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Journal articles on the topic 'Danish Composers'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Fjeldsøe, Michael. "The Leipzig Model and its Consequences: Niels W. Gade and Carl Nielsen as European National Composers." Studia Musicologica 59, no. 1-2 (2018): 71–78. http://dx.doi.org/10.1556/6.2018.59.1-2.6.

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The article discusses how the concept of “national composer” was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade

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2

Finney, Ian. "Vagn Holmboe: Quartet Composer at Work." Tempo, no. 171 (December 1989): 12–17. http://dx.doi.org/10.1017/s0040298200019951.

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Vagn Homboe, born in Horsens on the Jutland peninsula in 1909, is the doyen of Danish composers. Although he celebrates his eightieth birthday on 20 December, he remains formidably productive: his new Twelfth Symphony was premièred by the BBC Welsh Symphony Orchestra in Cardiff on 21 October. A prolific composer in many genres, his reputation rests securely on the twin pillars of his symphonies and his even more numerous string quartets.

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Kirkegaard-Larsen, Thomas Jul. "Fornægtelse og forsoning i Tekla Griebels ”Det bødes der for”." Tidsskriftet SANG 2, no. 1-2 (2021): 16–39. http://dx.doi.org/10.7146/sang.v2i1-2.137220.

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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

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4

Ketting, Knud. "Danish Music Education – A Crafts Museum?" British Journal of Music Education 4, no. 3 (1987): 263–66. http://dx.doi.org/10.1017/s0265051700006112.

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Evidence suggests that only a very small number of music teachers in Denmark make use of modern compositions; and this in spite of very considerable efforts made by the Danish Music Information Centre to disseminate annotated lists of contemporary works suitable for schools and for private instrumental teaching. The author argues that there is now no excuse for not recognising the importance of the work of living composers; all that we need to do is to play their music!

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Решетник Д. С. "ОСОБЛИВОСТІ ВИКОРИСТАННЯ ТЕМБРОВОГО ПОТЕНЦІАЛУ АКОРДЕОНА В ТВОРАХ ДАТСЬКИХ КОМПОЗИТОРІВ ХХ СТОЛІТТЯ". World Science 3, № 5(57) (2020): 33–39. http://dx.doi.org/10.31435/rsglobal_ws/31052020/7087.

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The aim of the study is to analyze the principles of interpretation of the timbre potential of the accordion by Danish composers of the twentieth century, which will allow to better understand the peculiarity of using this instrument in Scandinavian academic music of the late twentieth century. Thus, by music analisis of works by Ole Schmidt, Niels Viggo and Per Nørgord, the peculiarities of the use of accordion in Scandinavian academic music of the twentieth century, as well as the principles of its interpretation in the music of the selected composers are revealed.

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Maguire, Phil. "Huddersfield Contemporary Music Festival 2: 22–23 November 2013." Tempo 68, no. 268 (2014): 77–79. http://dx.doi.org/10.1017/s004029821300171x.

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Huddersfield Contemporary Music Festival's promotion of Scandinavian and Catalan music – through established partnerships with The Danish Composers’ Society and Music Norway, and a more recent association with Catalonia's Institut Ramon Llul – have helped to bring under-represented regions for contemporary music to the foreground of the international scene.

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Kallenbach, Ulla, and Anna Lawaetz. "Svend Borberg: Punktummet, der ikke blev sat." Peripeti 19 (October 11, 2022): 24–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134023.

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Svend Borberg: The punctuation mark that was never written. Undiscovered works by a playwright with an international outlookThis article focuses on two hitherto undiscovered, unrealized works by one of the most remarkable, and controversial Danish playwrights and theatre critics from the interwar period, Svend Borberg. Borberg was a rare modernist and internationally oriented voice in Danish theatre, and the two works, the biblical comic opera Susanna and the pantomimic ballet, Stambul brænder [Stambul Burning] adds not only an important missing link in Borberg’s oeuvre, but also in those of h

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8

Kirkegaard-Larsen, Thomas Jul. "Køn sang." Tidsskriftet SANG 2, no. 1-2 (2021): 6–15. http://dx.doi.org/10.7146/sang.v2i1-2.137219.

