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"De kast, Huldren gjør med Kohalen"

Om kjønn og andre musikalske identiteter i den norske komponisten Agathe Backer Grøndahls "Huldreslaat"

Författare och institution:
Camilla Hambro (Institutionen för kultur, estetik och medier)
Publicerad i:
Svensk Tidskrift för Musikforskning, 2004 ( 86 ) s. 49-66
Artikel, refereegranskad vetenskaplig
Sammanfattning (abstract):
This article grew out of an interest in the intriguing Norwegian pianist, composer and piano teacher Agathe Backer Grøndahl (1847-1907), and her composition for piano, Huldreslaat. The work received its first performance with the composer herself at the piano in Kristiania 1887. By virtue of being music both in and as gender discourse, the score was in need of further fleshing-out, understanding and analysis. The author starts out from the assumption that gender roles were and are self organizing dynamic systems and that Grøndahl's gender roles worked towards goals that preserved her own interests. Ahistoric gender perspectives do not penetrate the ideological and social complexity in teh cirtics' understanding of femininity, which deviates substantially from the norms of the present. On the other hand close readings of them show us live experiences from the past. It seems like teh delineation of the work's title and Grøndahl's personal appearance were brought to bear on the inherent mednings of her piano playing, and the work in the performance process. Therefore, it is neither possible nor desirable to regard Huldreslaat in total isolation, since gender, Norwegian and international musical identities, are fundamentally intertwined and interdependent in the work, it's context, and reception materials.
Ämne (baseras på Högskoleverkets indelning av forskningsämnen):
Historia och arkeologi
Agathe Backer Grøndahl. Music, gender and genius, femininity, music historical knowledge and canonisation, gender and genre, gender and "Norwegian sound", musical analysis and performativity, "Huldreslaat"
Postens nummer:
Posten skapad:
2008-08-14 10:50

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