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Little scholarship exists about the extent of musical nationalism in the works of twentieth-century Italian composer Alfredo Casella (1883-1947). Casella’s output, which is divided into three stylistic periods – 1902-1913, 1914-1920, and 1921-1946 – display varying styles and influences, such as an extension of French, German, and Russian romanticism and Schoenbergian atonality. Yet nationalistic expression simultaneously pervades each stylistic period: The first period portrays nationalism through the use of folk material and forms, as does the second, which also uses programmatic elements in an atonal context. The third stylistic period, to which previous scholars have given the most attention, expresses nationalism by alluding to past Italian Baroque and Classical composers and forms. This thesis explores how Casella’s nationalistic tendencies pervade all three stylistic periods and evolved over the course of his career, culminating in his third stylistic period. A close reading of Casella’s own writings – which will explore how his ideologies reflected the political and cultural views in Italy at the time – and score analysis of representative works from each period will reveal in Casella’s works “a music unquestionably Italian in idiom" (Alfredo Casella, 21+26, 41).

<p>The overall aim of the present studies was, in selected muscles, to investigate muscle activation levels and muscular patterns in classical singers. Further was these muscles’ relation to thorax movement investigated.</p><p>Loading levels and respiratory phasing of TR, STM and SC was investigated in vocalization tasks with high and moderate expiration. Further, PN activity was investigated in inhalation and phonation and finally, TR, INT, OBL and RC muscle loading in student and professional singers was examined.</p><p>Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). TX movement pattern was traced with two strain gauge sensors (RES-117) placed around the upper TX and lower TX .</p><p>A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation TR contributes in the compression of the upper TX, thus serving as an accessory muscle of expiration. TR activity is reduced with short breathing cycles and is mostly inactive in simplified speaking tasks During phonation professional opera singers activate the expiratory phased TR, INT, OBL and RC muscles to higher levels than student singers do.</p><p>STM and SC show correlated activity patterns during inhalation and phonation by classical singers. During demanding singing expiratory phased STM and SC activity peaks produce a counterforce to the compression of upper TX at high pitches. As breathing demands are lowered STM and SC activity are reduced and attain inspiratory phasing. Substantial muscle activity is observed in posterior neck muscles (PN) during inhalation and phonation. EMG biofeedback performed on TR and STM have a secondary effect of lowering EMG activity in PN.</p>