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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 predo

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9

Geertinger, Axel Teich. "Samlingsformidling gennem tematiske værkfortegnelser." Fund og Forskning i Det Kongelige Biblioteks Samlinger 58 (March 9, 2019): 213. http://dx.doi.org/10.7146/fof.v58i0.125304.

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Axel Teich Geertinger: Contextualising Library Collections through Thematic Catalogues Between the years 2014 and 2019, Dansk Center for Musikudgivelse (DCM) (Danish centre for Music Editing) has published thematic-bibliographic catalogues of the works of four composers, in both digital and printed editions: Carl Nielsen, Johann Adolph Scheibe, J.P.E. Hartmann and Niels W. Gade. The concept and the software behind it were developed by DCM concurrently with the work on the actual catalogues’. DCM’s catalogues of the works are in keeping with a long tradition within musicology, in which su

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10

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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11

Thyssen, Peter. "Grundtvig, Laub og kirkesangen." Grundtvig-Studier 45, no. 1 (1994): 229–55. http://dx.doi.org/10.7146/grs.v45i1.16148.

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Grundtvig, Laub and Church Singing.By Peter ThyssenThe article deals with the importance that Grundtvig’s hymn writing acquired for the development of church music in Denmark through the 19. and 20. centuries. At first, the lack of tunes for the hymns written by Grundtvig for his own metres, resulted in the appearance of a great number of romantic hymn tunes which became widely used in church singing all over the country through the 19. century. Compared with these new lively and romantic tunes, however, the old chorales, isorhytmical at that time, were bound to seem more and more »stiff« and

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Groth, Sanne Krogh. "Provoking, Disturbing, Hacking: Media archaeology as a framework for the understanding of contemporary DIY composers’ instruments and ideas." Organised Sound 18, no. 3 (2013): 266–73. http://dx.doi.org/10.1017/s135577181300023x.

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The article is a discussion of works by two Danish composers who both, with self-constructed instruments, challenge computer music as genre, the understanding and use of conventional technology, and the music's relation to history. At first glance, the use of homemade instruments appears to be a common characteristic. But, when one takes a closer look, different discourses and various discussions of media and materiality are revealed. In the article the various positions are unfolded through discussions within the theoretical field of media archaeology – a science with its roots in media studi

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13

Anderson, Martin. "The Many Patterns of Per Nørgård." Tempo, no. 202 (October 1997): 3–7. http://dx.doi.org/10.1017/s0040298200048877.

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Per Nørgård makes an improbable Grand Old Man. For a start, he's not nearly old enough; though he was 65 on 13 July this year, you wouldn't imagine to look at him that he was much past his mid-forties. Nørgård, moreover, cuts no establishment figure: he is a large, imposing man, with a thatch of reddish-blonde hair splashed on top of a rugby-player's frame that suggests he is about to explode into action at any moment. But Grand Old Man he already is: with the deaths of his teachers Vagn Holmboe (last September, at the age of 88) and Finn Høffding (this March, at an Olympian 98), Nørgård is no

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14

Окунева, Е. Г. "The Symphonic Work by Per Nørgård: The Trajectory of the Genre’s Development." Научный вестник Московской консерватории 14, no. 4(55) (2023): 646–73. http://dx.doi.org/10.26176/mosconsv.2023.55.4.03.

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В статье рассматривается эволюция симфонического творчества одного из ведущих датских композиторов современности Пера Нёргора. Восемь симфоний, созданных им в период с 1953 по 2011 год, обладают комплексом своеобразных черт и демонстрируют индивидуальный подход к жанру. В статье дается их общая характеристика, выявляется роль Сибелиуса и Хольмбу в творческом становлении Нёргора, раскрываются принципы композиционного устройства циклов, прослеживаются связи с традицией. Особое внимание уделяется оригинальной композиторской технике (принципу «бесконечной серии», системе мелодической, гармоническо

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15

Tsaregradskaya, Tatiana V. "Simon Steen-Andersen — a Composer of the Postmodernist Era." Russian Musicology, no. 4 (2024): 69–76. https://doi.org/10.56620/rm.2024.4.069-076.

