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Jullander, S. (2019). Fantasia and Fantasy: Two Homonymic Genres of German Chorale-Based Organ Music. In: Johan Norrback, Joel Speerstra and Ralph P. Locke (Ed.), A Festschrift for Prof. Kerala J. Snyder: (pp. 1-21). Göteborg: Göteborgs universitet
Open this publication in new window or tab >>Fantasia and Fantasy: Two Homonymic Genres of German Chorale-Based Organ Music
2019 (English)In: A Festschrift for Prof. Kerala J. Snyder / [ed] Johan Norrback, Joel Speerstra and Ralph P. Locke, Göteborg: Göteborgs universitet, 2019, p. 1-21Chapter in book (Other academic)
Abstract [en]

The chapter deals with chorale-based organ works by German composers from the early 17th century to the late 19th century that have been given the title of fantasia or Fantasie, either by the composer or by later generations. The emphasis is twofold: the use of the term for baroque pieces, including the history of the label “chorale fantasia” for compositions of the north German baroque, and the emergence of the modern (“romantic”) chorale fantasy around the middle of the 19th century. The(im)possibility of a relationship between these two types of chorale-based works is also discussed.

Place, publisher, year, edition, pages
Göteborg: Göteborgs universitet, 2019
Keywords
Chorale fantasia, fantasy, organ music, genre, Scheidt, Buxtehude, J S Bach, Moritz Brosig, Heinrich Reimann
National Category
Musicology
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-74078 (URN)
Note

The publication is exclusively web-based

Available from: 2019-05-28 Created: 2019-05-28 Last updated: 2019-07-25
Jullander, S. (2019). Johann Sebastian Bach’s Clavierübung III: An exercise in musical form and symbolism. In: Harald Rise (Ed.), Lutherske perspektiver på liturgisk musikk: (pp. 141-173). Oslo: Novus Forlag
Open this publication in new window or tab >>Johann Sebastian Bach’s Clavierübung III: An exercise in musical form and symbolism
2019 (English)In: Lutherske perspektiver på liturgisk musikk / [ed] Harald Rise, Oslo: Novus Forlag, 2019, p. 141-173Chapter in book (Other academic)
Abstract [en]

This chapter discusses some of the different contexts of Clavierübung III, as well as its organization and content. Special attention is given to the title page of the original print and to the question of whether it is justified to describe the collection as an ‘organ mass’, as has often been done. The main purpose is not to present new findings or put forward new hypotheses, but to give an overview of the collection based on the present state of research.

Abstract [no]

«Clavierübung III,» er en av Bachs mest eksplisitt «lutherske» komposisjon, og hans største samling av verker for klaviaturinstrument. Artikkelen gir et bredt overblikk over den store mengden forskningslitteratur om verket, både musikkvitenskapelige studier og arbeider som tar for seg musikkteologiske aspekter ved verket. Verket settes inn i ulike kontekster, både dets plass i den helhetlige syklusen, den kompositoriske, og den sosiale og religiøse kontekst ved verkets tilblivelse. Til tross for den omfattende forskningslitteraturen om verket står mange spørsmål ubesvart. Artikeln summerer opp de mange teoriene om verkets sammensetning, struktur,målgruppe og funksjon, og diskuterer antakelser og hypoteser om teologisk-musikalsk symbolikk, både sannsynlige og mindre plausible, både forskningsbaserte og mer spekulative. Det drøftes om verket er ment som en «orgelmesse» fra komponistens side, slik det ofte blir omtalt og presentert. En viss korrespondanse med Luthers «Deutsche Messe» kan påvises, men samtidig korresponderer verket i liten grad med liturgien i Leipzig, der Bach var kantor på den tiden verket ble til. Et plausibelt forslag, basert på forskning rundt de aktuelle gudstjenesteordningene, er at Clavierübung III ikke eksklusivt representerer søndagens hovedgudstjeneste, men en totalitet av denne og Vesperen som ble holdt hver søndags ettermiddag. Også dette er i beheftet med stor usikkerhet, faktisk også om verket i det hele tatt kan betraktes som en syklus. Kanskje er det «bare» en samling av orgelstykker? Den gjennomarbeidete strukturen taler imidlertid sterkt mot dette, selv om det er nokså tvilsomt om verket er tenkt som en syklus intendert for komplett framføring – blant annet fordi det ikke finnes bevis for at Bach selv eller andre i hans samtid noen gang spilte verket sammenhengende i sin helhet.

