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(side 3-6)
av Randi M. Selvik
(side 7-18)
av Håvard Enge
This article examines the paradoxical coexistence of metaphorical and analytical language in Hoffmann’s Beethoven criticism. The ambivalence of Hoffmann’s critical language is approached through recent writings on musical ...
(side 19-37)
av Marion Hestholm
Organic metaphors have had a remarkable staying power in the field of aesthetics, permeating the discourse well into the twentieth century. Organicism has been imbued with various ideological implications. In ...
(side 38-60)
av Asbjørn Ø. Eriksen
This article deals with musical influences in Edvard Griegs Symphony in C minor (1863-64), problematizing what has been written earlier on the subject. The author takes as his point of departure ...
(side 61-79)
av Camilla Hambro
The song “Eventide” has attracted a large number of listeners and performers and has above all acquired an important role in Norwegian music historiography in connection with women’s music ...
(side 81-91)
av Reidar Bakke
The Finnish composer Einojuhani Rautavaara (born 1928) has written different types of music. In his production we can find solo songs, choral music, chamber music, symphonic music, electronic music, etc. Not ...
(side 93-118)
av Marit Johanne Høye
This study aims to expand and differentiate our views on melodic and formal particulars for the Kyrie chant. The Kyrie chant is an important type of medieval ecclesiastical song distinct ...
(side 119-141)
av Irene Bergheim
In The Church of Norway a comprehensive reform work is to be completed during the next year. The aim is to renew all the liturgical books, including the official Hymn ...
(side 142-155)
av Tore Simonsen
The classical phonogram has been a factor in our musical life for more than a century, but has only been regarded as an important musicological tool the last few decades ...
(side 156-176)
av Per Dahl
Listening to 210 recordings of Grieg’s opus 5 no. 3 from 1899-2005, I have selected a small section of the song (bars 10-16), and analysed the singer’s choice of expressions of intensity or ...
(side 177-195)
av Erlend Hovland
During the period 1900 to 1940, musical hearing became a key concept in German literature on music. As a concept it combined the nineteenth century’s musical paradigm with the twentieth century ...
(side 196-208)
av Erik Steinskog, Halgeir , Patrick Dinslage og Ståle Wikshåland
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