Pub Date : 2021-06-07DOI: 10.7146/sang.v2i1-2.137223
Eva Hess Thaysen, Ruben Schachtenhaufen
Fonetisk notation, eller lydskrift, er i de senere årtier blevet et ud bredt værktøj for sangere. Især IPA (International Phonetic Alphabet) bruges af sangere i flere og flere dele af verden til indstudering af ud tale af sprog, som man ikke mestrer. Den fonetiske notation giver en genvej til et sprogs udtale, uden at man behøver at kende til spro gets grammatik, ortografi, ordforråd m.m., som indgår i traditionel sprogundervisning. Inspireret af den voksende internationale interesse for brugen af IPA i sangmæssig kontekst har denne artikels forfattere ud fra en hhv. sangfaglig og fonetisk baggrund siden 2012 arbejdet med at indfø re IPA i dansk sangfaglig kontekst, dels ved introduktion af IPA som værktøj til at gøre fremmedsproglig udtale tilgængelig for sangstud erende, dels ved at udvikle en IPAbaseret standard til beskrivelse af dansk udtale i klassisk sang, således at udenlandske sangere og sang pædagoger kan få adgang til den danske sanglitteratur. Vi har indtil videre transskriberet over 30 danske sange og en dansk opera med IPA. Dette arbejde har videre medført, at IPA i dag er en del af studie ordningen for sang på Det Kongelige Danske Musikkonservatorium (DKDM), hvilket betyder, at de mange internationale udgivelser med IPA-transskriptioner for sangere (f Castel 1997; Coffin 1980; Coffin et al. 1982, m.v.) er blevet brugbare værktøjer i det danske sangmiljø, og det har desuden haft konsekvenser for, hvordan der undervises i lydskrift på lingvistikstudiet på Københavns Universitet. Selvom IPA er et ganske veldefineret system, så har det vist sig ikke
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Pub Date : 2021-06-07DOI: 10.7146/sang.v2i1-2.137220
Thomas Jul Kirkegaard-Larsen
Denial and reconciliation in Tekla Griebel’s ”Det bødes der for” This article is a close analysis of Tekla Griebel’s song ”Det bødes der for”. The analysis serves three purposes: First, I intend to highlight motivic, tonal, harmonic and other structural remedies with which Griebel underlines a subtle development in J.P. Jacobsen’s poem; she does this by setting the voice as a subject that constantly denies the sorrowful realities – represented by the piano – before the subject finally resigns in painful reconciliation. Second, as the first-ever analytical study of a work by Tekla Griebel, the article serves to give a glimpse of this forgotten Danish composer for whom the narrative aspects of music were at the center throughout her career. Third, the article adds a new perspective to previous studies of historical Danish women’s songs (Jensen 2007) by offering a close reading of a work clearly adhering to the German Lied tradition rather than the strophic, sacred songs or folksong-inspired romances that dominate current scholarship on historical Danish women composers.
Tekla Griebel的歌曲《Det bødes der for》中的否认与和解本文对Tekla Griebel的歌曲《Det bødes der for》进行了细致的分析。这种分析有三个目的:首先，我打算强调格里贝尔在j·p·雅各布森的诗中强调的动机、音调、和声和其他结构性补救措施;她将声音设定为一个不断否认由钢琴所代表的悲伤现实的主体，直到主体最终在痛苦的和解中放弃。其次，作为对Tekla Griebel作品的首次分析研究，这篇文章旨在让人们一瞥这位被遗忘的丹麦作曲家，对她来说，音乐的叙事方面在她的整个职业生涯中都处于中心地位。第三，这篇文章为之前对丹麦历史女性歌曲的研究提供了一个新的视角(Jensen 2007)，它提供了一个清晰地遵循德国传统的作品的细读，而不是主导当前研究历史丹麦女性作曲家的诗歌、圣歌或民间歌曲启发的浪漫故事。
{"title":"Fornægtelse og forsoning i Tekla Griebels ”Det bødes der for”","authors":"Thomas Jul Kirkegaard-Larsen","doi":"10.7146/sang.v2i1-2.137220","DOIUrl":"https://doi.org/10.7146/sang.v2i1-2.137220","url":null,"abstract":"Denial and reconciliation in Tekla Griebel’s ”Det bødes der for” \u0000This article is a close analysis of Tekla Griebel’s song ”Det bødes der for”. The analysis serves three purposes: First, I intend to highlight motivic, tonal, harmonic and other structural remedies with which Griebel underlines a subtle development in J.P. Jacobsen’s poem; she does this by setting the voice as a subject that constantly denies the sorrowful realities – represented by the piano – before the subject finally resigns in painful reconciliation. Second, as the first-ever analytical study of a work by Tekla Griebel, the article serves to give a glimpse of this forgotten Danish composer for whom the narrative aspects of music were at the center throughout her career. Third, the article adds a new perspective to previous studies of historical Danish women’s songs (Jensen 2007) by offering a close reading of a work clearly adhering to the German Lied tradition rather than the strophic, sacred songs or folksong-inspired romances that dominate current scholarship on historical Danish women composers.","PeriodicalId":292790,"journal":{"name":"Tidsskriftet SANG","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134511923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-07DOI: 10.7146/sang.v2i1-2.137221
Nanna Cæcilie Thrane
Group Singing as Harmonic Euphoria or Social Dissonance Group singing is in general tributed for its ability to promote wellbeing, different aspects of health, feelings of cohesion, and educative potentials. Now and then this perspective seems to overrule the fact that every group singing event is unique and dependent on who and in what way people takes part in it. This article explores how group singing varies depending on social interaction. Based on a multi-sited ethnographic fieldwork, which among other places was carried out at a Danish bording school and with a gospel choir, different kinds of social interaction in group singing events are analyzed. The article finds that the interaction is sometimes dominated by divergence in behavior, participation and attitude, and sometimes by simultaneousness, harmony and euphoria. Moreover, the article illustrates how the interplay can be seen as inhibited by embarrassment, which might occur as a leak of different sets of values: the value of group singing as boring and old-fashioned and the value of group singing as funny and successful. By extension it illustrates how different strategies are used to avoid embarrassment in the interplay. The article contributes with a notion of group singing as a complex and ambiguous social phenomenon which depends on the people present and the context in which it occurs.
