Operans dubbla tidsförlopp : Musikdramaturgin i bilradiooperan Själens rening genom lek och skoj
(2011) In Doctoral studies and research in fine and performing arts- Abstract
- Title: The Twofold Rhythm of Duration in Opera. The Musical Dramaturgy of the Car Radio Opera "Cleansing of the Soul through Fun and Games".
This thesis focuses on musical dramaturgy in operas with a story. I believe my own music is better when I write operas than instrumental music. The question is why? The aim of this thesis is to investigate the relationship between story and music and see how it affects the composing process. The point of departure of the study is the rhythm of duration (or continuous course) since story and music proceed side by side in time.
The artistic activity as such is made use of methodically to develop theories and tools. For this thesis I have written an opera specifically for the car radio... (More) - Title: The Twofold Rhythm of Duration in Opera. The Musical Dramaturgy of the Car Radio Opera "Cleansing of the Soul through Fun and Games".
This thesis focuses on musical dramaturgy in operas with a story. I believe my own music is better when I write operas than instrumental music. The question is why? The aim of this thesis is to investigate the relationship between story and music and see how it affects the composing process. The point of departure of the study is the rhythm of duration (or continuous course) since story and music proceed side by side in time.
The artistic activity as such is made use of methodically to develop theories and tools. For this thesis I have written an opera specifically for the car radio and the opera is used to exemplify the discussion. Theoretically the genesis of this opera is understood as a creative act rather than one of causality or teleology. Beat analysis is a tool to uncover the interaction between story and music. Second-order melody gives
examples of formal thinking in rhythms of duration. The music can prolong any moment of the action in a drama. The aria, the most important element of opera brings out, when the action comes to a halt, a decisive statement of affect, which makes real presence possible. The composer has to indulge
in the timing of the rhythms of duration. In culminations, previously introduced music is combined resulting in a complex dramatic climax. The rhythmical continuity creates multi-layered patterns of waves that hold the piece together, even when the contrasts of the drama are reflected in the music. The twofold rhythm of duration in opera means that story and music implicate each other mutually, but only at specific beats. The articulation of contrasts in musical drama has influenced and developed my own personal, originally instrumental, concept of form. (Less) - Abstract (Swedish)
- Avhandlingen fokuserar på musikdramaturgi i opera som har en story. Jag tycker att min egen musik blir bättre när jag skriver opera än konsertverk, frågan är varför? Syftet är att undersöka förhållandet story och musik och hur det påverkar komponerandet. Förloppet är undersökningens utgångspunkt eftersom story och musik pågår parallellt i tiden. Den konstnärliga verksamheten tas metodiskt i anspråk för att utveckla teori och verktyg. Jag har för avhandlingen skrivit en opera speciellt för bilradio – den exemplifierar resonemangen. Teoretiskt förstås och förklaras hur denna opera uppstått ur en skapande handling. Steganalys är ett verktyg för att frilägga interaktionen mellan story och musik. Melodi av andra ordningen ger exempel på... (More)
- Avhandlingen fokuserar på musikdramaturgi i opera som har en story. Jag tycker att min egen musik blir bättre när jag skriver opera än konsertverk, frågan är varför? Syftet är att undersöka förhållandet story och musik och hur det påverkar komponerandet. Förloppet är undersökningens utgångspunkt eftersom story och musik pågår parallellt i tiden. Den konstnärliga verksamheten tas metodiskt i anspråk för att utveckla teori och verktyg. Jag har för avhandlingen skrivit en opera speciellt för bilradio – den exemplifierar resonemangen. Teoretiskt förstås och förklaras hur denna opera uppstått ur en skapande handling. Steganalys är ett verktyg för att frilägga interaktionen mellan story och musik. Melodi av andra ordningen ger exempel på förloppsbaserat formtänkande. I ett dramatiskt flöde kan musiken när som helst förlänga ett moment i handlingen. Arian, operans viktigaste formtyp, framhäver avgörande affektiva situationer genom att handlingen helt stannar och absolut närvaro möjliggörs. Tajmingen av förloppen får tonsättaren hänge sig åt. I kulminationer kombineras redan presenterad musik till komplexa dramatiska förlopp. Musikens rytmiska kontinuitet upprättar mångskiktade svängningsmönster som håller samman verket även när dramats kontraster avspeglar sig i musiken. Operans dubbla förlopp innebär att story och musik implicerar varandra ömsesidigt, men bara vid bestämda punkter. Musikdramatikens kontrasttänkande har påverkat och utvecklat mitt ursprungligen instrumentala formtänkande. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/1895818
