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  • 1.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Ord och ton mellan död och evighet: John Henry Newmans och Edward Elgars "Gerontius dröm"2020In: Svensk pastoraltidskrift, ISSN 0039-6699, Vol. 62, no 4, p. 101-106Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln behandlar Edward Elgars verk för kör och orkester, "Gerontius dröm" (1900), baserat på John Henry Newmans diktverk från 1865 med samma namn. En bakgrund och kontext ges till såväl dikten som musikverket och diktverkets innehåll sammanfattas. Elgars textbearbetning och tonsättning, inklusive användning av ledmotiv, beskrivs och karakteriseras, liksom huvuddragen i receptionen av verket i samtid och eftervärld.

  • 2.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Fantasia and Fantasy: Two Homonymic Genres of German Chorale-Based Organ Music2019In: Festschrift for Prof. Kerala J. Snyder / [ed] Johan Norrback, Joel Speerstra and Ralph P. Locke, Göteborg: Göteborgs universitet, 2019Chapter 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.

    Download full text (pdf)
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  • 3.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Gregorianik i Svenska kyrkans mässa 1897–20182019In: Svensk pastoraltidskrift, ISSN 0039-6699, Vol. 61, no 20, p. 590-595Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln ger en överblick över gregorianikens ställning i svensk mässmusik under mer än hundra år ovh blickar även framåt. Är gregorianiken i mässan överspelad? Har den haft sin tid? Med Den svenska mässboken I (1942) kom det stora genombrott för gregoriansk sång i det officiella gudstjänstmaterialet. Med 1986 års handbok var gregorianiken i stort sett intakt, men ganska snart därefter kom kritik mot att gregorianiken dominerade på bekostnad av nyskriven musik eller musik från andra traditioner. Så speglar nya kyrkohandboken den tilltagande pluralismen i Svenska kyrkans liturgiska musik, nykomponerade mässpartier likaväl som gregorianska ordinariepartier.

  • 4.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Gregoriansk sång i evangelisk tidegärd under 100 år2019In: Signum : katolsk orientering om kyrka, kultur, samhälle, ISSN 0347-0423, Vol. 45, no 6, p. 38-43Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln är en kortfattad historik över bruket av gregoriansk sång i tideböner inom Svenska kyrkan från slutet av 1800-talet till våra dagar.

  • 5.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Johann Sebastian Bach’s Clavierübung III: An exercise in musical form and symbolism2019In: 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.

  • 6.
    Jullander, Sverker (Musician, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Lunch concert: Harald Fryklöf (1882–1919)2019Artistic output (Unrefereed)
    Abstract [en]

    Organ concert at the 1860 Marcussen organ of Haga Church, Gothenburg, including three works by the Swedish composer Harald Fryklöf (1882–1919): Impromptu festivo, Andante funèbre and Symfoniskt stycke (Symphonic piece), on occasion of the centenary of the composer's death.

  • 7.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Commotio-inspildninger – en oversigt2018In: Organistbladet, ISSN 0107-2927, no 1, p. 6-11Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    A presentation of recordings of Carl Nielsen's organ work "Commotio", with a list of recordings 1954–2016 and discussions on certain aspects of interpretation, mainly tempo issues.

  • 8.
    Jullander, Sverker (Musician, Arranger, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lunch concert: Göteborg International Organ Academy2018Artistic output (Refereed)
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    Lunch Concert
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    Programme notes
  • 9.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Martin Luthers egna toner och ord om musik2018In: Svensk tidskrift för musikforskning, E-ISSN 2002-021X, Vol. 100Article, book review (Other academic)
    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

  • 10.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Berg, Jan
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    Kjekshus, Helge
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Nelson, Karin
    Norges musikkhøgskole.
    Room for interpretation: methodological aspects of a music research project2018In: Svensk tidskrift för musikforskning, E-ISSN 2002-021X, Vol. 100, p. 89-115Article in journal (Refereed)
    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.

  • 11.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Introduction2017In: 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)
    Download full text (pdf)
    fulltext
  • 12.
    Peitsalo, Peter
    et al.
    Sibelius Academy, University of the Arts, Helsinki.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Kuikka, Markus
    Sibelius Academy, University of the Arts, Helsinki.
    Introduction2017In: Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings / [ed] Peter Peitsalo, Sverker Jullander and Markus Kuikka, Helsinki: Sibelius Academy, 2017, p. 7-16Chapter in book (Other academic)
    Abstract [en]

    An introduction to the eleven essays in the collection, presenting the main themes of the book as well as the content of the individual contributions.

