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(side 3-6)
av Randi M. Selvik
(side 7-31)
av Erling E. Guldbrandsen
The Symphony No 2 (1924) by Norwegian composer, Gerhard Schjelderup, written after decades of voluntary exile in Europe, is somewhat paradoxically «Dedicated to Norway». Its quotations of Norwegian folk tunes might be ...
(side 33-39)
av Helena Kopchick
Henrik Ibsens poem Spillemænd (written in 1851 under the name Brynjolf Bjarme as part of the larger poem En løverdagsaften i Hardanger; published on its own in Digte, 1871) is based on ...
(side 42-51)
av Yvonne Wasserloos
Concerning the influence of landscape and nature on music one has to point at a specific term called “cultural landscape”. This definition refers to nature as it is interpreted by ...
(side 53-58)
av Anna Ponomareva
Focused on Grieg’s music and Belyi’s poetical interpretation thereof, this article aims to explain how Belyi successfully introduced novelty into his experimental prose, using elements from Grieg’s ...
(side 60-63)
av Seppo Saari
This article deals briefly with following questions: How are Grieg's transcriptions for piano (op.17) using original or earlier musical material? How do they treat form, harmony, melody, and texture ...
(side 66-77)
av Ingrid Geuens
In the spring of 2005, Carl Schachter was invited to give a seminar in Schenkerian analysis for performers at the Grieg Academy in Bergen. I was asked to give a series ...
(side 80-98)
av Per Dahl
As part of my study of gramophone recordings of Grieg’s opus 5 no.3, I describe four stages in the process of music cognition. I point out that sonority is the ...
(side 102-113)
av Peder Chr. Kjerschow
The phenomenon of music is discussed through the ideas of the philosophers Dufrenne, Merleau-Ponty and Ingarden. The fact that certain (mainly estethic?) phenomena are capable of capturing our attention ...
(side 116-134)
av Erlend Hovland
Despite playing an important role in the contemporary discourse on performance, a critical examination of the use of intentionality (i.e. the composer’s intention) can illustrate how this concept ...
(side 135-152)
av Ingrid Loe Dalaker
The Norwegian composer and pianist T.D.A. Tellefsen took an active part in a French milieu, which, in the 1850s and 1860s, worked to arouse interest in and promote ...
(side 153-168)
av Ove Larsen
This article discusses how fieldwork has been a central method for analyzing and understanding music as part of culture, and future challenges concerning analysis of oral musical tradition. The author ...
(side 169-190)
av Odd Skårberg
During the 1960s a new generation of Norwegian jazz musicians took up experimental trends such as free- and avant-garde jazz. The main focus in this article is to demonstrate ...
(side 191-210)
av Randi M. Selvik
This article is about women musicians in Bergen in the period 1750-1830. The first part gives a survey of the possibilites female musicians in Europe had in the eighteenth and early ...
(side 211-225)
av Steinskog Erik
This article is a reading of Alban Berg’s opera Lulu, as well as on different cultural contexts of this opera. In particularly it discusses different relations between Vienna of ...
(side 226-228)
av Leif Jonsson
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