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The composer’s position in the contemporary academic musical culture includes an entire spectrum of directives: from the modern to the postmodern. The postmodernist aesthetical directive towards irony and the element of play are the most akin to Danish composer Simon Steen-Anderson, who has received broad recognition in the professional community. In this article, the conceptions of three compositions by Steen-Andersen are analyzed — Black Box Music for solo percussionist and fifteen performers (2012), In Spite Of, And Maybe Even Therefore for winds, piano, percussion and double-bass (2007) an

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16

Okuneva, Ekaterina G. "The Instrumental Concerto in Bent Sørensen’s Musical Output." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 162–76. http://dx.doi.org/10.56620/2782-3598.2023.2.162-176.

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In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, wh

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Okuneva, Ekaterina G. "New Romanticism in Danish Music: about the Artistic Method of Bent Sørensen." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 93–108. http://dx.doi.org/10.33779/2782-3598.2022.1.093-108.

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At the center of the article’s attention lies the music of contemporary Danish composer Bent Sørensen, who was awarded the prestigious Gravemeyer Awards in 2018. The author reveals the sources of compositional inspiration, the peculiarities of the figurative system, and the artistic ideas sustaining the musical compositions demonstrate the characteristic techniques which determine the descriptive topos of his music (an abundance of glissandi, sound repetitions, use of tapering of sound, special performance techniques, etc.). Special attention is given to two of Sørensen’s compositions – the tr

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18

Lundgreen-Nielsen, Flemming. "Grundtvig i guldalderens København." Grundtvig-Studier 46, no. 1 (1995): 107–39. http://dx.doi.org/10.7146/grs.v46i1.16185.

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Grundtvig and Golden Age CopenhagenBy Flemming Lundgreen-NielsenThe article has originally been given as a public lecture at the University of Copenhagen during the Golden Days in Copenhagen festival in September 1994. By way of introduction the question is posed to which extent Grundtvig belongs to the Golden Age period in Danish cultural and artistic life. Though he lived in the capital for 65 years, he never orientated himself towards the places that interested most other educated Copenhageners. The University rejected his applications for a professorate, and he in return vehemently attacke

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Okuneva, Ekaterina G. "Bent Sørensen’s Sounds Like You as a Phenomenon of Contemporary Musical Theater." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 62–76. http://dx.doi.org/10.56620/2782-3598.2023.1.062-076.

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The article focuses on the processes of renewal of the musical and theatrical genres taking place at the beginning of the 21st century. The object of the study is formed by a composition for orchestra, chorus, actors and audience participation, Sounds Like You (2009) written by Danish composer Bent Sørensen in collaboration with librettist Peter Asmussen commissioned by the Danish Broadcasting Company. In the article attention is focused on the genre and the compositional-dramaturgic laws of this work the musical material of which is based on Sorensen’s earlier orchestral piece Exit Music (200

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20

Krabbe, Niels. "Paul von Klenau og hans niende symfoni. Kilderne, værket, receptionen." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 229. http://dx.doi.org/10.7146/fof.v53i0.118851.

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Niels Krabbe: Paul von Klenau and his ninth Symphony – the sources, the work, the reception In 2001, the Royal Library learned about a comprehensive private collection in Vienna that contained music, letters and lecture manuscripts, photographs and other archive materials of the Danish composer Paul von Klenau (1883–1946). A preliminary survey of the collection revealed that the contents included a number of music manuscripts (symphonies, chamber music concerts and more), which were not known from the rest of the library’s major collection of Klenau works. The collection’s greatest and m

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Okuneva, Ekaterina G. "Semantic and Structural Potential of Autoreferentiality in the Music of Bent Sørensen." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 122–37. http://dx.doi.org/10.56620/2782-3598.2024.2.122-137.

