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XVI Nordic Musicological Congress Stockholm 2012 XVI Nordic Musicological Congress 2012 Stockholm - XVI Nordic XVI Nordic Musicological Congress! Stockholm 2012! Proceedings ssm Svenska samfundet för ISBN 978-91-976961-6-6 musikforskning SWEDISH SOCIETY FOR MUSICOLOGY XVI Nordic Musicological Congress Stockholm 2012 Proceedings Editor Jacob Derkert Coeditor Peder Kaj Pedersen XVI Nordic Musicological Congress has been supported by The Royal Academy of Music, Sweden The Tobias Norlind Foundation Title: XVI Nordic Musicological Congress, Stockholm 2012 - Proceedings Editor: Jacob Derkert Coeditor: Peder Kaj Pedersen Department of Musicology and Performance Studies Stockholm University © The individual authors, and the Department of Musicology and Performance Studies, Stockholm University 2014 Cover photo: Overview of lake Vättern at Övralid, Sweden (2010), Centre of Nankang, China (2012) ISBN 978-91-976961-6-6 PREFACE The XVI Nordic Musicological Congress took place in Stockholm in August 2012. It included four keynote lectures each with a separate theme, four independent panels, and about seventy individual presentations.1 Of the individual presentations at the congress, twenty-one here re-emerges as papers, submitted as such and accepted by peer review. The papers appear under three headings. Theoretical issues collect papers that try to answer questions of a general character, though with different extensions – either defined internally, e.g. tonal music or music with dipodic two-pulse, or contextually, in this case the sound logo and the audio-visual commercial, with all that such phenomena implies of socio-economic structures, functions, etc. Analytical problems broadly can be subdivided into studies of individual works or techniques and styles of authors on the one hand, and studies focussed on musical interpretation and performance on the other. The latter manifest the correlation between a shift from a near exclusive concern with musical works to an equally serious study of musical performance, and the introduction of recordings as relevant analytical artefacts. Historical questions include a wide variety of approaches. An initial essay on historiography is followed by a series of historical studies on diverse questions of ideology, music education, reception, and repertoire transmission. The texts are from authors active in the Nordic countries, but also Canada, Germany, and Poland. The epithet “Nordic” in the last analysis is a matter of arrangement and organisation (involving the musicological societies of Denmark, Finland, Norway, and Sweden), and of the acceptance of the Scandinavian languages for presentation, but little else. And that is how it should be. Finally, thanks to Peder Kaj Pedersen, Aalborg University, Denmark, for his work as coeditor, and to the anonymous readers included in the editorial work. Stockholm July 12th 2014 Jacob Derkert 1 For further details, see the Preface and content of the booklet XVI Nordic Musicological Congress, Stockholm 2012: Abstracts. In print: Department of Musicology and Performance Studies, Stockholm University 2012. Electronic: Department of Musicology and Performance Studies, Stockholm University 2014 (includes Addendum). SHORT COMMENT ON EDITORIAL PRINCIPLES The manuscripts submitted by the authors have been standardized for citations and bibliographical references. They are not standardized for matters of designation (e.g. E flat is designed as either E flat or eb, depending on text), though revisions have been made in certain cases in dialogue with the authors. The position of the caption above or underneath a figure or table also varies between papers. Jacob Derkert CONTENTS THEORETICAL ISSUES 1 TUIRE KUUSI ADJECTIVE EVALUATIONS OF NONFAMILIAR CHORDS – CONNECTIONS BETWEEN CHORD CHARACTERISTICS, ADJECTIVES AND EMOTIONS 3 PIOTR PODLIPNIAK THE EVOLUTIONARY ORIGIN OF GESTURAL MEANING IN TONAL MUSIC 14 JACQUELINE PATTISON EKGREN IMPLICATIONS OF ACCENT PATTERNS IN NORWEGIAN STEV: OLD NORSE HÁVAMÁL TO HIP HOP 26 ANDERS BONDE BETYDNINGEN AF MELODI-INTERVAL OG RYTME FOR LYDLOGOERS BRAND- TILKNYTNING 41 CHARLOTTE RØRDAM LARSEN & ANSA LØNSTRUP THE POLYPHONY OF SENSES AND EXPERIENCE 58 CHARLOTTE RØRDAM LARSEN MUSICAL FIT IN COMMERCIALS: FROM “ATTITUDE TOWARD A BRAND” TO “ATTITUDE TOWARD SENSUALITY” 58 ANSA LØNSTRUP PERCEPTION OF AUDIO-VISUAL COMMERCIALS ADVERTISING MULTI- SENSUOUS COMMODITIES 68 ANALYTICAL PROBLEMS 77 ANNA PULKKIS THE ALLURE OF THE NORTH: TONAL STRUCTURE AND TEXT IN SIBELIUS’S “NORDEN” 79 TIMO VIRTANEN A JIGSAW PUZZLE WITHOUT A PICTURE: JEAN SIBELIUS’S LATE SKETCHES AND THE EIGHTH SYMPHONY 89 SAKARI YLIVUORI FROM FAIR COPY TO DRAFT: A MANUSCRIPT STUDY ON SIBELIUS’S TANKE, SE, HUR FÅGELN SVINGAR 109 XVI NORDIC MUSICOLOGICAL CONGRESS CAROLA FINKEL SWEDISH FOLK MUSIC IN KURT ATTERBERG’S SYMPHONIES 122 ALEXIS LUKO MUSICAL REPETITION IN THE FILMS OF INGMAR BERGMAN 133 KATE MAXWELL & JAMES R. SIMPSON PAGE, PERFORMANCE AND PLAY IN MEDIEVAL TRANSMISSION AND REINTERPRETATION: PRESENCE AND ABSENCE IN THE OXFORD ROLAND AND GUILLAUME DE MACHAUT’S LE LIVRE DU VOIR DIT 144 BERTIL WIKMAN “AUTHENTICITY,” “WERKTREUE” AND THE MUSICAL WORK. VLADIMIR HOROWITZ’S PERFORMANCE OF SCHUMANN’S TRÄUMEREI. 