<p> <b>The organ and impressionism</b> </p><p>No other musical instrument compares to the organ with respect to frequency range, dynamic range, range of timbre, and technical complexity. The organ is also uniquely characterised by the development and alterations it has undergone during its history, influenced by aestetic, religious and philosophical trends in society. Furthermore, it has in a unique way made use of technical developments. Thus, in many ways, the organ is a mirror of its time. Throughout its history, organ music has, to a varying degree, reflected general stylistic trends and tendencies. To what degree does this apply to impressionistic aesthetics and ideology? Impressionism was an aesthetic paradigm that influenced French culture and society broadly about the turn of the 20th century. Although the impact of impressionism in its most clear cut form in music is limited to about 1880 to 1920, to a rather small number of composers, and even is debated as a musicological term, its fundamental aesthetics obviously has given strong impulses to the music of the 20th century. Impressionism coincides with a very important period of French organ culture. This dissertation studies the impact of impressionism on organ literature of the beginning of the 20th century, represented by organ works by Maurice Duruflé (1902 - 1986), one of the most outstanding composers of his time. Two of Duruflé's works are analysed, and the dissertation argues that impressionistic aesthetics is fundamental to this composer's organ music style. This is developed through comparison with other important impressionistic composers, particularly Debussy, but also by looking at general characteristics of impressionistic aesthetics and ideology: The coloristic aspect, the use of suggestions and fragments, and the static aspect. This dissertation also discusses interpretation. Will new insight and knowledge about the influences of impressionism in organ literature have an impact on the interpretation of this type of organ works, which otherwise have been subjected to the traditions of interpretation of the 19th century? This dissertation argues that romantic and subjectivistic approaches to interpretation are largely irrelevant to this style of music. This is supported by studies of ongoing developments in style of interpretation during the relevant period, and by deriving guidelines for interpretation from general impressionistic aesthetics and ideology, i.e. an intellectualistic and objectivistic style of interpretation where the performer adheres to the written music in a more literal manner. An accompanying CD recording of the relevant Duruflé works documents the choices of interpretation that derives from the dissertation's discussion. The recording is also used as an auditive reference in the analytic chapters. In this way, the CD becomes an integrated methodic as well as an artistic component of the dissertation.</p> / <p> <b>Orgelet og impresjonismen.</b> </p><p><b>En studie av impresjonistiske aspekter i orgelverker av Maurice Duruflé</b>.</p><p>Ingen andre musikkinstrumenter kan sammenliknes med orgelet når det gjelder frekvensomfang, dynamisk og klanglig spennvidde, og teknisk kompleksitet. En særegenhet ved orgelet som instrument er også de utviklings- og forandringsprosesser det har gjennomgått i løpet av sin historie, i takt med estetiske, religiøse og filosofiske strømninger i samfunnet. Orgelet har dessuten på en spesiell måte gjort seg nytte av de tekniske nyvinninger som har blitt utviklet. </p><p>Opp gjennom hele sin historie har orgelkunsten også – i større og mindre grad – avspeilet de generelle stil- og musikkhistoriske retninger og tendenser. I hvilken grad omfatter dette den impresjonistiske estetikk og ideologi? Impresjonismen var et estetisk paradigme som fikk bred innflytelse i samfunns- og kulturliv i Frankrike rundt århundreskiftet 1800/1900. Selv om impresjonismens innflytelse i musikken i sin mest tydelige form er begrenset i tid (ca 1880 - 1920), er svært personrelatert og dessuten er omdiskutert som musikalsk term, har dens grunnleggende estetikk åpenbart gitt sterke impulser inn i 20. århundres musikk. </p><p>Impresjonismen faller sammen i tid med en meget sterk periode for orgelkulturen i Frankrike. I denne avhandlingen studeres impresjonistisk innflytelse i orgellitteraturen i første del av det 20. århundre, representert ved orgelverker av en av de mest markante franske orgelkomponistene i denne perioden: Maurice Duruflé (1902-1986). </p><p>To av Duruflés orgelverker er analysert, og avhandlingen argumenterer for at den impresjonistiske estetikk er det vesentlige stilistiske grunnlag for denne komponistens orgelmusikk. Dette gjøres ved å anvende en komparativ metode i forhold til de mest framtredende musikalske impresjonistene – i første rekke Debussy, men også ved å gripe tilbake til generelle karakteristika innenfor impresjonistisk estetikk og ideologi: a) det koloristiske aspekt b) antydning og fragment og c) det statiske aspekt. </p><p>Avhandlingen har også en interpretatorisk vinkling: Vil ny innsikt i og kunnskap om impresjonistisk inflytelse i orgellitteraturen ha betydning for interpretasjonen av slike verker – som i all hovedsak har vært underlagt 1800-tallets interpretasjonstradisjoner? Avhandlingen argumenterer for at den romantiske og subjektivistiske framføringsmessige tilnærming til denne musikken er lite relevant. Dette begrunnes både ved kunnskap om endringer i interpretasjonskonvensjonene i den aktuelle perioden, samt ved å utlede interpretatoriske retningslinjer som er i tråd med den impresjonistiske ånd, dvs. en intellektualistisk og objektivistisk spillestil der utøveren forholder seg mer presist til det som er notert inn i notebildet.</p><p>På en CD-innspilling av de aktuelle Duruflé-verkene som følger avhandlingen, dokumenteres de interpretatoriske valg som gjøres på bakgrunn av denne drøftingen. Innspillingen brukes dessuten som en auditiv referanse i den analytiske delen av avhandlingen. På denne måten blir CD’en som kunstnerisk komponent et integrert metodisk grep i doktoravhandlingen.</p>

