Musikk Til Henrik Wergelands Dikterverker
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Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
The Fiddle Traditions the Violin Comes to Norway It Is Believed That The
The fiddle traditions The violin comes to Norway It is believed that the violin came to that violins from this period were Norway in the middle of the 1600s brought home by, amongst others, from Italy and Germany. This was Norwegian soldiers who fought in probably as a result of upper class wars in Europe. music activities in the towns. But, much suggests that fiddle playing was known in the countryside before this. Already around 1600 ‘farmer fiddles’ are described in old sources, and named fiddlers are also often encountered. We know of the Hardanger fiddle from the middle of the 1600s, which implies that a fiddle-making industry was already established in the countryside before the violin was popular in the Norwegian towns. Rural craftsmen in Norway must have acquired knowledge about this new instrument from 1500s Italy and been inspired by it. One can imagine From 1650 onwards, the violin quickly became a popular instrument throughout the whole of the country. We have clear evidence of this in many areas – from Finnmark, the rural areas of the West Coast and from inland mountain and valley districts. The fiddle, as it was also called, was the pop instrument of its day. There exist early descriptions as to how the farming folk amused themselves and danced to fiddle music. In the course of the 1700s, its popularity only increased, and the fiddle was above all used at weddings and festive occasions. Fiddlers were also prominent at the big markets, and here it was possible to find both fiddles and fiddle strings for sale. -
Critical Perspectives on the European Mediasphere
THE RESEARCHING AND TEACHING COMMUNICATION SERIES THE RESEARCHING AND TEACHING COMMUNICATION SERIES CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE THE INTELLECTUAL WORK OF THE 2011 ECREA EUROPEAN MEDIA AND COMMUNICATION DOCTORAL SUMMER SCHOOL Ljubljana, 2011 CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE. The Intellectual Work of the 2011 ECREA European Media and Communication Doctoral Summer School. Edited by: Ilija Tomanić Trivundža, Nico Carpentier, Hannu Nieminen, Pille Pruulmann-Venerfeldt, Richard Kilborn, Ebba Sundin and Tobias Olsson. Series: The Researching And Teaching Communication Series Series editors: Nico Carpentier and Pille Pruulmann-Venerfeldt Published by: Faculty of Social Sciences: Založba FDV For publisher: Hermina Krajnc Copyright © Authors 2011 All rights reserved. Reviewer: Mojca Pajnik Book cover: Ilija Tomanić Trivundža Design and layout: Vasja Lebarič Language editing: Kyrill Dissanayake Photographs: Ilija Tomanić Trivundža, François Heinderyckx, Andrea Davide Cuman, and Jeoffrey Gaspard. Printed by: Tiskarna Radovljica Print run: 400 copies Electronic version accessible at: http://www.researchingcommunication.eu The 2011 European Media and Communication Doctoral Summer School (Ljubljana, August 14-27) was supported by the Lifelong Learning Programme Erasmus Intensive Programme project (grant agreement reference number: 2010-7242), the University of Ljubljana – the Department of Media and Communication Studies and the Faculty of Social Sciences, a consortium of 22 universi- ties, and the Slovene Communication -
Årsmelding 2010 Copyright © 2011 by Norsk Kulturråd All Rights Reserved Utgitt Av Norsk Kulturråd I Kommisjon Hos Fagbokforlaget
NORSK KULTURRÅD Årsmelding 2010 Copyright © 2011 by Norsk kulturråd All rights reserved Utgitt av Norsk kulturråd i kommisjon hos Fagbokforlaget Grafisk produksjon: John Grieg AS, Bergen Omslagsdesign ved forlaget Forsidebilde: Fra Vegard Vinge og Ida Müllers oppsetning av Vildanden. Foto: Magnus Skrede. Sideombrekking: Laboremus Sandefjord AS Redaksjon: Janne Stang Dahl og Mari Johansen Sekretariatfunksjonen til Fond for lyd og bilde og Statens kunstnerstipend er administrativt tilknyttet og samlokalisert med Norsk kulturråd. Fond for lyd og bilde og Statens kunstnerstipend har egne styrende organ og gir ut egne årsmeldinger. Norsk kulturråd Grev Wedels plass 1 Postboks 8052 Dep N-0031 Oslo Tlf: +47 22 47 83 30 Faks: +47 22 33 40 42 www.kulturrad.no Innhold Innledning .............................................. 5 Tildelinger og innkjøp ........................... 26 Allmenne kulturformål ............................. 26 Kunst og publikum ................................. 6 Rom for kunst .......................................... 27 Barne- og ungdomskultur ......................... 29 Råd og utvalg ......................................... 7 Andre formål ............................................ 34 Billedkunst og kunsthåndverk................... 37 Administrasjonen .................................. 11 Musikk ..................................................... 49 Scenekunst................................................ 80 Kommunikasjonsvirksomhet ................ 13 Litteratur ................................................. -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies. -