Place, publisher, year, edition, pages
Oslo: Novus Forlag, 2019
Keywords
Johann Sebastian Bach, Clavierübung III, musical symbolism, music theology, Martin Luther, Deutsche Messe
National Category
Musicology
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-74117 (URN)978-82-8390-018-7 (ISBN)
Available from: 2019-06-01 Created: 2019-06-01 Last updated: 2019-07-25
(2018). Lunch concert: Göteborg International Organ Academy.
Open this publication in new window or tab >>Lunch concert: Göteborg International Organ Academy
2018 (English)Artistic output (Refereed)
Keywords
Göteborg International Organ Academy, Gothenburg Organ Festival, organ recital, Emil Sjögren
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-71555 (URN)
Note

Validerad;2018;Nivå 2;2019-01-15 (svasva)

Available from: 2018-11-13 Created: 2018-11-13 Last updated: 2019-01-18Bibliographically approved
Jullander, S. (2018). Martin Luthers egna toner och ord om musik [Review]. Svensk tidskrift för musikforskning, 100
Open this publication in new window or tab >>Martin Luthers egna toner och ord om musik
2018 (Swedish)In: Svensk tidskrift för musikforskning, E-ISSN 2002-021X, Vol. 100Article, book review (Other academic) Published
Abstract [sv]

Recension av Mattias Lundbergs bok Martin Luthers egna toner och ord om musik. Skellefteå: Artos & Norma bokförlag. 144 s., ill., notex. ISBN 978-91-7777-032

Place, publisher, year, edition, pages
Uppsala: , 2018
Keywords
Recension, Martin Luther, musik, Mattias Lundberg
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-73288 (URN)
Available from: 2019-03-23 Created: 2019-03-23 Last updated: 2019-04-10Bibliographically approved
Jullander, S., Sundkvist, P., Berg, J., Kjekshus, H. & Nelson, K. (2018). Room for interpretation: methodological aspects of a music research project. Svensk tidskrift för musikforskning, 100, 89-115
Open this publication in new window or tab >>Room for interpretation: methodological aspects of a music research project
Show others...
2018 (English)In: Svensk tidskrift för musikforskning, E-ISSN 2002-021X, Vol. 100, p. 89-115Article in journal (Refereed) Published
Abstract [en]

The artistic research project ‘Room for interpretation’ addresses questions concerning the influence of room acoustics on the performance of Western art music from the performers’ perspective. The empirical core of the project is a number of experimental performance sessions carried out in Studio Acusticum, Piteå, a concert hall with mechanically variable acoustics. The authors discuss issues relating to the project’s design and methodology; the focus of the article is thus the research process rather than the results. A presentation of the project, its preconditions, goals, design and methodology is followed by an overview of previous research, mostly in acoustic science, on the same or closely related topics. In the third part of the article, characteristics of the present project are compared to those of the previous studies. In the following part, ’Room for interpretation’ is related to the ongoing discussion on the purposes and means of artistic research. The authors argue that the project, while showing certain similarities to previous studies, differs considerably with respect to aims and important aspects of design, and that its characteristic features agree well with those usually regarded as typical of artistic research. The article concludes with a summary of the most important results concerning: differences between performers’ reactions in the live situation and when listening to their own recordings; differences between chamber ensembles, conducted ensembles and soloists as to the influence of the acoustics on the performance; and the prevalence of sound over other musical parameters in performers’ comments on their recorded performances.

Place, publisher, year, edition, pages
Uppsala: Svenska samfundet för musikforskning, 2018
Keywords
Musical performance; musical interpretation; artistic research; methodology; room acoustics; variable acoustics; Studio Acusticum.
National Category
Humanities and the Arts Music Other Humanities not elsewhere specified
Research subject
Musical Performance; Audio Technology
Identifiers
urn:nbn:se:ltu:diva-73286 (URN)
Funder
Swedish Research Council, E0191801
Note

Validerad;2019;Nivå 1;2019-04-10 (svasva)

