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Diplomarbeit Diplomarbeit Titel der Diplomarbeit Bearbeitungen „mittelalterlicher“ Balladen durch Garmarna Verfasserin Katharina Kafka Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, im Juli 2009 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin: Univ.-Prof. Dr. Regine Allgayer-Kaufmann 2 VORWORT UND DANK Meine Neugier für schwedische Volks- und vor allem Vokalmusik sowie deren modernen Spielarten wurde durch meine schwedische Mitbewohnerin Sofia in Wien geweckt, die mir auch zum ersten Mal eine Garmarna-CD vorspielte. Bei meinem ERASMUS- Aufenthalt in Stockholm bekam ich die Chance, mich intensiver mit schwedischer Musik zu beschäftigen. Im Sommer 2004 erhielt ich die Möglichkeit, ein Praktikum am Svenskt Visarkiv zu absolvieren, wo ich von Prof. Dan Lundberg und seinen KollegInnen sehr herzlich aufgenommen wurde, und die mir auch während meiner Diplomarbeitsrecherche ihre Räumlichkeiten zur Verfügung stellten. Dafür und für die Offenheit und die Ermutigungen der MitarbeiterInnen des Archivs, der staatlichen Musikbibliothek und des Musikmuseums, möchte ich mich herzlich bedanken. Sie haben sich wie selbstverständlich im Herbst und Winter 2005 meiner angenommen, wenn ich Archivmaterial nicht finden konnte, Probleme mit dem Tonbandgerät oder inhaltliche Fragen hatte. Mein großer Dank gilt auch Prof. Regine Allgayer-Kaufmann, Prof. Dan Lundberg und Prof. Sven Haakon Rossel für ihre Betreuung und sowohl inhaltliche, als auch organisatorische Unterstützung vor und während des Schreibens meiner Diplomarbeit. Nicht zu vergessen sind auch all meine Lehrenden an den Universitäten Wien, Stockholm und Banská Bystrica, meine Instrumental- und GesangslehrerInnen, sowie die Universität Wien und das Büro für internationale Beziehungen für die finanzielle Unterstützung durch das KWA- und Förderungsstipendium. Darüber hinaus möchte ich all jenen danken, die inhaltlich an meiner Diplomarbeit Anteil genommen haben. Hier seien stellvertretend für alle Ingrid Åkesson für ihr Interesse, die Transkriptionen ihres Interviews mit Emma Härdelin und die Einladung zum Doktorandenseminar in Uppsala, und Prof. Gunnar Ternhag für seine aufmunternden Worte und die Einladung zur Konferenz Musikvetenskap idag erwähnt; Åsas Eltern danke ich für ihre Gastfreundschaft in Växjö, sowie den TeilnehmerInnen der oben genannten Konferenz im Juni 2006, die meinem Vortrag zugehört und mir durch ihre Kommentare neue Denkanstöße gegeben haben. Ein Dank gilt auch David Kaminsky für sein Doktoratsmanuskript und natürlich meinen StudienkollegInnen für die Möglichkeit des Gedankenaustausches. Nicht zu vergessen sind auch meine KollegInnen am Sprachenzentrum der Universität Wien und an den Wiener Volskhochschulen, sowie meine 3 Schwedischstudierenden für ihr Interesse an meinem Diplomarbeitsfortschritt und ihre Offenheit, wenn ich sie mit „spezieller“ Musik beglücke. Ein großes Dankeschön gebührt natürlich meiner Familie und meinen FreundInnen, die mir während den Schreibphasen das Leben leichter gemacht haben, wie Christina und Elisabeth durch diverse Büchertransporte; Harald durch seine Geduld und Offenheit für meine Pläne und meine Mutter durch ihre Toleranz und Unterstützung während intensiver sommerlicher Arbeitsphasen. Sofia und Harald sei für das Lesen des Abstracts, meinen ChorkollegInnen für musikalische und außermusikalische Erlebnisse; Annika für ein immer offenes Ohr; Sofia, Anders und Hjørdis für entspannende Momente und Kaffeepausen während meiner Zeit in Stockholm gedankt; Åsa für die Gesellschaft auf dem Garmarnakonzert in Kopenhagen und vor allem danach, als sich die Rückfahrt wegen eines verdächtigen - sprich am Bahnhof vergessenen - Gepäckstücks bis tief in die Nacht verzögerte; sowie allen Menschen, die mich geprägt, begleitet und Geduld mit mir und diesem Projekt gehabt haben. Abschließend noch ein besonderer Dank an jene, ohne die meine Diplomarbeit in dieser Form nicht hätte entstehen können. Ich danke den MusikerInnen von Garmarna: Stefan Brisland-Ferner, Emma Härdelin, Jens Höglin, Gotte Ringqvist und Rickard Westman, sowie dem Leiter von Massproduktion Mats Hammerman für ihre Aufgeschlossenheit und Zeit, die sie für meine Interviews aufgebracht haben, ihre Denkanstöße, kritischen Antworten und natürlich für ihre Musik. 