154 MAGNUS ANDERSSON READINGS OF FINN MORTENSEN’S SYMFONI, OP. 5 164 HEIDI KORHONEN-BJÖRKMAN & RITVA KOISTINEN MUSIKINSTRUMENTETS INVERKAN PÅ GESTALTNINGEN AV DEBUSSYS FLICKAN MED LINHÅRET. DIALOG MELLAN EN PIANIST OCH EN KANTELEMUSIKER 173 HISTORICAL QUESTIONS 187 OLLE EDSTRÖM THE USE OF ADORNO AND ELIAS IN THE HISTORY OF 18TH CENTURY MUSIC 189 MÅRTEN NEHRFORS E.T.A. HOFFMANN’S IDEAL OF SONG 202 LENA HASELMANN ”O, HVOR JEG VILDE ØNSKE AT DER I MIT EGET LAND VAR ANLEDNING TIL AT FAA DYGTIG UNDERVISNING!” HØYERE MUSIKKUTDANNING I NORGE OG BERLIN SOM REISEMÅL FOR SKANDINAVISKE MUSIKKSTUDENTER (1850 – 1900) 212 KENNETH SPARR DEN GITARRSPELANDE SOCKERBAGAREN OM CARL JOHAN GRAFSTRÖM OCH HANS GITARRSKOLA 223 PEDER KAJ PEDERSEN NIELS W. GADE VIOLIN CONCERTO OP. 56: SUPPLEMENTARY COMMENTS TO THE CRITICAL EDITION 239 MARIT HØYE SEQUENCES OF GERMAN ORIGIN AT NIDAROS 248 Theoretical issues TUIRE KUUSI ADJECTIVE EVALUATIONS OF NONFAMILIAR CHORDS – CONNECTIONS BETWEEN CHORD CHARACTERISTICS, ADJECTIVES AND EMOTIONS 1. Introduction Many studies examining listener perceptions of musical features use adjectives as a method. Adjectives describe quality, and music can be said to have qualitative features. If music includes qualities, they can be recognised in music, or the listeners can associate qualities with music. But can we say that certain qualities are features of a musical object, if a number of listeners spontaneously associate those qualities with the musical object? Are judgements of this kind learned (for example, the idea of major mode as “happy” and minor mode as “sad”)? Adjectives, qualitative features, perceptions, evaluations, and emotions are interconnected. Music can evoke emotions in listeners, or listeners can associate certain qualities or emotions with or recognise emotions in music, even though the emotions are not evoked in them (see discussion in Gabrielssson 2001; Kallinen & Ravaja 2006; Evans & Schubert 2008). Usually these qualities or emotions are expressed with adjectives. Qualitative features associated with music and qualitative judgements of music can be connected either with structural parameters of music – parameters that are constantly present in a piece of music – or with parameters that vary from one presentation to another. Structural parameters, in turn, are connected with pitch organisation and rhythm (and texture as a combination of these two), with instrumentation and loudness. In the present study I concentrated on harmony, which is one feature of pitch organisation and a complex component of music; specifically, the focus of this study was on chords. I have, on purpose, left out a number of parameters that affect perception and judgement of music, because there are lots of studies on these, while minor attention has been paid to harmony (often it has not been analysed at all), and sometimes harmony has been understood in a limited manner as a distinction between the major and minor mode (Laurier, Lartillot, Eerola, & Toiviainen 2009). The present study is not one of music emotions even though it has some connections with them (for emotions, see Gabrielsson & Lindström, 2001; Zentner, Grandjean & Scherer 2008; Juslin & Sloboda 2010; Eerola & Vuoskoski 2011). Instead, the point of view of this study is music-theoretical. I used only tetrachords 4 XVI NORDIC MUSICOLOGICAL CONGRESS and pentachords, and most of the chords were unfamiliar to the listeners; they were chords that are not used in Western tonal music. Pitch-class set-theory provided the theoretical background for the study. The tetrachords and pentachords represented tetrad and pentad classes. The chord voicing (permutation) was free, and the intervals between successive pitches were also free, indicating free octave shifts (for basics of pitch-class set-theory, see e.g. Forte 1973; Straus 1990). 2. Aim The aim of the study was to examine estimations of nontraditional chords. The study examined the role of both chordal characteristics and set-class properties in the listeners’ evaluations. The chordal characteristics that were examined were chord span, transposition and voicing, while the set-class properties were the degree of consonance, interval-class content and cardinality. Yet another aim was to examine the connection between the characteristics, adjectives and emotions. 3. Experimental design Altogether 47 participants (33 female; average
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