Available from: 2019-03-23 Created: 2019-03-23 Last updated: 2019-04-24Bibliographically approved
Jullander, S. (2017). Introduction. In: Sverker Jullander (texts) and Hans-Ola Ericsson (CD) (Ed.), Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden (pp. 1-6). Luleå: Luleå University of Technology
Open this publication in new window or tab >>Introduction
2017 (English)In: Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden / [ed] Sverker Jullander (texts) and Hans-Ola Ericsson (CD), Luleå: Luleå University of Technology, 2017, p. 1-6Chapter in book (Other academic)
Place, publisher, year, edition, pages
Luleå: Luleå University of Technology, 2017
Keywords
revival, improvement, fidelity, 19th-century organ music, Johann Sebastian Bach, reception, Mendelssohn, Liszt, Busoni, Karg-Elert, organ transcriptions, piano transcriptions
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-63208 (URN)978-91-7583-855-7 (ISBN)978-91-7583-856-4 (ISBN)
Funder
Magnus Bergvall Foundation, 2015-01190
Available from: 2017-05-02 Created: 2017-05-02 Last updated: 2017-11-24Bibliographically approved
Jullander, S. & Ericsson, H.-O. (Eds.). (2017). Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden. Paper presented at Piteå Organ Festival & Symposium, Piteå, October 13–22, 2012. Luleå: Luleå University of Technology
Open this publication in new window or tab >>Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden
2017 (English)Conference proceedings (editor) (Other academic)
Abstract [en]

Organ Acusticum at Luleå University of Technology, built in the years 2009–2012 by Orgelbauwerkstatt Woehl, Marburg, Germany, for the concert hall of Studio Acusticum, Piteå, Sweden, is with 140 stops Sweden’s largest organ and one of the largest in Europe – and, more importantly, perhaps the most thoroughgoing attempt to date to combine several of the most important historical styles in a single instrument, while at the same time opening up possibilities for musical innovation and border-crossing. The inauguration of this unique instrument, on October 13, 2012, was followed by a ten-day organ festival and symposium, to which a number of the world’s foremost performers and scholars in the field contributed. Organ Prospects and Retrospects celebrates Organ Acusticum in written text and sounding music. Following an introductory chapter, fourteen essays of varying length are grouped in four thematic sections: ‘Organ Acusticum’, ‘Organs and Organ Builders’, ‘Organs and Organ Music’, and ‘Bach Reception’. The volume thus covers a wide array of organ-related topics, ranging from the 17th century to the present day, illustrated with music examples, photos and tables. The back matter includes biographies of the contributors, the specification of Organ Acusticum, a bibliography, and an index of names. On the accompanying CD, Organ Acusticum can be heard in recordings from concerts given at the festival. Both texts and music reflect in various ways the versatility of the instrument.

Place, publisher, year, edition, pages
Luleå: Luleå University of Technology, 2017. p. vi + 178
Keywords
Organ Acusticum, organ, organ building, organ music, Cavaillé-Coll, Walcker, organ recordings, organ transcriptions, J S Bach, Bach reception, organ avant-garde, 19th-century organ music
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-62781 (URN)978-91-7583-855-7 (ISBN)978-91-7583-856-4 (ISBN)
Conference
Piteå Organ Festival & Symposium, Piteå, October 13–22, 2012
Funder
Magnus Bergvall Foundation, 553300
Note

The printed book is accompanied by a music CD.

Available from: 2017-03-29 Created: 2017-03-29 Last updated: 2017-11-24Bibliographically approved
Jullander, S. (2017). Revival, Improvement, Fidelity: Aspects of Organ-Related Transcriptions of J. S. Bach’s Music in the 19th and Early 20th Centuries. In: Sverker Jullander (texts) and Hans-Ola Ericsson (CD) (Ed.), Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden (pp. 119-138). Luleå: Luleå University of Technology
Open this publication in new window or tab >>Revival, Improvement, Fidelity: Aspects of Organ-Related Transcriptions of J. S. Bach’s Music in the 19th and Early 20th Centuries
2017 (English)In: Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden / [ed] Sverker Jullander (texts) and Hans-Ola Ericsson (CD), Luleå: Luleå University of Technology, 2017, p. 119-138Chapter in book (Other academic)
Abstract [en]

The chapter discusses organ-related transcriptions as an aspect of the Bach reception of the 19th and early 20th centuries, departing from three key concepts: revival, improvement (related to the idea of general progress current in the 19th century) and fidelity. The three main figures discussed represent different approaches to transcribing, while sharing the same basic attitudes and beliefs. Franz Liszt's organ-related transcriptions show a varied picture; in some of them, he observes extreme fidelity to the letter of the original, whereas in others he makes substantial additions and changes. Ferruccio Busoni not only published his own transcriptions for piano of many of Bach's larger organ works; he also developed pedagogical methods and principles for such transcriptions, believing these works to be an indispensable part of the pianist's repertoire. Sigfrid Karg-Elert transcribed Bach for the organ, in particular some of the larger clavier works, since he saw the 'modern organ' of his time as the ideal instrument for conveying the expressive qualities of these compositions. The transcription activities of each of the three composes is discussed using the three keywords as probing tools. 