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The article focuses on the phenomenon of autoreferentiality and the forms of its semantic and structural realization in the music of the Danish composer Bent Sørensen (b. 1958). Based on the classification proposed by Maria Romanets, two types of intertextual interactions are considered — the corpus type (featuring self-derivation of the material of the entire work) and the lexical type (featuring self-quotation). The material for the analysis was formed by the musical compositions written by Sørensen during the last twenty years: the Concerto for Accordion It is Pain Flowing Down Slowly on a

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Medic, Ivana, and Jelena Jankovic-Begus. "What does quantum music sound like and what would Pierre Boulez think of it? Super position (many worlds) by Kim Helweg (2017)." Muzikologija, no. 24 (2018): 79–93. http://dx.doi.org/10.2298/muz1824079m.

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Pierre Boulez (1925-2016) devoted a great deal of time and consideration to the relationship between the composer?s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez?s famous essay ?Technology and the Composer? (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez?s ?vintage? insights are here juxtaposed with a contemporary Quantum Music project (2015-2018), and with one particular piece written within this project: Super Position (M

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Conway, Paul. "London, Wigmore Hall and R.A.M.: String Quartets by Hans Abrahamsen, Rebecca Saunders, Colin Matthews, Graham Williams and John Hawkins." Tempo 67, no. 264 (2013): 75–77. http://dx.doi.org/10.1017/s0040298213000156.

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Due to Hurricane Sandy, the New York-based JACK Quartet were unable to cross the Atlantic to join forces with the Arditti Quartet at London's Wigmore Hall on 31 October 2012 for the British premières, now postponed, of 2012-S for two string quartets by James Clarke and the string octet Kampf zwischen Karneval und Fasten by Mauro Lanza. In lieu, the Ardittis substituted James Clarke's String Quartet No. 1 (2002–03) and Wolfgang Rihm's String Quartet No. 13 (2011), joining the first performances in the UK, as originally advertised, of quartets by Danish composer Hans Abrahamsen and British-born,

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Ballhausen, C. J. "Some Topical Poems Composed and Printed 1564-1568 in Wittenberg by Danish Students." Bodleian Library Record 13, no. 5 (1990): 347–52. http://dx.doi.org/10.3828/blr.1990.13.5.347.

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Pylaeva, Larisa D. "On the Role of the ‘‘Passionate’’ Rhythms of French Poetry of the 17th and Early 18th Centuries in the Genres of the chanson à danser and the danse chantée." Contemporary Musicology, no. 3 (2023): 9–25. http://dx.doi.org/10.56620/2587-9731-2023-3-009-025.

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The article is devoted to the rhythms of French Baroque poetry, which are considered as an important source of emotional expressiveness in the dances of that time period. One example chosen is the Sarabande, as presented in the genres of the chanson à danser and the danse chantée by French composers of the 17th and the early 18th centuries. Special attention is given to the so-called unbalanced phrasing of poems, which leads to the emergence of ‘passionate rhythms.’ Their expressiveness was stipulated by the three types of accents present in the French spoken language — the grammatical, the lo

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Белянский, Д. В. "“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 128–61. http://dx.doi.org/10.26176/mosconsv.2019.39.4.005.

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С тех пор, как во второй половине XVIII века шотландский поэт Джеймс Макферсон опубликовал «Поэмы Оссиана», этот литературный памятник оказывал огромное влияние на представителей всех видов искусств. Европейские писатели, поэты, художники, музыканты нередко воплощали «оссиановские» образы и сюжеты в своих произведениях. Это явление недостаточно освещено в российском искусствознании. В настоящей работе приводится подробный экскурс в историю «Поэм Оссиана» в европейском искусстве; в том числе, в связи с творчеством К. Д. Фридриха, Ф. О. Рунге, Ф. Шуберта, Ф. Мендельсона, Р. Шумана. Особое вниман

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Bonde, Lars Ole. "Ej blot til lyst – eller trøst?" Peripeti 10, no. 20 (2021): 57–68. http://dx.doi.org/10.7146/peri.v10i20.109397.