  • 13.
    Peitsalo, Peter
    et al.
    Sibelius Academy, University of the Arts, Helsinki.
    Jullander, SverkerLuleå University of Technology, Department of Arts, Communication and Education, Music and dance.Kuikka, MarkusSibelius Academy, University of the Arts, Helsinki.
    Liturgical Organ Music in the Long 19th Century: Preconditions, Repertoires and Border-Crossings2017Collection (editor) (Refereed)
    Abstract [en]

    The essays in the anthology Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings deal with various forms of liturgical organ music and liturgical organ-playing in the long nineteenth century: solo repertoires, accompaniment of congregational singing, plainchant and other liturgical vocal music, as well as non-liturgical organ music echoing liturgical practices. Important thematic strands in the volume include: Historical preconditions: the forms and practices of organ music in relation to the various kinds of liturgical singing, influential liturgical and aesthetic ideals, as well as theological, philosophical, ideological and social contexts; Border-crossing: how liturgical-musical practices and repertoires transcended confessional, regional and national boundaries. Special attention has been given to the central, northern and eastern regions of Europe.

  • 14.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ericsson, Hans-OlaMcGill University, Montreal.
    Organ Prospects and Retrospects: Texts and Music in Celebration of Organ Acusticum, Piteå, Sweden2017Conference 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.

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    Organ Prospects and Retrospects
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    Organ Prospects and Retrospects, cover
  • 15.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Retaining the Fine Bouquet: Otto Olsson’s Use of Plainsong in Organ Music2017In: Liturgical Organ Music in the Long Nineteenth Century: Preconditions, Repertoires and Border-Crossings / [ed] Peter Peitsalo, Sverker Jullander and Markus Kuikka, Helsinki: Sibelius Academy, 2017, p. 209-244Chapter in book (Refereed)
    Abstract [en]

    Otto Olsson (1879–1964), professor of organ at the Conservatory ofthe Royal Academy of Music, Stockholm, and a prolific composer of organ and choral music in particular, was the first – and for a long while, only – Swedish composer to use Gregorian and other medieval church melodies in organ music. Olsson used plainsong material in two collections of short pieces (Gregorianska melodier and Six Pieces on Old Church Songs) as well as in two larger works (Ten Variations on the Dorian Plainsong ‘Ave Maris Stella’ and the second organ symphony, Credo Symphoniacum), all composed between 1910 and 1918. Olsson’s use of plainsong themes, largely unknown in Sweden at the time, can be related to international developments in church music aesthetics originating in the nineteenth century, which saw an increasingly important distinction between sacred and secular music. Both the use of melodies from the Old Church and their musical setting were central to Olsson, whose goal was to create music that could be recognized as ‘church music and nothing else’. Olsson’s settings vary considerably in form and character, ranging from free recitative to strict polyphony, and even attempts to combine the two approaches. The free treatment of the chant melody in the Ave maris stella variations (probably the first of his ‘Gregorian’ works) stands in contrast to the unchanged cantus firmus in the other compositions. In most pieces, text-related musical symbolism is not prominent, the exception being Credo Symphoniacum, in which the composer makes varied use of eight melodies to represent the Christian Creed and the Trinity.

  • 16.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Revival, Improvement, Fidelity: Aspects of Organ-Related Transcriptions of J. S. Bach’s Music in the 19th and Early 20th Centuries2017In: 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. 

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  • 17.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Berg, Jan
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and experience production and theater.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Room for Interpretation2017Conference paper (Refereed)
    Abstract [sv]

    I projektet Tolkningsrum undersöks relationen mellan akustik och musikalisk interpretation genom inspelade framföranden. Inspelningssessioner har genomförts i konserthuset Studio Acusticum, Piteå, som har variabel akustik genom höj- och sänkbart innertak. Inspelningssessioner har gjorts med ensembler och solister i åtta olika instrument(sammansättningar). För var och en av dessa har tre inspelningar i olika takhöjdslägen gjorts under samma dag och med samma repertoar. De medverkande musikerna och forskargruppens medlemmar (delvis samma personer) har enskilt skrivit ner sina intryck, dels omedelbart efter varje inspelningssession, dels vid lyssning till inspelningarna. Inspelningarna har gjorts med mikrofonerna relativt nära musikerna, så att den jämförande lyssningens fokus blir själva gestaltningen snarare än skillnaderna i akustik. Ytterligare inspelningar har gjorts i vad som utifrån de skriftliga utvärderingarna bedömts vara en för det konstnärliga resultatet optimal akustik. 