4 INDEX VORWORT UND DANK....................................................................................................2 0. EINLEITUNG.....................................................................................................................8 1. METHODIK UND FORSCHUNGSÜBERBLICK.......................................................10 1.1. FORSCHUNGSFRAGEN.........................................................................................10 1.2. AUFBAU...................................................................................................................10 1.3. QUELLEN.................................................................................................................12 1.3.1. Balladen und -forschung...................................................................................12 1.3.2. Forschung zu Garmarna....................................................................................13 1.3.3. Medien..............................................................................................................13 1.3.4. Interviews.........................................................................................................14 1.3.5. Tonträger...........................................................................................................15 1.3.6. Fotos.................................................................................................................16 1.4. ÜBERSETZUNGEN.................................................................................................16 2. DIE BAND GARMARNA................................................................................................17 2.1. GESCHICHTE DER BAND.....................................................................................17 2.2. VERWENDETE INSTRUMENTE...........................................................................19 2.3. BANDMITGLIEDER................................................................................................23 2.3.1. Stefan Brisland-Ferner......................................................................................23 2.3.2. Gotte Ringqvist.................................................................................................25 2.3.3. Rickard Westman..............................................................................................27 2.3.4. Jens Höglin.......................................................................................................29 2.3.5. Emma Härdelin.................................................................................................31 2.4. MUSIKALISCHE EINFLÜSSE UND REPERTOIRE.............................................32 2.5. FAZIT........................................................................................................................35 3. TRADIERUNG „MITTELALTERLICHER” BALLADEN........................................37 3.1. CHARAKTERISTIKA DER BALLADEN..............................................................37 3.1.1. Form und Stil....................................................................................................37 3.1.2. Inhaltliche Einteilung........................................................................................40 3.1.3. Musikalische Charakteristika............................................................................41 3.1.4. Zeitgenössische Balladen..................................................................................42 5 3.1.5. Garmarnas Balladen..........................................................................................43 3.2. ÜBERLIEFERUNG DER BALLADEN...................................................................44 3.2.1. Garmarnas Quellen...........................................................................................45 3.2.2. Schriftliche Überlieferung................................................................................45 a) Nur Text.......................................................................................................46 b) Text und Melodie.........................................................................................48 3.2.3. Überlieferung durch Tonträger.........................................................................48 3.2.4. Orale Tradierung...............................................................................................50 3.2.5. Auf verschlungenen Pfaden: Herr Mannelig....................................................51 3.3. AUSWAHL DER BALLADEN.................................................................................52 3.3.1. Vorbilder und medialisierte Kanonbildung.......................................................52 3.3.2. Ausgewählte Balladenkategorien......................................................................53 3.3.3. Brutalität...........................................................................................................54 3.3.4. Zeitlosigkeit und Symbolik...............................................................................57 3.4. FAZIT........................................................................................................................60 4. KONTEXTVERÄNDERUNG VON VÄNNER
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