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Lars Ole Bonde præsenterer en sammenlignende analyse af to operaer af Bent Lorentzen, Danmarks mest produktive operakomponist. Den ene blev produceret af teater Kaleidoskop i København, den anden som turnerende ”camplet-opera” af Den Jyske Opera. Der er meget iøjne- og iørefaldende forskelle på den tragiske opera Tristan-Variationer og den komiske Pergolesis hjemmeservice. Men der er også en række overraskende ligheder, som bl.a. afdækkes ved hjælp af et musikdramaturgisk analyseapparat, udviklet af komponisten selv i bogen Musikdramaturgi. The Danish composer Bent Lorentzen (b. 1935) has comp

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Fábio, Luís Guimarães. "Brumadinho: um (doloroso) aprendizado de lições novas de processo coletivo." Revista Eletrônica da PGE-RJ 5, no. 1 (2022): 1–27. https://doi.org/10.46818/pge.v5i1.262.

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Os danos socioeconômicos e socioambientais decorrentes do rompimento de barragem de rejeitos na mina “Córrego do Feijão”, em Brumadinho, foram compostos entre a Vale e entidades públicas no contexto do processo coletivo. Analisa-se aqui como a mediação pode assegurar a tutela de direitos, feita a partir de um litígio coletivo irradiante.

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Окунева, Е. Г., and Н. А. Феофанова. "THE PROGRAM CONCERTO IN THE OEUVRE OF PER NØRGÅRD." Music Journal of Northern Europe, no. 2(38) (July 5, 2024): 38–58. http://dx.doi.org/10.61908/2413-0486.2024.38.2.38-58.

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В статье рассматривается концертное творчество современного датского композитора Пера Нёргора. Датский мастер работает в русле программного инструментального концерта. Большинство его сочинений имеет метатекстуальные заголовки, которые, с одной стороны, обладают чертами обобщённой программности, а с другой, указывают на свойства материала или приёмы композиторской техники. Нёргор отдаёт явное предпочтение тембру струнных инструментов и стремится к обновлению традиционных композиционных моделей. Ему свойственен научно-ориентированный взгляд на творческий процесс, что обусловливает экспериментал

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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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Severn, John R. "Migration and Opera Old and New." Nordic Theatre Studies 34, no. 1 (2023): 22–33. http://dx.doi.org/10.7146/nts.v34i1.137923.

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This article uses Eva Noer Kondrup’s chamber opera Den Rejsende (Copenhagen 2018) to examine the challenges and opportunities provoked by the operatic form when attempting to create socially responsible theatre. Focusing on how opera reflects and contributes to contemporary discourse on migration, it examines how opera’s unusual performance and reception demands differentiate it from, for example, spoken verbatim theatre. The article first considers the most common way opera companies today engage with migration – through productions of existing operas – in which socially responsible decisions

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Kreutzfeldt, Jacob. "Street Cries and the urban ritornelle." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (2012): 61–80. http://dx.doi.org/10.7146/se.v2i1.5156.

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Street cries, though rarely heard in Northern European cities today, testify to ways in which audible practices shape and structure urban spaces. Paradigmatic for what Gilles Deleuze and Felix Guattari call ‘the refrain’, the ritualised and stylised practice of street cries may point at the dynamics of space-making, through which the social and territorial construction of urban space is performed. The article draws on historical material, documenting and describing street cries, particularly in Copenhagen in the years 1929 to 1935. Most notably, the composer Vang Holmboe and the architect Stee

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Howell, Tim. "Brahms, Kierkegaard and Repetition: Three Intermezzi." Nineteenth-Century Music Review 10, no. 1 (2013): 101–17. http://dx.doi.org/10.1017/s1479409813000050.

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Schoenberg's ideas about ‘Brahms the progressive’ involve the close study of the composer's use of ‘developing variation’ technique, yet Brahms's music also contains a high incidence of repetition. In 1843, the Danish philosopher Søren Kierkegaard published a book called Repetition under the pseudonym, ‘Constantin Constantius’. As an encryption of his underlying philosophy, this pseudonym encapsulates both the constant nature of repetition – and its more subtle element of change. Thus stasis and dynamism, similarity and difference, are equally (and visibly) represented here. Kierkegaard's idea

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Окунева, Е. Г., and И. О. Коновалов. "“ANATOMIC SAFARI” BY PER NØRGÅRD: EXPERIMENTS WITH THE ACCORDION." Music Journal of Northern Europe, no. 1(37) (March 29, 2024): 33–49. http://dx.doi.org/10.61908/2413-0486.2024.37.1.33-49.

