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1	Studien zu den Streichquartetten von Wilhelm Stenhammar / Rotter, Signe. January 2001 (has links) Diss.--Phil.-Fak.--Kiel, 2000--Christian-Albrechts-Univ. / Bibliogr. p. 422-439. Stenhammar, Wilhelm,
2	Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar Choi, Kyungsun January 2015 (has links) Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works. German Classicism German Romanticism Stenhammar Wilhelm Swedish Nationalism Music Chamber music
3	The effect of music analysis on vocal performance : An analytical study of two Swedish songs Astorsdotter, Michelle January 2020 (has links) How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing? Music Music analysis Music theory Singing Vocal performance Classical music Interpretation Stenhammar Sibelius Flickan kom ifrån sin älsklings möte Runeberg Poem set to music Stenhammar Sibelius Runeberg Flickan kom ifrån sin älsklings möte Musikanalys Musikteori Klassisk sång Interpretation Music Musik

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