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  • 1.
    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.

  • 2.
    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)
  • 3.
    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)
  • 4.
    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.))
  • 5.
    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)
  • 6.
    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.))
  • 7.
    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)
  • 8.
    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)
  • 9.
    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)
  • 10.
    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.))
  • 11.
    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)
  • 12.
    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)
  • 13.
    Berglund, Lars
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Jukka Sarjala: Music, Morals and the Body2002In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 84, p. 115-16Article, book review (Other (popular scientific, debate etc.))
  • 14.
    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.))
  • 15.
    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)
  • 16.
    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.))
  • 17.
    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)
  • 18.
    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)
  • 19.
    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)
  • 20.
    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.))
  • 21.
    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.))
  • 22.
    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)
  • 23.
    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)
  • 24.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musik och pyroteknik i det tidigmoderna Europa2018In: Tidig musik, ISSN 1400-5123, Vol. 3, no 3, p. 8-11Article in journal (Other (popular science, discussion, etc.))
  • 25.
    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)
  • 26.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Musiken och passionerna: med Claudio Monteverdi i backspegeln2012In: Passioner: konst och känslor genom fem sekler / [ed] Karin Sidén & Janna Herder, Stockholm: Nationalmuseum , 2012, p. 218-245Chapter in book (Other (popular science, discussion, etc.))
  • 27.
    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)
  • 28.
    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)
  • 29.
    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.

  • 30.
    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.

  • 31.
    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.))
  • 32.
    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.

  • 33.
    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)
  • 34.
    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)
  • 35.
    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)
  • 36.
    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)
  • 37.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Roman Connection: Dissemination and reception of Roman music in the North2010In: The Dissemination of Music in Seventeenth-Century Europe.: Celebrating the Düben Collection. Proceedings from the International Conference at Uppsala University 2006 / [ed] Erik Kjellberg, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien: Peter lang , 2010, p. 193-218Chapter in book (Other academic)
  • 38.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Tobias Lund: Enthusiasm, Contemplation, and Romantic Longing: Reconsidering Schubert's Sectional Songs in the Light of Historical Context2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 92, p. 158-161Article, book review (Other academic)
  • 39.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Traditionalister och radikala i efterkrigstidstidens svenska musikliv: Kring Jan Carlstedt och hans stråkkvartett nr 22009In: STM-Online, ISSN 1403-5715, E-ISSN 1403-5715, Vol. 12Article in journal (Refereed)
    Abstract [en]

    During the 1950s and early 1960, the art music scene in Sweden saw a conflict between the advocates of a more traditionalist and moderate modernism on the one hand, and the devotees of radical and experimental music on the other. The most articulate spokesman for the traditionalist camp was the composer Jan Carlstedt (1926–2004), a pupil of Lars Erik Larsson. In my article this historical tension between traditionalists and radicals is analysed using material from newspapers, magazines and not the least the diary of Bo Wallner, a source which gives unique insights in the silent play behind the scenes. It is argued that the opposing fractions to a large extent shared similar aesthetic views, and that the conflicts of opinion was a matter of style rather than fundamental aestetic questions. Moreover the schism was a result of conflicting agendas of a more musico-political kind, the radical camp working to strengthen the position of Swedish music on the international arena.

    Therafter Jan Carlstedts music aesthetic stance is scrutinized, via his statements about his own music as well as that of his models – especially Sergei Prokofiev and Dmitry Shostakovic. Moreover the practical, compositional consequences of that stance are exemplified through an analysis of his second string quartet (1966), which he himself pointed out as a key work. The ambition to regenerate art music by “giving new meaning to the lasting elements of the musical tradition” turns out to be a central idea in Carlstedt's views on music. In the second quartet this is mainly attempted by unconventional manipulations of a basically traditional harmonical language, taking inspiration from the music by Shostakovic, Bartók and Britten. In this process, he often used different kinds of symmetrical patterning. The harmonic language can at times be quite dissonant, but this is balanced with quite conventional schemes of melody, rhythm and phrase organisation. His musical language is related to that of Shostakovic, but lacks the Russians complex stylistic fractures.

  • 40.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Travelling and the Formation of Taste: The European Journey of Bengt Ferrner and Jean Lefebure 1758–17632013In: Sweden in the eighteenth-century world: provincial cosmopolitans / [ed] Göran Rydén, Ashgate, 2013Chapter in book (Refereed)
  • 41.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Ämnesidentiteter och deldiscipliner inom svensk musikforskning: öppna fält eller stängslade hagar?2017In: Musiketnologi: Elva repliker om en vetenskap / [ed] Gunnar Ternhag, Owe Ronström, Uppsala: Kungl. Gustav Adolfs Akademien , 2017Chapter in book (Refereed)
  • 42.
    Berglund, Lars
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Östrem, Eyolf
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Musicology.
    Music and the Wor(l)d - Musicology and Mankind. How we Got Out of Analysis, and How to Get Back In2001In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 83Article in journal (Refereed)
  • 43.
    Schildt, Maria
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    French Stage Music in the Düben Collection, Uppsala: A Düben-Philidor Connection2015In: L’orchestre à cordes sous Louis XIV: Instruments, répertoires, singularités / [ed] Jean Duron, Florence Gétreau, Paris: Librarie Philosophique J. Vrin, 2015, p. 415-428Chapter in book (Refereed)
  • 44.
    Schildt, Maria
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Berglund, Lars
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Hur franskt blev svenskt: Om användningen av prologer vid svenska hovet 1680-17182018In: Musikens makt: RJ:s årsbok 2018 / [ed] Jenny Björkman & Arne Jarrick, Göteborg Stockholm: Makadam Förlag, 2018, p. 161-180Chapter in book (Other academic)
1 - 44 of 44
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