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Åpen tilgang
(side 5-6)
av Kai Arne Hansen
Åpen tilgang
(side 7-8)
av Kai Arne Hansen
Åpen tilgang
Vitenskapelig publikasjon
(side 9-24)
av Rebecka Sofia Ahvenniemi

This article critically examines the common idea that language itself carries pure content, while the acoustic or musical dimensions are something additional. According to philosopher Vibeke Tellmann, a ‘gap’ has emerged between music and language, especially where the formalist approach to music, deriving from 19th century romanticism, is concerned. Building further on the idea of this gap, five ‘myths’, in the sense of established but possibly false ideas about the relationship between music and language, are discussed in this article. The aim is to investigate the issue specifically from the perspective of composition of vocal music. The emphasis lies on theories that focus on timbral, embodied, and cultural aspects of performed language, such as the phenomenological concept of ‘dramaturgical voice’, presented by Don Ihde, and the ‘grain’ of the voice, as Roland Barthes describes it. A central question is whether language can ever be denied its musical or dramaturgical axis as constitutive of its meaning.

Åpen tilgang
What Else Can Grieg’s Historical Recordings Tell Us?
Performance Practice as Musical Poetry
Vitenskapelig publikasjon
(side 25-40)
av Arnulf Christian Mattes

Between 1903 and 1906, Edvard Grieg recorded several of his most popular pieces on piano rolls and gramophone discs for commercial use. Like many of his peers, Grieg, as a composer and virtuoso, grasped the opportunity of the new century’s technology for disseminating his music outside concert halls for broader audiences. The remastered release of Grieg’s collected recordings from 1992 by the label SIMAX offers a unique access to Grieg’s performances of his own works. The overall issue, what a modern listener might learn from a historical audio document like this, will be addressed in the examination of a selected track on the historical recording: the ‘Norwegian Bridal Procession’ (Brudefølget drar forbi), No. 2 in Pictures from Folk Life, Op. 19, belonged to his most popular pieces and was recorded by Grieg both on piano roll and gramophone disc. Opus 19 is a cornerstone of Grieg’s ‘national romantic’ aesthetic, and marks the beginning of a fruitful period of music-dramatic cooperation with Bjørnstjerne Bjørnson, from the 1870s on. Grieg’s recordings have, as any other mechanical sound reproduction, their interpretive limitations. However, they provide unique insight into what is the most emergent of all historical sources, musical performance, when analysed carefully and combined with other sources of information, such as musical sketches, scores, the composer’s and his contemporaries’ testimonies, or concert reviews. Moving from generic features of Grieg’s performance style to the individual peculiarities of his interpretation, the aim of this inquiry is to enable a new understanding of Grieg’s performance practice as deeply related to the aesthetic conception of music as musical poetry.

Åpen tilgang
To symfonier og et mysterium
Om formbehandlingen i de første symfonisatsene til Grieg og Svendsen
Vitenskapelig publikasjon
(side 41-60)
av Bjørnar Utne-Reitan
SammendragEngelsk sammendrag

Det er et mysterium hvorfor Edvard Grieg skrev «må aldrig opføres» på manuskriptet til sin eneste symfoni (komponert 1863–64). Standardforklaringen har vært at Grieg ble så imponert etter å ha hørt Johan Svendsens første symfoni i 1867 at han besluttet å ikke fremføre sin egen symfoni mer. Denne artikkelen presenterer et forsøk på å sammenlikne disse to tidlige norske symfoniene gjennom en nærlesning av formbehandlingen i førstesatsene. Dette gjøres i lys av den såkalte «nye formlære», og da særlig Hepokoski og Darsys «sonateteori». Analysene brukes som utgangspunkt for en diskusjon av det musikkhistoriske mysteriet rundt Griegs «forbudte» symfoni, i et forsøk på å tegne et mer nyansert bilde av omstendighetene rundt hvorfor Grieg forkastet symfonien.

It is a mystery why Edvard Grieg wrote ‘must never be performed’ on the manuscript of his only symphony (composed 1863–64). The common explication has been that Grieg was so impressed after hearing Johan Svendsen’s first symphony in 1867 that he chose to stop performing his own symphony. This article presents an attempt at comparing these two early Norwegian symphonies by way of a close reading of the treatment of form in their first movements. This is done in light of the so-called ‘new Formenlehre’, with emphasis on Hepokoski and Darcy’s ‘sonata theory’. The analyses make out the point of departure for a discussion of the music-historical mystery surrounding Grieg’s ‘forbidden’ symphony, attempting to draw a more nuanced picture of the circumstances surrounding Grieg’s rejection of the symphony.