Monism and Synaesthesia;
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives Monism and Synaesthesia; Two metaphysical concepts in the Art of Edvard Munch Sophia Oftedahl Thesis (“hovedoppgave”) in the History of Art, Spring 2007 Department of Philosophy, Classics, History of Art and Ideas Faculty of Humanities University of Oslo Dedicated to the memory of my mother Paula Flittmann, nee Segal 2 Table of Contents Preface………………………………………………………………………………………..v Summary……………………………………………………………………………………..ix Chapter I: Introduction………………………………………………………………..……1 Background……………………………………………………………………………………1 Delimitation of the topic………………………………………………………………...…….4 The main focus of the thesis…………………………………………………………………..5 Monism…………………………………………………………………………………….5 Synaesthesia …………………………………………………………………………….…5 What has been done before……………………………………………………………………6 Method…………………………………………………………………………………...……6 The size………………………………………………………………………………………..7 Misogyny……………………………………………………………………………………...7 What? – Why? – How? ……………………………………………………………………….8 I – What is the general content of Munch’s art?.....................................................................8 - “Art is the daughter of the divine.”…………………………………………...…9 - Painting the unseen……………………………………………………………..9 II – Why did Munch choose to deal with metaphysical topics in his art?............................11 - Death at the Helm..........................................................................................12 III – How did Munch paint that -
The Interjurisdictional Migration of European Authors of Liberty, 1660 – 1961: a Quantitative Analysis1
1 January 12, 2016 THE INTERJURISDICTIONAL MIGRATION OF EUROPEAN AUTHORS OF LIBERTY, 1660 – 1961: A QUANTITATIVE ANALYSIS1 Niklas Potrafke2 Roland Vaubel3 Abstract Hume, Montesquieu and Kant were the first to suggest that the rise of liberty in Europe and the West has been due to political fragmentation and competition among rulers because the creative elites had the option of leaving the country in response to political repression. In this paper we estimate the extent to which emigrating authors of liberty actually reacted to such political and economic factors. We distinguish four types of repressive political events: restoration of an authoritarian monarchy, suppression of liberal protests, takeover by a totalitarian regime and occupation by a foreign repressive power. We test for additional explanations of emigration. Our sample of well-known authors of liberty includes 401 persons from twenty European countries in 1660 to 1961. Our logistic regressions yield the following main results. The repressive events did have significant and large effects on emigration with lags of up to five years. Emigration was also influenced by the author’s occupation and interjurisdictional income differentials. The probability of emigration was larger if the author was of middle age and lived in a small country but these effects were numerically small. The decision to emigrate was not affected by the author’s education. JEL classifications: F22, N33, Z18 _______________ 1 Acknowledgements: The authors thank Daniel Mannfeld, Felix Weber, Georg Arndt and Justina Fischer for tabulating the data and Justina Fischer and Jonathan Seiler for retrieving some of the data. We received helpful comments from Dennis Snower, David Stadelmann, Bengt-Arne Wickström and the participants of the World Public Choice Society Meetings 2012, the Silvaplana Workshop on Political Economy 2013, the CESifo Political Economy Workshop 2013 and two anonymous referees. -
Norway – Music and Musical Life
Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture. -
The Document Title