Place, publisher, year, edition, pages
Luleå: Luleå University of Technology, 2017
Keywords
revival, improvement, fidelity, 19th-century organ music, Johann Sebastian Bach, reception, Mendelssohn, Liszt, Busoni, Karg-Elert, organ transcriptions, piano transcriptions
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-63192 (URN)978-91-7583-855-7 (ISBN)978-91-7583-856-4 (ISBN)
Funder
Magnus Bergvall Foundation, 2015-01190
Available from: 2017-04-28 Created: 2017-04-28 Last updated: 2017-11-24Bibliographically approved
Jullander, S. (2016). 1921 års koralbok - progressiv eller tillbakablickande?. In: Musikforskning i dag: . Paper presented at Linnéuniversitetet, Växjö, 14-16 juni 2016 (pp. 17-18). Växjö
Open this publication in new window or tab >>1921 års koralbok - progressiv eller tillbakablickande?
2016 (Swedish)In: Musikforskning i dag, Växjö, 2016, p. 17-18Conference paper, Oral presentation with published abstract (Refereed)
Abstract [sv]

 

1921 års koralbok – progressiv eller tillbakablickande?

1921 års svenska koralbok (KB 1921) var den första som stadfästes av Konungen

och därigenom blev officiellt påbjuden för bruk i landets kyrkoförsamlingar. I den

kommitté under ordförandeskap av ärkebiskop Nathan Söderblom som utarbetade

förslaget var tonsättaren och organisten Otto Olsson den drivande kraften.

Den Haeffnerska koralboken av år 1820 var, om än utan officiell status, ännu

den utan jämförelse mest brukade i landet (i ursprunglig gestalt eller lätt reviderade

utgåvor). Under de nära hundra år som gått efter Haeffners koralbok hade

mycket hänt på kyrkosångens område, däribland historicerande och restaurativa

reformrörelser, strävanden efter en mer rörlig psalmsång, utvecklandet av

frikyrklighetens sångskatt och kontakter med andra kyrkomusikaliska traditioner.

Allt detta påverkade förutsättningarna för koralarbetet, samtidigt som kommittén

hade att förhålla sig till en stark traditionalistisk och Haeffnervänlig opinion.

KB 1921 har flera likheter med sin föregångare. Den körmässiga Haeffnerska

fyrstämmigheten har bibehållits, så även mestadels halvnoten som taktenhet.

Men även skillnaderna är betydande. Ungefär hälften av psalmerna har fått andra

melodier än hos Haeffner. Det stora flertalet ”nya” melodier är från äldre källor,

bland dem 1697 års koralpsalmbok. Post-Haeffnerska melodier, inklusive sådana

som tillkommit i själva kommittéarbetet, förekommer mer sparsamt Melodibyten

tycks ofta spegla en strävan att ge psalmerna melodier som svarar mot textens

karaktär. Av bibehållna melodier har de flesta på något sätt förändrats eller

restaurerats, ofta till en mer omväxlande rytmisk gestalt eller genom [åter]införande

av melismer. Endast en mindre del av melodierna har lämnats oförändrade.

Framställnings fokus är jämförelsen med KB 1820, men jag kommer även att

diskutera hur KB 1921 både återanknyter till 1697 års koralpsalmbok och föregriper

senare tiders psalm- och koralförnyelse, inte minst det intensiva arbete med såväl

restaurering som nykomposition som började i slutet av 1950-talet och kulminerade i

1986 års psalmbok och 1987 års koralbok.

Place, publisher, year, edition, pages
Växjö: , 2016
National Category
Music
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-66454 (URN)
Conference
Linnéuniversitetet, Växjö, 14-16 juni 2016
Available from: 2017-11-08 Created: 2017-11-08 Last updated: 2018-02-12Bibliographically approved
Jullander, S. (2016). Albert Lindström (1853−1935).
Open this publication in new window or tab >>Albert Lindström (1853−1935)
2016 (Swedish)Other (Other (popular science, discussion, etc.))
Abstract [sv]

Biografi med verkförteckning över tonsättaren och organisten Albert Lindström (1853–1935). 

Keywords
Albert Lindström, organist, andlig sång, psalmer, S:t Jacobs kyrka
National Category
Humanities Musicology
Research subject
Musical Performance
Identifiers
urn:nbn:se:ltu:diva-60862 (URN)
Projects
Levande musikarv
Funder
Swedish Research Council
Available from: 2016-12-01 Created: 2016-12-01 Last updated: 2018-02-12Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-2005-5397

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