Akademisk avhandling--Philosophie--Göteborg, 2002. / Bibliogr. p. 443-459 (t.2). Index.

Karl-Birger Blomdahl (1916-1968) et Ingvar Lidholm (né en 1921) sont deux chefs de file de la musique suédoise moderne. Étudiants à Stockholm, ils forment un cercle d’études connu sous le nom de Groupe du Lundi. Perçus comme des antiromantiques, ils renouvellent la création musicale en plaçant au cœur de leurs intérêts la technique de composition (hantverk), la ligne mélodique et des notions gestaltistes comme l’organisme.À la suite d’une étude concernant ce cadre historique, esthétique et théorique commun, cette thèse propose une analyse détaillée de trente œuvres de Blomdahl et de Lidholm datant des années 1940. Élaborée à partir du contexte esthétique et théorique initial, mais aussi à partir des théories de Schenker et de Meyer, la méthode d’analyse permet de représenter graphiquement et textuellement la cohérence compositionnelle et la dynamique des œuvres. Cette thèse démontre les divergences mélodiques, tonales et organiques essentielles concernant les langages musicaux de Blomdahl et de Lidholm. Elle démontre aussi que les notions de linéarité, de dissonance et de contrepoint revêtent plus de significations dans leurs langages respectifs que celles qui sont initialement évoquées par les textes de l’époque. Finalement, elle met en lumière des éléments esthétiques et compositionnels qui contribuent à donner un élan significatif à la musique moderne en Suède. / Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism.Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works.This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

The opera Aniara by Karl-Birger Blomdahl premiered in 1959 and gained much attention forcombining its general serial style with other musical stylistic elements, as it alludes to and citesworks of other styles such as romanticism and jazz. This circumstance was considered amongother things to have led to Aniaras success, as it made the modernistic music more accessible to ageneral audience. I analyse two scenes in Aniara which contain allusions to and citations ofEllington's Ko-ko, Alfvén's Midsommarvaka, Shostakovich's Fifth Symphony, Beethoven's Ninthand the Swedish psalm Tryggare kan ingen vara regarding their intertextual meanings andaccording to Claudia Gorbman's theory of narrativity in film music. The overall function of theallusions and citations is to describe the conflicting emotions and mental states of the people ofthe spaceship Aniara: how they react to the occurring events during their voyage in space andtheir lack of hope. The intertextual references deepen the understanding of the narrative, and thesections with allusions are perhaps comparable to the aria in 1800th century opera, while themainly modernistic passages have a function similar to the drama-propelling recitative. Stylisticdiversity was not new in 20th century opera at the time of Aniara's premiere, however, the clearintertextuality of Blomdahl's allusions in service of narrative can be seen as ahead of its time.

Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism. Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works. This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

Subject of this study is the evolvement of the radical art music scene in Sweden. In this development took the labour movement an active part during the 1960s. The purpose of this study is to examine how the relationship between the radical art music scene and the labour movement was constituted and what this relationship implied for the Swedish radical art music scene during the 1960s. During the 1960s radical music became an influencial part in the Swedish music scene of modern art music. In this development the artists’ society Fylkingen had a central position. In the early 1960s Fylkingen began to incorporate writers, engineers, scientists, sociologists, philosophers, economists, etc. in their work and a number of projects were initiated which interacted with common society. A proposal for a public record company was developed together with KSF (Social Democratic Association for Cultural Workers) and was presented to the Swedish parliament. In collaboration with ABF (Workers’ Educational Association) the first studio for electronic music was build in 1960 and the relationship between the labour movement and the radical art music scene was institutionalized as the Stockholm Electronic Music Studio Foundation. This thesis uses the terminology of Ludwik Fleck to examine the relationship between the radical art music scene and the labour movement. The concepts of Thought collective and Thought-style are used to draw conclusions about common values and objectives within the Thought-style. The radical art music scene and the labour movement are understood to be part of a common Thought collective with a common style of thought. Because of this relationship, projects initiated in the radical music scene came to emphasize the democratic and educational aspects of music. In the latter half of the 1960s it was conceived impossible to achieve these goals under the existing program, leading to the notion within the style of thought that technological advancement was a prerequisite for a democratic music scene.