Harpe og sverd Olav Solberg Harpe og sverd Litteraturhistoriske essay om den norske balladen © Olav Solberg Dette verket omfattes av bestemmelsene i Lov om opphavsretten til åndsverk m.v. av 1961. Verket utgis Open Access under betingelsene i Creative Commons-lisensen CC-BY 4.0 (http://creativecommons.org/licenses/by/4.0/). Denne tillater tredjepart å kopiere, distribuere og spre verket i hvilket som helst medium eller format, og å remixe, endre, og bygge videre på materialet til et hvilket som helst formål, inkludert kommersielle, under betingelse av at korrekt kreditering og en lenke til lisensen er oppgitt, og at man indikerer om endringer er blitt gjort. Tredjepart kan gjøre dette på enhver rimelig måte, men uten at det kan forstås slik at lisensgiver bifaller tredjepart eller tredjeparts bruk av verket. ISBN paiprbok: 978-82-02-70593-0 ISBN PDF: 978-82-02-69680-1 ISBN EPUB: 978-82-02-70590-9 ISBN HTML: 978-82-02-70591-6 ISBN XML: 978-82-02- 70592-3 DOI: https://doi.org/10.23865/noasp.113 Dette er en fagfellevurdert monografi. Omslagsdesign: Cappelen Damm AS Omslagsbilde: Åsmund i kongens hall. Gerhard Munthe, (1902-1904), Nasjonalmuseet. [email protected] Innhald FORORD ........................................................................................................... 9 INNLEIING ........................................................................................................ 11 Frå Tristrams saga til «Bendik og Årolilja»..................................................... 17 – den norske balladen gjennom tid og -
In Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P
The Two-pulse “Dipod” in Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P. Ekgren Musikkinstitutt, Norway Introduction Norway has a wealth of traditional folk songs and a reciting-singing style called kveding that appears to go back a number of centuries, perhaps even a millennium. The reciting-singing style as found in the southern part of Norway in Telemark and Setesdal has posed a problem of rhythm so irregular as to be considered an inexplicable, unsystematic “free rhythm”. However, my research based on sung performance documented by film shows that typical of the singing style is a systematic two-pulse rhythm (with room for)(that encourages) considerable inherent flexibility. This rhythm is especially salient in the one-stanza form called stev, of which there is a “newer” type, nystev and an “older” type, gamlestev (“stev” is both singular and plural form). Unraveling the riddle of this rhythm can further our understanding of the Phenomenon of Singing and the Power of Song, Although I am a singer and musicologist, I find that the rhythmic musical idiosyncrasies of stev can be solved only by delving into intensive study of the poetry of stev: that is, the poetry as performed, sung. With the word “temper”, you have the letters of four core elements that are integrated in the approach and method of this paper: TE-M-PER for TExt, Music/Melody, PERformance, and “R” also for “rhythm”. I maintain that the text becomes “tempered” by the music and performance to such a degree that the music and performance must be considered an integral part of stev poetry. -
ASTRID SWENSEN (F. Lindeman) (1855–1936)
ASTRID SWENSEN (f. Lindeman) (1855–1936) Astrid Lindeman var datter av Just Lindeman (1822–1894) og Justine Emilie Therese f. Sparre (1825–1914). Hun ble født i Kristiansand, der faren var organist i årene 1853–1858. Da Astrid var 3 år, ble Just Lindeman utnevnt til organist i domkirken i Trondhjem. Moren, Justine Emilie Therese f. Sparre var også svært musikalsk og en god koloratursangerinne. Hun sang ofte under gudstjenester og større konserter i domkirken. Astrid Lindeman viste tidlig stor musikalitet og fikk tidlig lære å spille piano under kyndig veiledning av sin far. Under Just Lindemans studieår i Christiania i 1840–1849 var han blitt begeistret for ideene om det nasjonale og var slik blitt god venn med sentrale skikkelser innenfor bevegelsen. Både Bjørnstjerne Bjørnson, Ole Bull og Asmund Olavsson Vinje gjestet ofte hjemmet når de besøkte Trondhjem. I juni 1859 var Ole Bull i byen for å gi konsert.1 Astrid var da fire år, og Ole Bull, som hadde fått høre at hun allerede kunne spille, ville gjerne høre på. Astrid sang og akkompagnerte selv - ”vinteren gikk, forår vi fik osv.” Ole Bull syntes dette var morsomt og bad henne synge om igjen. Den lille piken var trolig litt sjenert, slik mange barn ville vært i samme situasjon, og avslo først. For å få henne på gli, foreslo Ole Bull at om hun ville synge en gang til, så kunne han være katt for henne. Etter at han hadde krøpet bortover gulvet og mjauet som en katt, så sang Astrid igjen. Om kvelden, under Ole Bulls konsert, kysset han på fingeren til henne.