Bensinprisene bestemmes av to faktorer: oljeprisen på det internasjonale (overordnede) markedet o... more Bensinprisene bestemmes av to faktorer: oljeprisen på det internasjonale (overordnede) markedet og det lokale markedet som forhandlerne opererer i.
In the early Christian church the spelling of the Word was essential, and this also contributed t... more In the early Christian church the spelling of the Word was essential, and this also contributed to making the literacy of music an important element in identifying and structuring Christian societies. Bringing literacy to music had several consequences, in particular the separation of the creator (composer) from the performer (musician). In the Age of Enlightenment the idea of music as a work of art distinguished the performance from the work. This idea triggered literacy in music where the musical notation became only one of several written sources of knowledge that could contribute to the understanding of music, its works and performances. The reliability of a performance in classical music has become connected to the performer's interpretation of the musical score and the literacy of that music. The validity of a performance was connected to the context of the performance. In contemporary (and commercial) language classical music is often identified with its strong connection between specialized social contexts and the literacy of this tradition. The fall of literacy in classical music is partly due to the dominant factor of the gramophone record on musical life in the 20th century. This has caused a new relationship between the music, the performer and the listener. The dissemination of classical music can now transcend the traditional links between musical content and its social context (arenas and status). The importance of the composer is reduced, while the performer's role and the importance of expressive qualities in the performance are enhanced.
Jeg er kommet på kant med Kant. Ikke at det har noen betydning for Kant eller hans tilhengere. De... more Jeg er kommet på kant med Kant. Ikke at det har noen betydning for Kant eller hans tilhengere. Dette lille essayet tilkjennegir bare en følelse av at den kantianske begrepsapparaturen stenger for innsikt i det bevissthetslandskap som musikkopplevelsen genererer.
As part of my study of gramophone recordings of Grieg's opus 5 no.3, I describe four stages in th... more As part of my study of gramophone recordings of Grieg's opus 5 no.3, I describe four stages in the process of music cognition. I point out that sonority is the most immediate impression of any sound, and therefore, most theories on musical cognition go in the wrong direction by using the music score as the ultimate argument in discussions on interpretation and performance of music. I find Bourdieu's analysis of the three classes in society appropriate, but his characterisations of the petit bourgeois listener have not taken into account the gramophone record's free distribution across social boundaries. It is the amount of expressive qualities in a performance that has opened for the diversity of interpretations. In that perspective the musical work becomes a social construction based on three personalities; the composer, the performer and the listener. For the record listener, the performer comes in front and the tradition «how to perform Jeg elsker Dig!» develops as a combination of renewal of technology and an omission of the score, but not necessarily of the music.
The essence of music engages the human ability to create symbolic meanings from any impression. I... more The essence of music engages the human ability to create symbolic meanings from any impression. In our search for this essence, we must first follow the communicative path of a musical performance. The double ontological status of music as both cognitive activity and observable object makes any transition from cognition to object a reduction from thick to thin entity, and any transition from notated/sounded work to interpretation/musical experience a thickening of the music’s properties. The process of elaborating upon the epistemological elements in this communicative chain positions the essence of the musical work as a discourse on relational dimensions that are culturally contextualized by the idea of a musical work.
Denne artikkelen er gjort tilgjengelig i henhold til utgivers retningslinjer. Det er forfatternes... more Denne artikkelen er gjort tilgjengelig i henhold til utgivers retningslinjer. Det er forfatternes siste upubliserte versjon av artikkelen etter fagfellevurdering, såkalt postprint. Dersom du skal sitere artikkelen anbefales det å bruke den publiserte versjonen
Bensinprisene bestemmes av to faktorer: oljeprisen på det internasjonale (overordnede) markedet o... more Bensinprisene bestemmes av to faktorer: oljeprisen på det internasjonale (overordnede) markedet og det lokale markedet som forhandlerne opererer i.
In the early Christian church the spelling of the Word was essential, and this also contributed t... more In the early Christian church the spelling of the Word was essential, and this also contributed to making the literacy of music an important element in identifying and structuring Christian societies. Bringing literacy to music had several consequences, in particular the separation of the creator (composer) from the performer (musician). In the Age of Enlightenment the idea of music as a work of art distinguished the performance from the work. This idea triggered literacy in music where the musical notation became only one of several written sources of knowledge that could contribute to the understanding of music, its works and performances. The reliability of a performance in classical music has become connected to the performer's interpretation of the musical score and the literacy of that music. The validity of a performance was connected to the context of the performance. In contemporary (and commercial) language classical music is often identified with its strong connection between specialized social contexts and the literacy of this tradition. The fall of literacy in classical music is partly due to the dominant factor of the gramophone record on musical life in the 20th century. This has caused a new relationship between the music, the performer and the listener. The dissemination of classical music can now transcend the traditional links between musical content and its social context (arenas and status). The importance of the composer is reduced, while the performer's role and the importance of expressive qualities in the performance are enhanced.
Jeg er kommet på kant med Kant. Ikke at det har noen betydning for Kant eller hans tilhengere. De... more Jeg er kommet på kant med Kant. Ikke at det har noen betydning for Kant eller hans tilhengere. Dette lille essayet tilkjennegir bare en følelse av at den kantianske begrepsapparaturen stenger for innsikt i det bevissthetslandskap som musikkopplevelsen genererer.
As part of my study of gramophone recordings of Grieg's opus 5 no.3, I describe four stages in th... more As part of my study of gramophone recordings of Grieg's opus 5 no.3, I describe four stages in the process of music cognition. I point out that sonority is the most immediate impression of any sound, and therefore, most theories on musical cognition go in the wrong direction by using the music score as the ultimate argument in discussions on interpretation and performance of music. I find Bourdieu's analysis of the three classes in society appropriate, but his characterisations of the petit bourgeois listener have not taken into account the gramophone record's free distribution across social boundaries. It is the amount of expressive qualities in a performance that has opened for the diversity of interpretations. In that perspective the musical work becomes a social construction based on three personalities; the composer, the performer and the listener. For the record listener, the performer comes in front and the tradition «how to perform Jeg elsker Dig!» develops as a combination of renewal of technology and an omission of the score, but not necessarily of the music.
The essence of music engages the human ability to create symbolic meanings from any impression. I... more The essence of music engages the human ability to create symbolic meanings from any impression. In our search for this essence, we must first follow the communicative path of a musical performance. The double ontological status of music as both cognitive activity and observable object makes any transition from cognition to object a reduction from thick to thin entity, and any transition from notated/sounded work to interpretation/musical experience a thickening of the music’s properties. The process of elaborating upon the epistemological elements in this communicative chain positions the essence of the musical work as a discourse on relational dimensions that are culturally contextualized by the idea of a musical work.
Denne artikkelen er gjort tilgjengelig i henhold til utgivers retningslinjer. Det er forfatternes... more Denne artikkelen er gjort tilgjengelig i henhold til utgivers retningslinjer. Det er forfatternes siste upubliserte versjon av artikkelen etter fagfellevurdering, såkalt postprint. Dersom du skal sitere artikkelen anbefales det å bruke den publiserte versjonen
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