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Teatermusikaliska ljudhändelser. Ett bidrag till studiet av musik och angränsande ljudobjekt i talteater och opera

Lund, Frithjof LU (2003)
Abstract
This dissertation focuses primarily on the following aspects concerning music in theatre: 1) its experienced peculiarity – ontologically grounded, 2) its sounding scope, and 3) its various kinds of functions. I argue that the difference between spoken theatre and opera is a question of degree rather than essence, and consider such an assertion being especially valid for the music of these genres. This is one reason why by the noun theatre-music (as alternative to more common, but also more limited terms) I understand all kinds of music connected with scenic-created fictional events. It ought to be mentioned that I regard recitatives and other variants of speech-song as stylized talking, not as theatrical music in a strict sense. There are... (More)
This dissertation focuses primarily on the following aspects concerning music in theatre: 1) its experienced peculiarity – ontologically grounded, 2) its sounding scope, and 3) its various kinds of functions. I argue that the difference between spoken theatre and opera is a question of degree rather than essence, and consider such an assertion being especially valid for the music of these genres. This is one reason why by the noun theatre-music (as alternative to more common, but also more limited terms) I understand all kinds of music connected with scenic-created fictional events. It ought to be mentioned that I regard recitatives and other variants of speech-song as stylized talking, not as theatrical music in a strict sense. There are two principally different categories of theatre-music, one belonging inside, and the other outside the characters’ fictive world, categories which some scholars call ‘diegetic’ and ‘non-diegetic music’ respectively, a terminology, however, that I myself question. A distinctive feature of music within scenic-created fictions (the ‘diegetic music’) is that it gives an impression of unreality. This I try to explain by means of a perception-psychological hypothesis, though not excluding cognitive aspects. A particularly intricate perceptual problem occurs when items of diegetic and non-diegetic music sound simultaneously. Another characteristic of theatre-music is that it is almost impossible to mark off from adjacent categories of sound-events, such as sound effects and instrumental signalling, but also recitatives and speech-song, cf. above. Because of this, I also introduce a wider concept, which I label “theatre-musical sound-events”. The third and most spacious of the main issues concerns the functions of theatrical sound-events, functions considered partly from the characters’ point of view, partly vis-à-vis the audience. One of the conclusions drawn in this dissertation – though maybe not very revolutionary – is that music, under certain circumstances, and particularly in opera, may threaten the possibility of perceiving fictitious reality by more or less changing the event from a theatrical one to a kind of concert performance. Another conclusion, or perhaps rather an expansion of the former, is that many musical items which are considered high-quality products as “autonomous” music, may very well be inefficient as theatre-music (e.g. as “functional” music), and the reverse. (Less)
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author
opponent
  • Prof. Wiklund, Anders, Göteborgs universitet
organization
alternative title
Theatre-musical sound-events. A contribution to the study of music and adjacent sound-occurrences in spoken theatre and opera
publishing date
type
Thesis
publication status
published
subject
keywords
”Trennung der Elemente“, illusions, fiction, communication, semiotics, cognition, perception, multimedial art-works, melodramas, musicals, epic music-theatre, opera, paralinguistic, speech-song, instrumental signals, sound effects, overtures, Zwischenaktsmusik, entr’actes, incidental music, fictional music, diegetic music, Theatre-music, functional music, music and emotions., Dramatic art, Teatervetenskap, Musicology, Musikvetenskap
pages
419 pages
publisher
Frithjof Lund, Hampusgården, SE-232 52 Åkarp, Sweden
defense location
Wrangel-huset, room 117, Biskopsgatan 5, Lund
defense date
2003-11-03 10:00
ISBN
91-631-4414-x
language
Swedish
LU publication?
yes
id
c9a6a9c2-fa8b-4d46-9565-8d05447d92d0 (old id 21197)
date added to LUP
2007-05-28 13:55:16
date last changed
2016-09-19 08:45:04
@misc{c9a6a9c2-fa8b-4d46-9565-8d05447d92d0,
  abstract     = {This dissertation focuses primarily on the following aspects concerning music in theatre: 1) its experienced peculiarity – ontologically grounded, 2) its sounding scope, and 3) its various kinds of functions. I argue that the difference between spoken theatre and opera is a question of degree rather than essence, and consider such an assertion being especially valid for the music of these genres. This is one reason why by the noun theatre-music (as alternative to more common, but also more limited terms) I understand all kinds of music connected with scenic-created fictional events. It ought to be mentioned that I regard recitatives and other variants of speech-song as stylized talking, not as theatrical music in a strict sense. There are two principally different categories of theatre-music, one belonging inside, and the other outside the characters’ fictive world, categories which some scholars call ‘diegetic’ and ‘non-diegetic music’ respectively, a terminology, however, that I myself question. A distinctive feature of music within scenic-created fictions (the ‘diegetic music’) is that it gives an impression of unreality. This I try to explain by means of a perception-psychological hypothesis, though not excluding cognitive aspects. A particularly intricate perceptual problem occurs when items of diegetic and non-diegetic music sound simultaneously. Another characteristic of theatre-music is that it is almost impossible to mark off from adjacent categories of sound-events, such as sound effects and instrumental signalling, but also recitatives and speech-song, cf. above. Because of this, I also introduce a wider concept, which I label “theatre-musical sound-events”. The third and most spacious of the main issues concerns the functions of theatrical sound-events, functions considered partly from the characters’ point of view, partly vis-à-vis the audience. One of the conclusions drawn in this dissertation – though maybe not very revolutionary – is that music, under certain circumstances, and particularly in opera, may threaten the possibility of perceiving fictitious reality by more or less changing the event from a theatrical one to a kind of concert performance. Another conclusion, or perhaps rather an expansion of the former, is that many musical items which are considered high-quality products as “autonomous” music, may very well be inefficient as theatre-music (e.g. as “functional” music), and the reverse.},
  author       = {Lund, Frithjof},
  isbn         = {91-631-4414-x},
  keyword      = {”Trennung der Elemente“,illusions,fiction,communication,semiotics,cognition,perception,multimedial art-works,melodramas,musicals,epic music-theatre,opera,paralinguistic,speech-song,instrumental signals,sound effects,overtures,Zwischenaktsmusik,entr’actes,incidental music,fictional music,diegetic music,Theatre-music,functional music,music and emotions.,Dramatic art,Teatervetenskap,Musicology,Musikvetenskap},
  language     = {swe},
  pages        = {419},
  publisher    = {ARRAY(0xaeb4898)},
  title        = {Teatermusikaliska ljudhändelser. Ett bidrag till studiet av musik och angränsande ljudobjekt i talteater och opera},
  year         = {2003},
}