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Объектом изучения в статье выступает сюита для аккордеона «Анатомическое сафари», созданная датским композитором Пером Нёргором в 1967 году. Она являет собой образец экспериментального сочинения, в котором представлена расширенная трактовка инструмента. В статье анализируются темброво-звуковые эффекты пьес, раскрываются особенности графической нотации и приёмы новых инструментальных техник (вибрато, глиссандо, кластеры, стук клавиш при неподвижном мехе, flat fingers, coagulando, щелчки клавиш регистров и проч.). Отмечается, что идейно-художественный замысел цикла можно интерпретировать двояко:

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Okuneva, Ekaterina G. "In Search for a Genuine Reality: The Specificity of Genre and Dramaturgy in Per Nørgård’s opera Siddharta." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 52–67. http://dx.doi.org/10.56620/2782-3598.2024.1.052-067.

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The article focuses on the peculiarities of genre and dramaturgy of the opera Siddharta (1974‒1979, revised 1984, libretto by Ole Sarvig) by Danish composer Per Nørgård. Its plotline is based on the story of young Buddha, his birth, growing up and encounter with human sufferings, from which the prince had been artificially shielded by his father. The author of the article connects the opera’s singularity of genre with its character of modulation from a mystery to a drama, which is confirmed by the changes occurring in the libretto’s lexical structure, in the chronotope of the composition, whic

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Окунева, Е. Г., and Д. А. Томских. "HANS ABRAHAMSEN’S “LEFT, ALONE” CONCERT AS A GENRE-COMPOSITIONAL AND ARTISTIC PHENOMENON." Music Journal of Northern Europe, no. 3(35) (November 29, 2023): 13–34. http://dx.doi.org/10.61908/2413-0486.2023.3.13-34.

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В центре внимания статьи – леворучный фортепианный концерт «Left, alone» (2015) датского композитора Ханса Абрахамсена, посвящённый французскому пианисту Александру Таро. Авторы рассматривают композиционную структуру сочинения, особенности его музыкальной организации и драматургии. Отдельное внимание уделяется художественному замыслу, в котором находят отражение автобиографические черты. В ходе анализа выявляется основная идея сочинения – идея ограничения, которая проявляется на разных уровнях – на уровне организации музыкального материала (краткость тем, ограничение их звукового состава и диа

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Weyhe, Eivind. "Hundatátturin og Dansk Kongetal – og tvey bygdamál / Hundatátturin and Dansk Kongetal – and two dialects." Fróðskaparrit - Faroese Scientific Journal 58 (February 26, 2017): 65. http://dx.doi.org/10.18602/fsj.v58i0.62.

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<p><strong>Úrtak</strong>: Greinin viðger tann føroyska táttin „Hunda táttur“ (CCF 229), og hon lýsir sambandið millum hann og ta donsku vísuna „Dansk Kongetal“ (DgF 115). Tann danska vísan inniheldur eina uppreksan av donskum kongum, og ein føroyskur yrkjari hevur brúkt vísuna sum fyrimynd til ein tátt, sum reksar upp hundar í eini føroyskari bygd. Tann føroyski yrkjarin kann vera kvæðaskaldið Jens Chr. Djurhuus (1773-1853), men tað fæst ikki full vissa fyri tí. Tvær uppskriftir eru av táttinum, og í greinini verða tær endurgivnar stavrætt. Tær umboða tvær ymiskar føroyskar

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Lövei, Gabor L., and Tibor Magura. "Ground beetle (Coleoptera: Carabidae) diversity is higher in narrow hedges composed of a native compared to non-native trees in a Danish agricultural landscape." Insect Conservation and Diversity 10, no. 2 (2016): 141–50. http://dx.doi.org/10.1111/icad.12210.

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Окунева, Е. Г. "Техника перезвонов Пола Рудерса: истоки, принципы, контекст". Научный вестник Московской консерватории 16, № 1(60) (2025): 104–29. https://doi.org/10.26176/mosconsv.2025.60.1.03.