    Eftersom forskningen är bunden till en specifik lokal, lämpar den sig mindre väl för redovisning i konsertform. Uppspelning av inspelat material blir därmed central i presentationen av forskningsresultaten.

  • 18.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Room for Interpretation: Musical Tempo amd Room Acoustics2017Conference paper (Refereed)
    Abstract [en]

     This paper discusses the influence of acoustics on temporal aspects of performance for different instrument constellations. In a concert hall with mechanically variable acoustics, professional soloists and ensembles each performed a programme of 3– 4 pieces at three trials throughout the same day in the presence of a small audience of experienced musicians-researchers, most of whom also participated in the project as performers. The instrument settings included solo instruments, chamber ensembles and a chamber choir, with a repertoire ranging from the 17th  to the 21st century. The trials were recorded for later analysis. The microphones were placed so as to minimize audible differences in acoustics between the recordings.

    For the solo instruments musicians tended to use slower tempi and to allow themselves more agogic freedom in larger acoustics. A somewhat similar tendency was observed in conducted ensembles. For ensembles without conductor, the influence of acoustics on the chosen tempi was less marked.

    In larger acoustics, performers tended to feel more at ease, which was often reflected in slower tempi as well as in more tempo fluctuation. The listeners in the hall, on the other hand, did not always share the performers’ preferences. A different picture emerged in the evaluations of the recordings: here musicians viewed recordings made in drier acoustics, often using faster tempi with less fluctuation, in a more positive light. For some pieces in slow tempi, however, performances in larger acoustics were preferred. Generally, the preferences of musicians and listeners were more in agreement for the recordings than for the live performances.

    The results show that acoustics in many cases does seem to influence tempo and agogics, but also that this influence varies considerably between different instrument settings (especially solo vs. ensemble) as well as between individual pieces in different tempi and styles. The difference in performers’ preferences between live situations and listening to recordings raises the question of what is to be regarded as ‘good’ acoustics: that which is spontaneously experienced as such by the performer, or that which stimulates performances that are judged as ‘good’ when listened to by the performers themselves?

    The experimental performance sessions described above took place in the new concert hall Studio Acusticum, Piteå, Sweden, which, with its variable acoustics (enabled through lowering and raising the ceiling), was designed to serve simultaneously as a public ‘stage’ and as a laboratory for artistic research in music. The variable acoustics is a precondition for this project, in which research activities not only relate to but are inseparable from artistic production, in this case performative interpretations. The results highlight the different experiences of performers in onstage and audience situations, as well as of performers and audience live in the hall and when listening to recordings, and they suggest that artistic criteria do change in the context of experimental artistic research. The project involves, besides musicians, researchers in audio engineering, and its results are relevant for the future design and use of concert halls, as well as the design of recording sessions.

  • 19.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Berg, Jan
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and experience production and theater.
    Kjekshus, Helge
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Nelson, Karin
    Norges musikkhøgskole, Oslo.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Time and Space: Musical Tempo and Room Acoustics2017Conference paper (Refereed)
    Abstract [en]

    In this presentation we discuss the influence of acoustics on temporal aspects of performance for different instrument constellations. In a concert hall with mechanically variable acoustics, professional soloists and ensembles each performed a programme of 3–4 pieces at three trials throughout the same day in the presence of an audience of experienced musicians–researchers. The instrument settings included solo instruments, chamber ensembles and a chamber choir. The trials were recorded for later analysis. The microphones were placed so as to minimize audible differences in acoustics between the recordings.

    For the solo instruments musicians tended to use slower tempi and allow themselves more agogic freedom in larger acoustics. A similar tendency, though less marked, was observed in conducted ensembles. For ensembles without conductor, the acoustics did not seem to influence the chosen tempi.

    When playing in larger acoustics, performers tended to feel more comfortable and relaxed – and more satisfied – which was often reflected in the choice of slower tempo as well as in a greater degree of tempo fluctuation. The listeners in the hall, on the other hand, did not always share the performers’ preferences. A different picture emerged in the evaluations of the recordings: here musicians viewed recordings made in drier acoustics, often using faster tempi with less fluctuation, in a more positive light. For some pieces in slow tempi, however, performances in larger acoustics were preferred. Generally, the preferences of musicians and listeners were more in agreement for the recordings than for the live performances.