- author
- Gefors, Hans LU
- supervisor
- opponent
-
- professor Heiniö, Mikko, Professor of musicology at the University of Turku, composer-in-residence of the Turku Philharmonic Orchestra
- organization
- publishing date
- 2011
- type
- Thesis
- publication status
- published
- subject
- keywords
- Opera, musical dramaturgy, duration, story, real presence, aria, affect, music to action, rhythmical continuity, timing, beat, artistic research, musikdramaturgi, fortvaro, absolut närvaro, affekt, musik till handling, rytmisk kontinuitet, tajming, steg, konstnärlig forskning, förlopp
- in
- Doctoral studies and research in fine and performing arts
- issue
- 7
- pages
- 132 pages
- publisher
- Malmö Faculty of Fine and Performing Arts, Lund University
- defense location
- Inter Arts Center, Bergsgatan 29, Malmö
- defense date
- 2011-05-24 10:00:00
- ISSN
- 1653-8617
- ISBN
- 978-91-979584-2-4
- language
- Swedish
- LU publication?
- yes
- additional info
- I den den publicerade avhandlingen finns libretto som appendix samt en CD med verket. I bokform finns allt att köpa på Musikhögskolans kansli (uppgifter finns i avhandlingen).
- id
- 97c45ccc-47e2-4070-92d2-07abaa57417d (old id 1895818)
- date added to LUP
- 2016-04-01 12:57:22
- date last changed
- 2021-07-27 10:55:04
@misc{97c45ccc-47e2-4070-92d2-07abaa57417d,
abstract = {{Title: The Twofold Rhythm of Duration in Opera. The Musical Dramaturgy of the Car Radio Opera "Cleansing of the Soul through Fun and Games".<br/><br>
This thesis focuses on musical dramaturgy in operas with a story. I believe my own music is better when I write operas than instrumental music. The question is why? The aim of this thesis is to investigate the relationship between story and music and see how it affects the composing process. The point of departure of the study is the rhythm of duration (or continuous course) since story and music proceed side by side in time.<br/><br>
The artistic activity as such is made use of methodically to develop theories and tools. For this thesis I have written an opera specifically for the car radio and the opera is used to exemplify the discussion. Theoretically the genesis of this opera is understood as a creative act rather than one of causality or teleology. Beat analysis is a tool to uncover the interaction between story and music. Second-order melody gives<br/><br>
examples of formal thinking in rhythms of duration. The music can prolong any moment of the action in a drama. The aria, the most important element of opera brings out, when the action comes to a halt, a decisive statement of affect, which makes real presence possible. The composer has to indulge<br/><br>
in the timing of the rhythms of duration. In culminations, previously introduced music is combined resulting in a complex dramatic climax. The rhythmical continuity creates multi-layered patterns of waves that hold the piece together, even when the contrasts of the drama are reflected in the music. The twofold rhythm of duration in opera means that story and music implicate each other mutually, but only at specific beats. The articulation of contrasts in musical drama has influenced and developed my own personal, originally instrumental, concept of form.}},
author = {{Gefors, Hans}},
isbn = {{978-91-979584-2-4}},
issn = {{1653-8617}},
keywords = {{Opera; musical dramaturgy; duration; story; real presence; aria; affect; music to action; rhythmical continuity; timing; beat; artistic research; musikdramaturgi; fortvaro; absolut närvaro; affekt; musik till handling; rytmisk kontinuitet; tajming; steg; konstnärlig forskning; förlopp}},
language = {{swe}},
number = {{7}},
publisher = {{Malmö Faculty of Fine and Performing Arts, Lund University}},
series = {{Doctoral studies and research in fine and performing arts}},
title = {{Operans dubbla tidsförlopp : Musikdramaturgin i bilradiooperan Själens rening genom lek och skoj}},
url = {{https://lup.lub.lu.se/search/files/3068885/1895825.pdf}},
year = {{2011}},
}