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Статья посвящена особенностям композиционной техники Пола Рудерса, получившей наименование техники перезвонов. Оригинальный метод был разработан датским мастером во второй половине 1970-х годов и с тех пор неустанно совершенствовался. Его истоком стало распространенное в англиканской церкви искусство звонить в несколько колоколов в строго определенной последовательности, контролируемой математическими алгоритмами. Рудерс экстраполирует данные принципы на область музыкальной композиции, заменяя колокола мотивно-тематическими ячейками. В статье рассматриваются базовый материал, с которым работае

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Røllum-Larsen, Claus. "J.S. Bach og Danmark. En studie i den danske præsentation og musikfaglige behandling af Bachs værker indtil 1950." Fund og Forskning i Det Kongelige Biblioteks Samlinger 54 (March 3, 2015): 305. http://dx.doi.org/10.7146/fof.v54i0.118887.

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Claus Røllum-Larsen: J.S. Bach and Denmark The dissemination and pursuit of Bach’s music in the first decades of the 1800s was characterized by the circle surrounding Peter Grønland, not least C.E.F. Weyse. The dissemination of Bach’s printed works seems to increase around the year 1800, but does not reach a high level until 1850. During the 19th century, there were strongly committed performers, who scheduled Bach’s music: the earliest was Hans Matthison-Hansen (organ works), later — from 1875 — Niels W. Gade (including The St. Matthew Passion), Gottfred Matthison-Hansen (organ works) a

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Højlund, Flemming. "I Paradisets Have." Kuml 50, no. 50 (2001): 205–20. http://dx.doi.org/10.7146/kuml.v50i50.103162.

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In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahra

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Stensager, Anders Otte. "»Mit navn er Boye, jeg graver dysser og gamle høje«." Kuml 52, no. 52 (2003): 35–80. http://dx.doi.org/10.7146/kuml.v52i52.102638.

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»My name is Boye, I dig carins and old mounds«The archaeologist Vilhelm Christian BoyeThe story of Vilhelm Boye is the history of one man’s passionate and insightful involvement in archaeology, which from the first was directed solely towards the Bronze Age. His involvement led to an academic disaster in his youth, but left behind it a developed skill in field archaeology. Despite his problems he persisted with what most obsessed him, namely the preservation of Denmark’s oak coffin graves. His multi-facetted personality and his more popular approach to archaeology may have challenged his conte

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Kráčmar, Tomáš. "Nielsen – Brod – Janáček." Carl Nielsen Studies 4 (April 10, 2009). http://dx.doi.org/10.7146/cns.v4i0.27754.

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This article probes the musical relationship between Carl Nielsen and Leoš Janaček. Their mutual friend Max Brod was convinced that the two composers were spiritually related. A comparison of their musical language indicates a small number of common elements, especially in their music of the 1920s. Janaček believed that rhythmic figures in spoken language are related to states of mind and he constructed his own specific theory (so-called ‘sčasování’) about musical events in time related to psychological phenomena, and his mature work is based on this theory. Carl Nielsen’s ‘evil motif’ in the

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Sørensen, Inger. "Musiklivet på Fuglsang 1892 til 1931." Fund og Forskning i Det Kongelige Biblioteks Samlinger 52 (December 19, 2016). http://dx.doi.org/10.7146/fof.v52i0.41297.

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In 1891, squire Viggo de Neergaard (1837–1915) from Fuglsang on Lolland and hisyoung wife Bodil (1867–1959), who was the daughter of composer Emil Hartmannand granddaughter of J.P.E. Hartmann, met the German-Dutch composer, pianist andconductor Julius Röntgen (1855–1932) and his family on a trip in Norway. When theyparted, they agreed to visit one another in Amsterdam and at Fuglsang respectively.It was the start of a unique life of music at the manor on Lolland from the Röntgenfamily’s first visit the following year and up until Bodil Neergaard’s death as a widowin 1959. Almost every year up

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Nielsen, Svend Hvidtfelt. "Alternative Neo-Riemannian Approaches to Carl Nielsen." Carl Nielsen Studies 5 (October 1, 2012). http://dx.doi.org/10.7146/cns.v5i0.27770.