    The results show that the room acoustic in many cases does seem to influence tempo and agogics, but also that this influence varies considerably between different instrument settings (especially solo vs. ensemble) as well as between individual pieces in different tempi and styles. Performers’ preferences may vary considerably between the live situations and listening to recordings.

  • 20.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    1921 års koralbok - progressiv eller tillbakablickande?2016In: Musikforskning i dag, Växjö, 2016, p. 17-18Conference paper (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.

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  • 21.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Albert Lindström (1853−1935)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

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

  • 22.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf Carlman (1906–1958)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren, organisten, körledaren och musikpedagogen Gustaf Carlman.

  • 23.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Herman Asplöf2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Biografi med verkförteckning över tonsättaren och organisten Herman Asplöf (1881–1959).

  • 24.
    Jullander, Sverker (Musician, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Westberg, Erik (Musical director, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Kör- och orgelkonsert2016Artistic output (Refereed)
    Abstract [sv]

    Konsert i Vasakyrkan, Göteborg, med orgelverk av Max Reger (Introduktion och passacaglia d-moll, Fantasi över koralen "Wachet auf, ruft uns die Stimme") samt körverk av Max Reger (Drei Chöre op. 6, O Tod wie bitter bist du op. 110:3), Peter Cornelius (Liebe op. 18) och Johannes Pollak (O Tod).

    Medverkande:

    Erik Westbergs vokalensemble

    Erik Westberg, dirigent

    Sverker Jullander, orgel

    Gabriel Kopparmark, piano (Helge Kjekshus var sjuk och deltog ej)

    Konserten ingick i Dagarna kring musik av Max reger och har skett i samarbete med och erhållit stöd av Kulturrådet, Svenska kyrkan, Göteborgs internationella orgelakademi samt Högskolan för scen och musik. Konserten framfördes den 19 november 2016.

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  • 25.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Max Reger: ett 100-årsminne2016In: Kyrkomusikernas Tidning, ISSN 0281-286x, Vol. 82, no 12, p. 4-6Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln behandlar Max Regers liv och verk, med betoning på den kyrkomusikaliska produktionen för orgel och kör

  • 26.
    Jullander, Sverker (Musician, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Organ Concert in Memory of Jacques van Oortmerssen2016Artistic output (Refereed)
    Abstract [en]

    Organ recital 9 September 2016 at 20:00, within Göteborg International Organ Academy. The concert was held in memory of the distinguished organist, scholar and pedagogue Jacques van Oortmerssen, Amsterdam.

    The performing organ soloists were: Joel Speerstra, Hans-Ola Ericsson, Karin Nelson, Sverker Jullander, Magnus Kjellson, and Hans Davidsson.

    Download full text (pdf)
    Concert programme
    Download full text (pdf)
    GIOA 2016, overview (from programme book)
    Download full text (pdf)
    GIOA 2016, concert information (from programme book)
    Download (pdf)
    GIOA 2016, general information (from programme book)
  • 27.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Otto Olsson (1879–1964)2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren, organisten och musikpedagogen Otto Olsson.

  • 28.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Recension av Anders Dillmar: Kyrkomusikens förändring under 1900-talets andra hälft, band III och IV: III: Harald Göransson och gudstjänstmusikens omvandling; IV: Harald Göransson och psalmsångens förnyelse2016In: Kyrkomusikernas Tidning, ISSN 0281-286X, Vol. 82, no 4, p. 16-17Article in journal (Other academic)
    Abstract [sv]

    Recension av Anders Dillmars kontextualiserade biografi över kyrkomusikern, pedagogen och musikforskaren Harald Göransson (1917-2004)

  • 29.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Room for Interpretation: Musical Tempo in Variable Acoustics2016Conference paper (Refereed)
    Abstract [en]

