofkapellmeister in Denmark. He died in Oliwa 1673. Förster's music is Italianate in style, with smooth vocal melodies and a sectionalized motet style with a variation of styles and textures. His music is highly expressive, with a harmonic language where he develops the Roman tradition in new direction. He was an important mediator of the new Italian musical style in Northern Europe.

  • 41.
    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
  • 42.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    La collezione Gimo: storia, contenuti e copisti2022In: Il mandolino a Napoli nel Settecento / [ed] Anna Rita Addessi, Lars Berglund, Paologiovanni Maione, Mauro Squillante, Turchini edizioni , 2022, p. 61-86Chapter in book (Other academic)
  • 43.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Magnus Tessing Schneider, 2022. The original portrayal of Mozart’s Don Giovanni.2022In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 104Article, book review (Other academic)
  • 44.
    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)
  • 45.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, 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, E-ISSN 2002-021X, Vol. 90, p. 108-110Article, book review (Refereed)
  • 46.
    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, E-ISSN 2002-021X, ISSN 0081-9816Article, book review (Refereed)
  • 47.
    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.))
  • 48.
    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.))
  • 49.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Mourning a dead Queen. The music at the funeral of Ulrika Eleonora the Elderin Stockholm (1693)2020In: Contrafacta. Modes of Music Re-textualization in the Late Sixteenth and Seventeenth Century / [ed] Marina Toffetti, Gabriele Taschetti, Krakow: Musica Iagellonica , 2020, p. 247-263Chapter in book (Refereed)
    Abstract [en]

    Ulrika Eleonora the Elder, Queen of Sweden from 1680, died in July 1693. She was buried in the Royal funeral church, Riddarholmskyrkan, on November 28 of the same year. The Queen’s funeral was designed 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 a golden colour, which were illuminated by lamps inside the construction. Little or nothing has been known about the music played dur-ing this ceremony. According to the official printed account two musical works were performed. In this article I am able to show that the works referred to consisted of one composition by the French court violinist Pierre Verdier, Kristus är mitt liv, and one by the Flemish composer Daniel Danielis, Aspice 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 biblical verse on which Verdier’s piece is based (Phil. 1:21: “[for to me,] to live is Christ and to die is gain”), was the Queen’s motto and the text for the funeral sermon. Moreover, Danielis’ Aspice e caelis was originally composed for the funeral of princess Eleonora of Güstrow-Mecklenburg, who was a cousin to Ulrika Eleonora’s husband, the King. That piece has been re-texted with an undoubtedly tailor-made Swedish text, which closely follows the varied rhythm and stress patterns of Danielis’ recitative setting, at the same time mirroring the import and affect of the original text, but not the exact wording. Both works are marked by a sad, plaintive affect appropriate for such an occasion. Both are scored for gamba consort, which at this time was associated with tears and sorrow. In both works we find instances of symbolic, rhetorical personi-fication: in Verdier’s composition the duet between bass and soprano can be associated with the Queen’s tender relation to Christ. In Danielis’ motet the solo soprano voice represents the female gender of the person being buried. Apart from these two works, also a choral arrangement by Christian Ritter, Einen guten Kampf, can be associated with the funeral.The recycling of music for the funeral is not a coincidence, but should be understood as a representation of dynastic continuity. In a similar way, the visual decorations of the funeral were re-used at later royal funerals. There are also indications that Verdier’s Kristus är mitt liv was used again at the funeral of Ulrika Eleonora’s husband King Charles XI in 1697.

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  • 50.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Music and mission in the Roman Jesuit Circles in the mid-17th Century2018In: Universalia et particularia: Ars et praxis Societatis Jesu in Polonia / [ed] Bogda Bohdanowicz, Tomàsz Jeż, Warzawa: Wydawnictwo Naukowe Sub Lupa , 2018, p. 85-106Chapter in book (Refereed)
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