<b>The organ and impressionism</b> No other musical instrument compares to the organ with respect to frequency range, dynamic range, range of timbre, and technical complexity. The organ is also uniquely characterised by the development and alterations it has undergone during its history, influenced by aestetic, religious and philosophical trends in society. Furthermore, it has in a unique way made use of technical developments. Thus, in many ways, the organ is a mirror of its time. Throughout its history, organ music has, to a varying degree, reflected general stylistic trends and tendencies. To what degree does this apply to impressionistic aesthetics and ideology? Impressionism was an aesthetic paradigm that influenced French culture and society broadly about the turn of the 20th century. Although the impact of impressionism in its most clear cut form in music is limited to about 1880 to 1920, to a rather small number of composers, and even is debated as a musicological term, its fundamental aesthetics obviously has given strong impulses to the music of the 20th century. Impressionism coincides with a very important period of French organ culture. This dissertation studies the impact of impressionism on organ literature of the beginning of the 20th century, represented by organ works by Maurice Duruflé (1902 - 1986), one of the most outstanding composers of his time. Two of Duruflé's works are analysed, and the dissertation argues that impressionistic aesthetics is fundamental to this composer's organ music style. This is developed through comparison with other important impressionistic composers, particularly Debussy, but also by looking at general characteristics of impressionistic aesthetics and ideology: The coloristic aspect, the use of suggestions and fragments, and the static aspect. This dissertation also discusses interpretation. Will new insight and knowledge about the influences of impressionism in organ literature have an impact on the interpretation of this type of organ works, which otherwise have been subjected to the traditions of interpretation of the 19th century? This dissertation argues that romantic and subjectivistic approaches to interpretation are largely irrelevant to this style of music. This is supported by studies of ongoing developments in style of interpretation during the relevant period, and by deriving guidelines for interpretation from general impressionistic aesthetics and ideology, i.e. an intellectualistic and objectivistic style of interpretation where the performer adheres to the written music in a more literal manner. An accompanying CD recording of the relevant Duruflé works documents the choices of interpretation that derives from the dissertation's discussion. The recording is also used as an auditive reference in the analytic chapters. In this way, the CD becomes an integrated methodic as well as an artistic component of the dissertation. / <b>Orgelet og impresjonismen.</b> <b>En studie av impresjonistiske aspekter i orgelverker av Maurice Duruflé</b>. Ingen andre musikkinstrumenter kan sammenliknes med orgelet når det gjelder frekvensomfang, dynamisk og klanglig spennvidde, og teknisk kompleksitet. En særegenhet ved orgelet som instrument er også de utviklings- og forandringsprosesser det har gjennomgått i løpet av sin historie, i takt med estetiske, religiøse og filosofiske strømninger i samfunnet. Orgelet har dessuten på en spesiell måte gjort seg nytte av de tekniske nyvinninger som har blitt utviklet. Opp gjennom hele sin historie har orgelkunsten også – i større og mindre grad – avspeilet de generelle stil- og musikkhistoriske retninger og tendenser. I hvilken grad omfatter dette den impresjonistiske estetikk og ideologi? Impresjonismen var et estetisk paradigme som fikk bred innflytelse i samfunns- og kulturliv i Frankrike rundt århundreskiftet 1800/1900. Selv om impresjonismens innflytelse i musikken i sin mest tydelige form er begrenset i tid (ca 1880 - 1920), er svært personrelatert og dessuten er omdiskutert som musikalsk term, har dens grunnleggende estetikk åpenbart gitt sterke impulser inn i 20. århundres musikk. Impresjonismen faller sammen i tid med en meget sterk periode for orgelkulturen i Frankrike. I denne avhandlingen studeres impresjonistisk innflytelse i orgellitteraturen i første del av det 20. århundre, representert ved orgelverker av en av de mest markante franske orgelkomponistene i denne perioden: Maurice Duruflé (1902-1986). To av Duruflés orgelverker er analysert, og avhandlingen argumenterer for at den impresjonistiske estetikk er det vesentlige stilistiske grunnlag for denne komponistens orgelmusikk. Dette gjøres ved å anvende en komparativ metode i forhold til de mest framtredende musikalske impresjonistene – i første rekke Debussy, men også ved å gripe tilbake til generelle karakteristika innenfor impresjonistisk estetikk og ideologi: a) det koloristiske aspekt b) antydning og fragment og c) det statiske aspekt. Avhandlingen har også en interpretatorisk vinkling: Vil ny innsikt i og kunnskap om impresjonistisk inflytelse i orgellitteraturen ha betydning for interpretasjonen av slike verker – som i all hovedsak har vært underlagt 1800-tallets interpretasjonstradisjoner? Avhandlingen argumenterer for at den romantiske og subjektivistiske framføringsmessige tilnærming til denne musikken er lite relevant. Dette begrunnes både ved kunnskap om endringer i interpretasjonskonvensjonene i den aktuelle perioden, samt ved å utlede interpretatoriske retningslinjer som er i tråd med den impresjonistiske ånd, dvs. en intellektualistisk og objektivistisk spillestil der utøveren forholder seg mer presist til det som er notert inn i notebildet. På en CD-innspilling av de aktuelle Duruflé-verkene som følger avhandlingen, dokumenteres de interpretatoriske valg som gjøres på bakgrunn av denne drøftingen. Innspillingen brukes dessuten som en auditiv referanse i den analytiske delen av avhandlingen. På denne måten blir CD’en som kunstnerisk komponent et integrert metodisk grep i doktoravhandlingen.

