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(side 3-7)
av Randi M. Selvik
(side 8-24)
av Erlend Hovland
In this article I argue for a closer investigation into the premises underlying our teaching. How do we define music history, its role in education, and its potential? In reading ...
(side 26-49)
av Håvard Enge
This article criticizes the analytical reception of the new forms of musical works arising in the 1950s, notably integral serialism and aleatoric music. How has the discipline of musical analysis ...
(side 51-66)
av Per Dahl
In the early Christian church the spelling of the Word was essential, and this also contributed to making the literacy of music an important element in identifying and structuring Christian ...
(side 68-89)
av Thomas Solomon
During the 1970s North American ethnomusicologists began using the phrase music as culture to refer to a specific approach to ethnomusicological analysis: the search for homologies between the structure of ...
(side 91-108)
av Anne Svånaug Haugan, Niels Kayser Nielsen Og Peter Stadius, Peter Stadius og Niels Kayser Nielsen
This anthology is an introduction to the many-faceted relationship between music - classical, popular and folk music - and nationalism in the Nordic countries in the years 1750-2000. The authors from Norway ...
(side 110-128)
av Hedda Høgåsen-Hallesby
During the latter part of the 19th century Norway held a special position as part of the European, Western world, but still relegated to its periphery. In Ibsen’s poetic ...
(side 129-141)
av Rasmus Reed
In the interpretation of music the two most fundamental parameters are the dynamics and the tempo variations. Close examinations of musical performances show that in most music there will always ...
(side 143-170)
av Anne Margrete Fiskvik
This article focuses on choreomusical relations in The Firebird - L’Oiseu de feu. Created and premi-ered in 1910, with music by Igor Stravinsky and choreography by Michel Fokine, this ballet ...
(side 169-184)
av Erlend Hovland, Hroar , Heinrich W. Schwab og Per Dahl
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