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On the basis of songs or songlike themes from three periods of Nielsen’s career I try to show how Nielsen’s harmonic progressions become simpler while displaying a more refined complexity. I do this on the basis of the theories of the Danish scholar/composers Jorgen Jersild and Jan Maegaard which are, in various degrees, based on Riemannian analysis. The two Danes thus represent an alternative neo-Riemannian approach to harmonic analysis. This approach was developed from 1970 to 1989, the very same years in which Erno Lendvai, David Lewin, Deborah Stein and Harald Krebs wrote their respective

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Vestergård, Karen, and Ida-Marie Vorre. "Danishness in Carl Nielsen's 'folkelige' Songs." Carl Nielsen Studies 3 (April 10, 2008). http://dx.doi.org/10.7146/cns.v3i0.27745.

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Nielsen’s 'folkelige' songs have been linked in many contexts with something especially Danish. In this article we deal with how this perception has arisen — from the composer’s declared intentions, from the practice of communal singing, and from their literary reception. As an introduction we sketch certain central lines in the history of 'folkelig' communal singing. With a view to evaluating the composer’s intentions we then outline the main points from our interpretations of Nielsen’s own statements and our analyses of text, music and their interaction, using the selection of Nielsen’s song

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Lønstrup, Ansa. "DANSK TONE: Ekkoet af danskhed?" Tidsskriftet Antropologi, no. 42 (December 1, 2000). http://dx.doi.org/10.7146/ta.v0i42.107443.

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This article makes a comparison between two Danish singers or two vocal objects: Aksel Schiøtz, a famous and international tenor in the bel-canto tradition (1906-75) singing songs from "the Danish treasure of songs" and Lars H.U.G.: a rocksinger and composer, born in 1953 and known (only) in Denmark in the 80’es and 90’es as a renewer of Danish rockmusic and lyrics. In this comparison the focus is on the listening to the voices and their treatments of the Danish languange – thus questioning whether we may speak of "the sound of Danish", "Danish tone" or "echo of Danishness" and whether this re

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Muntoni, Paolo. "Carl Nielsen in the United Kingdom." Carl Nielsen Studies 5 (October 1, 2012). http://dx.doi.org/10.7146/cns.v5i0.27769.

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The United Kingdom has always been receptive to the Danish composer Carl Nielsen. For a long time Great Britain was the only country outside Scandinavia to show interest in his works, which met both the favour of the public and the appreciation of critics. No other country has produced such a comprehensive list of articles, studies and reviews about Nielsen’s music. An overview of the commentaries on Nielsen’s most performed works, namely the Fourth and Fifth Symphony, published on two major British newspapers – The Times and The Guardian – documents how the opinion on his music constantly cha

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Krabbe, Niels. "Udbredelsen af J.P.E. Hartmanns klavermusik." Fund og Forskning i Det Kongelige Biblioteks Samlinger 51 (December 18, 2015). http://dx.doi.org/10.7146/fof.v51i0.41284.

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With the collected edition of J.P.E. Hartmann’s piano music in The Hartmann Edition of Danish Centre for Music Publication at The Royal Library (edited in two volumes in 2012 by the author), the article discusses the role of Hartmann’s piano music in the Danish musical life of the 19th century, included its relation to general trends in piano music of the time outside Denmark. The article focuses on the scope and genres of the composer’s more than 50 piano works including the dissemination of the music in Hartmann’s time, both in the form of published editions and of public and private perform

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Hansen, Thomas Holme. "Carl Nielsen and Knud Jeppesen. Connections and Collaborations, Influences and Significances." Carl Nielsen Studies 5 (October 1, 2012). http://dx.doi.org/10.7146/cns.v5i0.27767.

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The Danish musicologist Knud Jeppesen (1892-1974) is best known as a prominent figure in modern musicology during several decades of the twentieth century. Nevertheless, he was a student of Carl Nielsen who remained a life long inspiration and model to Jeppesen. Jeppesen became a permanent part of the composer’s circle of musical friends and collaborators during the last 15 years of Nielsen’s life - serving as a sort of assistant to Nielsen and being marginally involved in Nielsen’s work on some of his compositions - and he remained in contact with Nielsen’s relatives many years after the comp

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