No description available.

This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.

No description available.

This thesis will discuss my work incorporating improvisation and musical freedom in music theatre.  The work concerns my written musical, which premiered in Kungasalen at KMH on 06/03/23 with my band and three actors. I will talk about my compositions and arrangements and how I’ve tried to add improvisational elements relevant to the story and characters. A big part of the rehearsal process has been letting the musicians take liberties with the written music and act on their impulses to avoid letting the music become stagnant. / <p>Repertoar:</p><p>Drömmen om en vän</p><p>1. "Avbrottet" (Johannes Annfält)</p><p>2. "Jingel Ett"</p><p>3. "Jingel Två"</p><p>4. "Hedwig i Spanien" (Chick Corea, John Williams. Arrangör: Johannes Annfält)</p><p>5. "Jingel Tre" (Johannes Annfält)</p><p>6. "Vill Du Jamma?" (Johannes Annfält)</p><p>7. "Jingel Ett Repris" (Johannes Annfält)</p><p>8. "Sista Chansen" (Johannes Annfält)</p><p>9. "Konflikten" (Johannes Annfält)</p><p>10. "Ångern" (Johannes Annfält)</p><p>11. "Dundersmask" (Johannes Annfält) </p><p>12. "Applådtack" (Johannes Annfält)</p><p></p><p>Medverkande:</p><p>Johannes Annfält - Pianist, aktör och sångare</p><p>Maria Lindström - Aktör och sångerska</p><p>Niclas Welin - Aktör och sångare</p><p>Emmalisa Hallander - Aktör och sångerska</p><p>Benjamin Sällström - Trumpetare</p><p>Erik Hasselfeldt - Altsaxofonist</p><p>Emil Kjellqvist - Tenorsaxofonist</p><p>Tilde Schweitzer - Trombonist</p><p>Johannes Persson - Elgitarrist</p><p>Hampus Westin - Elbassist</p><p>Axel Nilsson - Trummis</p><p></p><p>Bifogat material: Ljudinspelning av examenskonserten med alla medverkande.</p>

No description available.

The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.

I denna uppsats beskriver jag mitt arbete med en kortopera som heter Dags som jag skrivit under min masterutbildning i komposition på Kungl. Musikhögskolan. Jag använder en auto-etnografisk metod för att beskriva reflektioner kring olika aspekter av komposition. Jag vill blottlägga delar av mitt kompositionsarbete, de låsningar som kan uppstå när man komponerar och de strategier jag använder för att komma över låsningarna. En strategi som jag använder mig av är det jag kallar för stegvist komponerande, en term jag lånar från kontrapunkten. Jag kommer beskriva hur man som kompositör kan fokusera på flera små problem och lösa dem en efter en istället för att försöka lösa ett stort komplext problem direkt. Musikhistoria, tekniska synvinklar på musik samt citat är saker som inspirerar mig till att skriva musik. Jag kommer beskriva metoder för komposition samt historisk och nutida praxis för hur man kan komponera stegvis, och på så sätt skapa sitt eget flow. / In this thesis I describe my work with a short opera called Dags which I have composed during my master program in composition at Kungl. Musikhögskolan. I use an auto-ethnographic method to describe my reflections of different aspects of composition. I want to expose parts of my compositional work, the deadlocks that can arise when composing and the strategies I use to get out of the deadlocks. I call the strategy I have created step-wise composing, borrowing a term from the study of counterpoint. I will describe how one as a composer can focus on many small problems and solve them one by one instead of trying to solve a large complex problem instantaneously. Music history, technical aspects of music and quotations are things that inspire me to write music. I will describe different methods for composing and also historical and contemporary practices for how to compose step-wise, and create one’s own flow. / <p>Uruppförande av kortoperan Dags med text av Emma Palmkvist och musik av Johan Blixt</p>

Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux reposent sur une étude des sept cas exemplaires. Les exemples choisis couvrent aussi bien le domaine des théâtres traditionnels en tant qu'institution que celui de la structure des collectifs. Il conviendra de montrer s'il existe un lien entre les libertés laissées par la politique culturelle et les innovations esthétiques, si l'on peut discerner des recoupements franco-allemands et si un intérêt pan-européen en matière de politique culturelle peut résider dans une reforme. / This research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts.

The portfolio contains two of Becky Llewellyn’s music compositions: an orchestral tone poem and a chamber opera score and libretto created to explore the process of producing a major work of music theatre from conception to performance. In both works, Llewellyn’s research has concentrated on her interest in structure and form between ideas, music and visual art and their relationship to each other. Rothko’s Red The first composition in her submission is her orchestral tone poem, Rothko’s Red, a tribute to US artist Mark Rothko, whose painting techniques questioned traditional forms of narrative and structure. The topographical matrix of Rothko’s Red contains vertical aural space introduced in a ‘keyed up’ range suggesting ‘redness’, gradually deepening until the bass predominates, retaining a widened spaciality at the peak moment. Horizontally, the piece is a long crescendo of extended phrases, at first lightweight, then filling out with each repetition, moving to a full expression of orchestral magnitude, then gradually subsiding. The tone poem passes limited melodies and harmonies around to and within the orchestral families, as if in one colour. Llewellyn’s use of individual dynamics for orchestral players is an experiment in aural equivalence of Rothko techniques, using ‘heard’, not ‘seen’ tone colours. The Portrait: a musical tribute to Stella Bowen Llewellyn’s chamber opera is based on books, letters, diaries and family history research into the life of Adelaide-born writer and painter, Stella Bowen and three other writers. The opera’s libretto is structured as a series of songs reflecting Bowen’s paintings and life story. The chamber opera opens and closes in 1944, with Bowen as a WWII Australian war artist. The opera spans from 1917, when as a London art student, Bowen is introduced to editor/writer, Ford Madox Ford with whom she falls in love. The opera moves through to Paris and Ford’s subsequent love affair with writer Jean Rhys and his death in 1939. The Portrait is an exploration of how we know who we are and how, as artists, we choose to represent those insights. As the four main characters each wrote about themselves and each other, Llewellyn used their distinct content, style and aesthetic concerns to invent their musical and dramatic personae. The Portrait plays with ideas these four artists explored of extended metaphors, a shifting ambiguity in ‘artifice as a real story’, in an imagined dramatic musical work about real artists and writers; life as art and art as life. Among other themes in The Portrait; thanatos and eros, culture and morality, war and peace, fate and choice and opera as portraiture, is an underlying structural theme of time itself. Mythic time is explored as fairytale. Historical time ranges from 1920s chordal and dance motifs back to associations of medieval castles, where western-style Romantic love began. Personal, subjective experience of time is explored by most characters, as is the lack of artistic time given domestic commitments. Objective ‘time as limited’ is explored with Ford’s death and the impending death of the Australian bomber crew. Llewellyn focuses on the timebased art-form of music, while incorporating words, Bowen’s paintings and archival photographs in a chamber opera that explores the potential each art-form carries for revelation. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.