{"title":"Fællessang som samklingende eufori eller social dissonans","authors":"Nanna Cæcilie Thrane","doi":"10.7146/sang.v2i1-2.137221","DOIUrl":"https://doi.org/10.7146/sang.v2i1-2.137221","url":null,"abstract":"Group Singing as Harmonic Euphoria or Social Dissonance \u0000Group singing is in general tributed for its ability to promote wellbeing, different aspects of health, feelings of cohesion, and educative potentials. Now and then this perspective seems to overrule the fact that every group singing event is unique and dependent on who and in what way people takes part in it. This article explores how group singing varies depending on social interaction. Based on a multi-sited ethnographic fieldwork, which among other places was carried out at a Danish bording school and with a gospel choir, different kinds of social interaction in group singing events are analyzed. The article finds that the interaction is sometimes dominated by divergence in behavior, participation and attitude, and sometimes by simultaneousness, harmony and euphoria. Moreover, the article illustrates how the interplay can be seen as inhibited by embarrassment, which might occur as a leak of different sets of values: the value of group singing as boring and old-fashioned and the value of group singing as funny and successful. By extension it illustrates how different strategies are used to avoid embarrassment in the interplay. The article contributes with a notion of group singing as a complex and ambiguous social phenomenon which depends on the people present and the context in which it occurs.","PeriodicalId":292790,"journal":{"name":"Tidsskriftet SANG","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132971758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-07DOI: 10.7146/sang.v2i1-2.137228
Lea Wierød Borčak
{"title":"Phillip Faber: Den danske sang","authors":"Lea Wierød Borčak","doi":"10.7146/sang.v2i1-2.137228","DOIUrl":"https://doi.org/10.7146/sang.v2i1-2.137228","url":null,"abstract":"","PeriodicalId":292790,"journal":{"name":"Tidsskriftet SANG","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114514134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-07DOI: 10.7146/sang.v2i1-2.137219
Thomas Jul Kirkegaard-Larsen
Songs by Women Composers between Old and New MusicologyEven though historical women composers have enjoyed a slow butsteady renaissance since the 1980s, there are vanishingly few analyticalstudies of their works, and especially of their songs. In thisarticle, I argue that two sets of circumstances in the historical developmentof musicology as a field have contributed to this neglect.First, genre hierarchies and ingrained ideas about gender affectedthe contemporary reception of as well as subsequent scholarshipabout women composers. Cultural factors meant that many womencomposers composed predominantly songs and works for solo piano,both genres in the low end of the hierarchy. Contemporary criticssaw the predilection for these genres as a sign of musical inferiorityconnected to their gender, and song continued to hold a low statusin analytical music theory of the twentieth century. Second, whilemusicology’s cultural turn certainly facilitated the rediscovery ofwomen composers, it also brought with it a (justified) wariness ofstructural analysis. The result is that we understand the cultural andgendered circumstances under which historical women composed,but we still know very little about their compositions. The article canbe read independently as a critique of the lacuna that women’s songshave become, or it can be read as the introduction to a series of analyticalstudies of historical Danish women’s songs to be published inthis journal.
{"title":"Køn sang","authors":"Thomas Jul Kirkegaard-Larsen","doi":"10.7146/sang.v2i1-2.137219","DOIUrl":"https://doi.org/10.7146/sang.v2i1-2.137219","url":null,"abstract":"Songs by Women Composers between Old and New MusicologyEven though historical women composers have enjoyed a slow butsteady renaissance since the 1980s, there are vanishingly few analyticalstudies of their works, and especially of their songs. In thisarticle, I argue that two sets of circumstances in the historical developmentof musicology as a field have contributed to this neglect.First, genre hierarchies and ingrained ideas about gender affectedthe contemporary reception of as well as subsequent scholarshipabout women composers. Cultural factors meant that many womencomposers composed predominantly songs and works for solo piano,both genres in the low end of the hierarchy. Contemporary criticssaw the predilection for these genres as a sign of musical inferiorityconnected to their gender, and song continued to hold a low statusin analytical music theory of the twentieth century. Second, whilemusicology’s cultural turn certainly facilitated the rediscovery ofwomen composers, it also brought with it a (justified) wariness ofstructural analysis. The result is that we understand the cultural andgendered circumstances under which historical women composed,but we still know very little about their compositions. The article canbe read independently as a critique of the lacuna that women’s songshave become, or it can be read as the introduction to a series of analyticalstudies of historical Danish women’s songs to be published inthis journal.","PeriodicalId":292790,"journal":{"name":"Tidsskriftet SANG","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114335457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-07DOI: 10.7146/sang.v1i1.137023
Lea Wierød Borčak, U. Eriksen, F. Borčak
{"title":"Visionen for SANG","authors":"Lea Wierød Borčak, U. Eriksen, F. Borčak","doi":"10.7146/sang.v1i1.137023","DOIUrl":"https://doi.org/10.7146/sang.v1i1.137023","url":null,"abstract":"","PeriodicalId":292790,"journal":{"name":"Tidsskriftet SANG","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124955718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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