    The acoustical properties of a concert room tend to affect performers’ decisions, especially regarding tempo and agogics. Consequently, the study of the relationship between concert hall acoustics and the musical performance is of great interest to musical performers, and potentially to architects and acousticians as well. A pilot study was devised, enabled by a unique concert hall with mechanically variable acoustics. A concert pianist performed an identical program of two pieces at four trials throughout the same day in the presence of an audience of experienced musicians-researchers, each trial conducted under a distinctive acoustic condition. The trials were recorded for later analysis. The live performances as well as the recordings were assessed individually by the pianist himself and the members of the expert audience. The results showed clear as well as subtle differences between the different performances. The pilot study was followed by a two-year, still ongoing, research project, in which further experimental series of performances have taken place or are underway, using various chamber music constellations, as well as solo flute, organ and choir. In this project, the music performed has included 3–4 pieces from different periods and in different styles. The impression of the live performances from the performer’s own perspective, and also the professional listeners’, has often differed from the experience in listening to the recordings: what was felt during the performance as an ideal live acoustic was often not judged as optimal in the later analysis, especially in terms of agogics and tempo. The preliminary results raise fundamental questions about tempo treatment and artistic/interpretive decisions and promise to give new insights concerning what actually constitutes ‘good’ acoustics and optimal recording conditions from a musician’s professional perspective.

  • 30.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ruben Liljefors (1871–1936)2016Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, om tonsättaren och dirigenten Ruben Liljefors.

  • 31.
    Berg, Jan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and experience production and theater.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Kjekshus, Helge
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    The influence of room acoustics on musical performance and interpretation: A pilot study2016In: 140th Audio Engineering Society International Convention 2016, AES 2016, New York, 2016Conference paper (Refereed)
    Abstract [en]

    Concert hall acoustics is an important factor that influences musical performance. Different acoustics lead to different musical results. For a musical performer, the artistic impression of a performance is paramount. Therefore, it is essential to study the relation between concert hall acoustics and musical performance. Such studies might also be relevant for architects and acousticians. A pilot study was devised, enabled by a unique concert hall with mechanically variable acoustics. A musician played the grand piano at four trials, each having a distinctive acoustic condition. The trials were recorded for later analysis. The performances were assessed by experts and the pianist himself. The results show that clear as well as subtle differences in interpretation and performance between the trials existed.

  • 32.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    ‘As if Created for the Modern Organ’: Aspects of Sigfrid Karg-Elert’s Bach Transcriptions for Organ, II2015In: Organ Yearbook, ISSN 0920-3192, Vol. 44, no 1, p. 103-119Article in journal (Refereed)
  • 33.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    August Lagergren (1848–1908)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över organisten, pedagogen och tonsättaren August Lagergren (1848-1908)

  • 34.
    Jullander, Sverker (Musician, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Concert2015Artistic output (Refereed)
    Abstract [sv]

    Medverkan som orgelsolist vid konsert inom ramen för Göteborgs internationella orgelakademi tisdag 20 oktober 2015 kl 20.00 i Ohlinsalen, Artisten, Göteborg. Det spelade verket, César Francks Choral III i a-moll, har en speltid på ca 14 minuter.

  • 35.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf (d.ä.) Heintze (1825–1909)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över kyrkomusikern och tonsättaren Gustaf Wilhelm Heintze (1825-1909)

  • 36.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf Heintze d.y. (1879−1946)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren och organisten Gustaf Hjalmar Heintze (1879-1946)

  • 37.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf Hägg (1867–1925)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över organisten och tonsättaren Gustaf Hägg (1867–1925).

  • 38.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gustaf Nordqvist (1886–1949)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren, organisten, pianisten och musikpedagogen Gustaf Nordqvist (1886-1949)

  • 39.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Hugo Bedinger (1876–1914)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren och organisten Hugo Bedinger (1876-1914)

  • 40.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Johan Peter Cronhamn (1803-1875)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren, musikpedagogen och sekreteraren i Kungl. Musikaliska Akademien Johan Peter Cronhamn (1805-1875)

  • 41.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    John Heintze (1886-1937)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över pianisten och tonsättaren John Heintze (1886–1937)

  • 42.
    Jullander, Sverker (Musician, Creator)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Lunch concert: Two Composers - Four Hymns - Eight Organ Chorales2015Artistic output (Refereed)
    Abstract [sv]

    Lunchkonsert med orgelmusik i Vasakyrkan, Göteborg, torsdag 22 oktober 2015, inom ramen för Göteborgs internationella orgelakademi.

  • 43.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Oscar Blom2015Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Biografi med verkförteckning över tonsättaren och organisten Oscar Blom (1877–1930). 

  • 44.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Oscar Sandberg (1870–1926)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren, kyrkomusikern och körledaren Oscar Sandberg (1870-1926).