Åpen tilgang
‘Syngje og spile fele ti’
Introducing a Tradition of Fiddling Singing in Norway
Vitenskapelig publikasjon
(side 61-76)
av Johanna Seim

This article introduces ‘fiddling singing’ – the act of singing while accompanying oneself on the fiddle – found in folk music archives in Norway. In the course of this research work, twelve cases of fiddling singers were traced in southern Norway, documented through archive recordings. Fiddling singing was often performed in conjunction with religious practice. Some fiddling singers were travelling as preachers during the times of major Christian conversions in the early-to-mid-1900s. In these settings, they used to accompany their own singing on the fiddle. In music theory terms, fiddling singing can be described as a type of melodic accompaniment that creates a heterophonic sound. Melodies are sung and played simultaneously with subtle variations and notes added in parallel octaves. Typical fiddle playing features, such as ornamentation and double stops or drones, can be found in the material.

Åpen tilgang
Vitenskapelig publikasjon
(side 77-93)
av Hans Weisethaunet
SammendragEngelsk sammendrag

Den norske trommeslageren Jon Christensen (1943–2020) var en av de mest innflytelsesrike musikerne i samtidas jazz og bidro til over 70 innspillinger for plateselskapet ECM. Med utgangspunkt i Deleuze og Guattaris begreper om «territorialisering» og «deterritorialisering», samt M. M. Bakhtins «kronotop»-begrep, søker artikkelen å kartlegge Christensens musikalske erfaringer på 1960-tallet. Spesielt vektlegges interaksjonen mellom Christensen og andre innflytelsesrike musikere, blant dem Dexter Gordon, Bud Powell, George Russell, Don Cherry, Jan Garbarek, Zbigniew Namysłowski, Steve Kuhn, Stan Getz, Sonny Rollins og andre. Ved en dialogisk-metodisk tilnærming er målet å belyse Christensens egne musikalske perspektiver og synspunkter, sett i relasjon til aktuelle jazzhistoriografiske begreper. Tilnærmingen er derfor både biografisk og antropologisk. Sentralt i Christensens egne refleksjoner stod begreper om «lyd» og «lytting». Mens mye akademisk og journalistisk litteratur synes å fokusere på «nasjonaliteter» og europeiske og/eller amerikanske «identiteter», viser mangfoldet av forbindelser Christensen inngikk i på 1960-tallet et langt mer sammensatt og detaljert (vei)kart, enn om utgangspunktet var reifiserte kategorier som «nordisk jazz» eller den «nordiske tonen».

Norwegian drummer Jon Christensen (1943–2020) was one of the most influential musicians in the contemporary jazz scene, contributing to over 70 recordings for the ECM label. Drawing on Deleuze and Guattari’s concepts of ‘territorialization’ and ‘deterritorialization’, and M.M. Bakhtin’s notion of the ‘chronotope’, this article outlines a map of Christensen’s musical experiences in the 1960s. Particular weight is accorded to the interplay between Christensen and other influential musicians such as Dexter Gordon, Bud Powell, George Russell, Don Cherry, Jan Garbarek, Zbigniew Namysłowski, Steve Kuhn, Stan Getz, Sonny Rollins, and others. Through dialogic encounter, the aim is to highlight Christensen’s own musical perspectives and worldview, in relation to current notions of jazz historiography. Hence, the approach is biographical as well as anthropological. Central to Christensen’s musical considerations were concepts of ‘sound’ and ‘listening’. While much academic and journalistic literature seems to focus on notions of nationalities and/or European or American jazz identities, taking a closer look at the heterogeneity of Christensen’s musical connections in the 1960s brings forth a more diversified and musically detailed roadmap than that offered by reified categories such as ‘Nordic jazz’ or the ‘Nordic tone’.

1-2020, årgang 46


Studia Musicologica Norvegica (etablert 1968) er et fagfellebasert tidsskrift for musikkvitenskap. Det fungerer som bindeledd mellom musikkforskere og musikkinteresserte i Norge, samtidig som det er norsk musikkforsknings ansikt utad. Tidsskriftet inneholder artikler, bokanmeldelser og essays av musikkvitenskapelig karakter. Innholdet spenner fra musikkhistorie til etnomusikologi, musikksosiologi og musikkteori. Studia Musicologica Norvegica leses av musikkforskere og ‑studenter, høyskolelektorer, musikkpedagoger og allment musikkinteresserte.

Ansvarlig redaktør

Kai Arne Hansen, førsteamanuensis, Institutt for kunstfag og kulturstudier, Høgskolen i Innlandet


Aud Aasen


Hilde Synnøve Blix (UiT Norges arktiske universitet)

Petter Dyndahl (Høgskolen i Innlandet)

Jørgen Langdalen (Høyskolen Kristiania)

Sats: Tekstflyt AS

Design omslag: Erlend Askhov

ISSN online: 1504-2960

DOI: 10.18261/issn.1504-2960

Tidsskriftet utgis av Universitetsforlaget på vegne av Norsk musikkforskerlag og med støtte fra Norges forskningsråd.

© Universitetsforlaget 2020 / Scandinavian University Press

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