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Från snille till geni: den svenska kompositörsrollens omvandlingar från Kraus till Måndagsgruppen och dess betydelse för synen på musik
Örebro University, School of Music, Theatre and Art. (Musikvetenskap)ORCID iD: 0000-0002-5809-3575
2013 (Swedish)Book (Refereed)
Abstract [en]

What is a composer? What does a composer do? Until the end of the 18th century a composer was primarily a musician. The end of the compositional activity, as witness Johann Mattheson’s Der vollkommene Kapellmeister (published in 1739), was the musical performance. During the following century this view changed and the composer became a creator of musical works, a musical genius. How did this change in the view of the composer come about, and was it similar in all European countries? This book traces the change from a Swedish perspective and argues that the transformation took a different route from that of central Europe in general, and the German speaking lands in particular. As an analytical tool, two ideal-types are proposed: an idealist and a national romantic view of the genius-composer, articulating opposite views on 1) the source of creativity, 2) the necessary features of the genius’ musical work, 3) the proper attitude of the listener/audience. According to the idealist type, the source of creativity is located to the individual soul of the composer, whereas the national romantic type locates musical creativity to the collective soul of the nation, the “national spirit”. Likewise the formally complex “work” stands in opposite to the simple melody of the folksong. And whereas the idealist type requires a contemplative, distanced attitude on the part of the listener, the national romantic type favors devotional communion among the audience. Although the conceptual frame of reference derived mainly from German philosophy (e.g. Kant and Herder), the emphasis in Sweden during the 19th century accorded with the national romantic ideal type, rather than the idealist. A change would not come about until the 1920:s, after Sweden’s first copyright legislation in 1919. And it would take until after the Second World War for the composer genius of the idealist view to capture the hegemonic center stage – a position it still possesses at the beginning of the 21st century.

Place, publisher, year, edition, pages
Möklinta: Gidlunds förlag, 2013, 1. , p. 160
Keyword [sv]
Estetik, musikhistoria, idéhistoria, upphovsman, Kant, Herder, nationalromantik, modernism
National Category
Musicology
Research subject
Musicology
Identifiers
URN: urn:nbn:se:oru:diva-30229ISBN: 978-91-7844-882-1 (print)OAI: oai:DiVA.org:oru-30229DiVA, id: diva2:641144
Projects
Musikverket och dess publik — estetiska förutsättningar för den svenska upphovsrätten
Funder
Swedish Research Council
Available from: 2013-08-15 Created: 2013-08-15 Last updated: 2017-12-05Bibliographically approved

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Volgsten, Ulrik

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CiteExportLink to record
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Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
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  • nn-NO
  • nn-NB
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  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
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