The overall aim of the present studies was, in selected muscles, to investigate muscle activation levels and muscular patterns in classical singers. Further was these muscles’ relation to thorax movement investigated. Loading levels and respiratory phasing of TR, STM and SC was investigated in vocalization tasks with high and moderate expiration. Further, PN activity was investigated in inhalation and phonation and finally, TR, INT, OBL and RC muscle loading in student and professional singers was examined. Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). TX movement pattern was traced with two strain gauge sensors (RES-117) placed around the upper TX and lower TX . A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation TR contributes in the compression of the upper TX, thus serving as an accessory muscle of expiration. TR activity is reduced with short breathing cycles and is mostly inactive in simplified speaking tasks During phonation professional opera singers activate the expiratory phased TR, INT, OBL and RC muscles to higher levels than student singers do. STM and SC show correlated activity patterns during inhalation and phonation by classical singers. During demanding singing expiratory phased STM and SC activity peaks produce a counterforce to the compression of upper TX at high pitches. As breathing demands are lowered STM and SC activity are reduced and attain inspiratory phasing. Substantial muscle activity is observed in posterior neck muscles (PN) during inhalation and phonation. EMG biofeedback performed on TR and STM have a secondary effect of lowering EMG activity in PN.

Thesis (doctoral)--Cologne, 1980. / Includes bibliographical references (p. 258-272) and index.

This thesis evaluates Lydia Goehr’s claim that the musical work-concept did not regulate musical practice before the watershed date of 1800. In the first chapter, I evaluate Goehr’s arguments for this claim from historical musicology. I appeal both to recent secondary research sources in musicology, and to philosophical analysis. The second and third chapters focus on philosophical aspects of Goehr’s watershed claim. In the second chapter, I focus on understanding Goehr’s claim that a regulative shift occurred during the watershed date—that is, a change in the norms of musical practice. I argue that this shift is properly understood as a shift in unconscious, rather than conscious, concepts about musical practice. In the third chapter, I consider the ontological implications of Goehr’s view; Goehr adopts a view according to which musical works do not exist. I show that the argument for this view is unsound.

This thesis evaluates Lydia Goehr’s claim that the musical work-concept did not regulate musical practice before the watershed date of 1800. In the first chapter, I evaluate Goehr’s arguments for this claim from historical musicology. I appeal both to recent secondary research sources in musicology, and to philosophical analysis. The second and third chapters focus on philosophical aspects of Goehr’s watershed claim. In the second chapter, I focus on understanding Goehr’s claim that a regulative shift occurred during the watershed date—that is, a change in the norms of musical practice. I argue that this shift is properly understood as a shift in unconscious, rather than conscious, concepts about musical practice. In the third chapter, I consider the ontological implications of Goehr’s view; Goehr adopts a view according to which musical works do not exist. I show that the argument for this view is unsound.