  • 45.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Recension av: Gunnar Weman: Henry Weman - domkyrkoorganist och körledare i kyrkomusikaliskt spänningsfält2015In: Kyrkomusikernas Tidning, ISSN 0281-286X, Vol. 81, no 6, p. 14-15Article in journal (Other academic)
    Abstract [sv]

    Recension av biografi över domkyrkoorganisten m m Henry Weman (1897-1992)

  • 46.
    Jullander, Sverker
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Berg, Jan
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and experience production and theater.
    Kjekshus, Helge
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Nelson, Karin
    Norges musikkhøgskole.
    Sundkvist, Petter
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Room for Interpretation: Musical Performance Interacting with Room Acoustics2015Conference paper (Refereed)
    Abstract [en]

    The research project ‘Room for Interpretation: Musical Performance Interacting with Room Acoustics’, funded by the Swedish Research Council, is conducted at the Piteå School of Music, Luleå University of Technology. The project engages researchers within musical performance, musicology and audio technology, most of them professionally active as performers. The objective is to investigate how musical interpretation is influenced by and can interact with room acoustics. Important goals are to develop new ways for musicians to work consciously with room acoustics, using acoustic properties for artistic purposes, to facilitate a more profound exchange of ideas on artistic aspects of room acoustics between musicians, and to increase the possibilities for taking into account the musician’s perspective in the planning of concert rooms. The core of the project is a series of performances in the concert hall Studio Acusticum, Piteå, whose ceiling can be raised and lowered, enabling variable acoustic conditions. Performances within the project include solo instruments, chamber ensembles, and a choir. Each constellation performs in different acoustics but otherwise under identical conditions. The result is evaluated individually by each member of the research team, in addition to measurements of dynamics and tempo. Questions dealt with include how acoustic-related interpretive strategies can be formulated, and how acoustics can be tailored to a particular interpretative idea. Preliminary results show significant differences between the performer’s immediate post-performance evaluation and after listening to a recording of the same performance. Possibly acoustic-related discrepancies between experienced and measured tempi have been found among both performers and listeners.

  • 47.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Svante Sjöberg (1873–1935)2015Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över kyrkomusikern och tonsättaren Svante Sjöberg (1873-1935)

  • 48.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    The Complete Artistic Supervisor: Qualifications of Supervisors in Artistic Doctoral Studies2015In: Acts of Creation: Thoughts on artistic research supervision, Höör: Brutus Östling bokförlag Symposion AB , 2015, p. 31-47Chapter in book (Other academic)
    Abstract [en]

    The chapter deals with questions of qualifications in doctoral supervisors in artistic discipline: what kinds of qualifications are relevant for this kind of supervision and what qualifications are actually present in those that work as supervisors? Three different kinds of qualifications are discussed: academic, artistic and experience of artistic research. Also discussed are the supervisor’s qualifications in relation to the doctoral student, and a small-scale enquiry of the backgrounds of the supervisors active within the Swedish research school of the arts is presented. An overview of the rules governing artistic supervision in Swedish universities is followed by a discussion of the role of courses in supervision. Finally, the position of the supervisor as ‘insider’ or ‘outsider’ in relation to the doctoral student’s specialization is discussed, and here the author contributes some personal experiences.

  • 49.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    'As if Created for the Modern Organ': Aspects of Sigfrid Karg-Elert's Bach Transcriptions for organ, I2014In: Organ Yearbook, ISSN 0920-3192, Vol. 43, p. 114-141Article in journal (Refereed)
    Abstract [en]

    For many organists in the earlier twentieth century, Karg-Elert produced the most 'modern' music they were likely to play. In this article, the focus is on Karg-Elert's transcriptions of Bach, mostly but not entirely of his keyboard music (collected in two volumes, 1911). The kinds of additions he might make to them plus the various details of their performance (registration, tempo, articulation etc) are traced with respect to the kind of three-manual organ he had in mind. With the D minor keyboard toccata (BWV 913), the turned a relatively modest clavier piece into a full-fledged Romantic organ work on the grand scale. The music of Bach offered, according to Karg-Elert, 'the fortunate master of the modern organ uncommonly rewarding problems'.

  • 50.
    Jullander, Sverker
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Bengt Wilhelm Hallberg (1824-1883)2014Other (Other academic)
    Abstract [sv]

    En biografisk artikel, med verkförteckning, över tonsättaren, kyrkomusikern och musikforskaren Bengt Wilhelm Hallberg (1824-1883).

12 1 - 50 of 99
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