Littérature scientifique sur le sujet « Music, Swedish-American »

The relevance of the study. The name of Swedish composer and violin virtuoso of the Romantic era Amanda Maier-Röntgen is virtually unknown in Ukrainian musicology. Her work was forgotten for long time and rediscovered by European (particulary Swedish) and American musicians. But at one time she was the first woman who received the title of “Musik Direktor” after graduating from the Royal Academy of Music in Stockholm. She also perfected her performing and composing mastership in Leipzig, her work was praised by critics and leading European musicians: E. Grieg, J. Brahms, K. Schumann, with whom A. Maier maintained creative contacts. Existing research in European and American musicology considers basically only biography and performing activity of A. Maier, not her composer style or genre-stylistic and compositional features of her works. The main objective of the research is to consider the stylistic parameters in chamber music works by A. Maier, in particular, her interpretation of the piano trio genre. The methodology of the study is based on the main methods of music science: compositional, harmonic, polyphonic, intonation genre-stylistic analysis, historical-comparative method. The main findings and conclusions of the study. The Trio in E flat major by A. Maier embodies both the most characteristic features of this genre that have developed in the works of classical composers, and the achievements of Romantic composers of the Austrian-German school of the first half of the nineteenth century, and the latter have priority in this work. Continuity with classical traditions can be traced in the four-part structure of the cycle, which has become typical for the trio genre, beginning with the works by L. van Beethoven; in specific techniques of ensemble writing (unison presentation of the initial theme with all instruments, dialogicity — comparison of the sound of ensemble tutti and solo piano; elements of imitation in strings part; polyphonic work with themes in development). Fundamental role of lyrics, reliance on the song and romance intonations, the kinship of themes within each of the parts, end-to-end thematic development, and thematic arches between the movements in composer thinking of A. Maier comes from Romanticism. Among the individual features inherent in the Trio A. Maier — laconic composition, plasticity of melodic lines, exceptional fluidity and coherence of form, which is achieved due to intonational similarity of the themes, openness of the syntactic structures or veiling of the cadences, organicity of the modulation transitions; dynamism of the developing sections. Also, some melodic and harmonic elements of the Trio (for example, in the themes of the middle sections of Scherzo and Andante) hint at the Scandinavian national folklore. Amanda Mayer's trio represents the best achievements of the romantic stage in the evolution of the genre: your embodiment of classical traditions together with the disclosure of personal lyrical and psychological content.

This article examines Ari folk horror film, Midsommar, in the context of Swedish ethnonationalist ideologies and their connections to environmental and cultural preservation. Reading the film through Michael Dylan Foster and Jeffrey A. Tolbert’s concept of the folkloresque, I draw correlations between its structural, fairy tale framing and manipulation of folkloric imagery in order to interrogate its deliberate representations of cultural and historical inauthenticity. Further, this article analyses Midsommar’s transnational milieu and its narrative emphasis on the ambiguous traditions and rituals of the rural Swedish commune, the Hårga, to argue that the film gestures towards a nostalgic appropriation of folkloric culture which highlights the ethnonationalist, anti-immigrant agenda of the far-right in Sweden. Midsommar thus provides a generative space for illuminating the complex relationship between folk tradition, nature and ethnic homogeneity at the intersections of environmental preservation and Scandinavian/American politics.

Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.

During the last decade the GIM community of Europe has grown considerably. I undertook my own training in the early 90´s at The Bonny Foundation of Music-Centered Therapies in Kansas with Helen Bonny, Lisa Summer and Fran Goldberg as inspiring teachers. I was the first Swedish GIM Fellow and in 1998 I became the first European Primary Trainer. In twelve years we have grown to now include eleven Primary GIM Trainers working around Europe. With more trainers come more students and more Fellows! In this time period there has been a movement towards developing a European organization of GIM. I will describe the gradual growth of the European community into the European Network of GIM (ENGIM) and the efforts of the appointed ENGIM steering committee, while taking into account the support garnered from the Association for Music and Imagery (AMI, the American GIM organization) and Helen Bonny, herself.

”Black Man’s Music”: Name Changes and Identity Negotiation among Finnish Jewish Jazz Musicians during 1920s – 1940s Many name changes of Jewish performing artists in Finland during the 1920s–1940s raise questions about the status of musicians from ethnic minorities and the boundaries of entertainment industry. In this article, I examine, on the one hand, the creating of an image of a ”Finnish” or ”American” jazz musician by name changes, and on the other hand, the concealing of one’s own ethnic origins in an occasionally xenophobic and antisemitic atmosphere. I also analyse how they have negotiated their musician identity in terms of Finnishness, Finnish Swedishness, Jewishness and African American jazz. As examples I use the five siblings of the Manulkin family and Jaakko Furman in Helsinki because of their prominent position and because in their cases the discussed phenomena are clearly visible. The Manulkin siblings took American-style names on their own initiative and Furman a Finnish name at his employer’s requirement. In the Manulkin case the name changes allowed them to create a musician image in harmony with the genre they represented. Their name changes also illustrate how Jewish musicians tried to adapt to the pressure of the time, at the same time wanting to preserve the integrity of their ethnic and cultural identity. When negotiating his identity in interviews, Furman does not bring up his Jewish background as he does with his identity as a Finnish Swedish speaker. His ethnic background is only reflected on the interviewers’ initiative when discussing the prominent role of Jewish musicians in the field of jazz and the xenophobic atmosphere of the Second World War. In interviews, Furman identifies himself more with Swedish speaking swing musicians than as a representative of Jewish jazz musicians in Finland or as a member of the Jewish community. He emphasises how jazz music provided Finnish Jewish musicians with a more tolerant community and atmosphere that rose above discrimination.

Music lyrics have undergone dramatic changes since the introduction of rock music more than 40 years ago. This is an issue of vital interest and concern for parents and pediatricians. During the past four decades, rock music lyrics have become increasingly explicit—particularly with reference to sex, drugs, and violence. Recently, heavy metal and "gangsta rap" music lyrics have elicited the greatest concern. In some cases lyrics communicate potentially harmful health messages. Such lyrics are of special concern in today's environment, which poses unprecedented threats to the health and well-being of adolescents. Pregnancy, drug use, acquired immunodeficiency syndrome (and other sexually transmitted diseases), injuries, homicide, and suicide have all become part of the landscape of everyday life for many American teens. At the same time, music is important to teenagers' identity and helps them define important social and subcultural boundaries. The results of one survey of 2760 14-to 16-year-olds in 10 different southeastern cities showed that that they listened to music an average of 40 hours per week. One Swedish study found that adolescents who developed an early interest in rock music were more likely to be influenced by their peers and less influenced by their parents than older adolescents. To date, no studies have documented a cause-and-effect relationship between sexually explicit or violent lyrics and adverse behavioral effects. A possible explanation for this lack of finding is that teenagers often do not know the lyrics or fully comprehend their meaning. For example, in one study only 30% of teenagers knew the lyrics to their favorite songs, and their comprehension varied greatly.

Keywords: books by Latvian exiles, publishing houses, translations, translators The purpose of this article is to explore the ways in which Latvians in exile after the Second World War continued the existing tradition of translating and publishing world literature, which publishing houses and translators were the most productive, which authors were published most often, and how they were received in the émigré society. The range of translations was particularly wide and diverse in the 1940s and 1950s when a total of 265 books were published, of which eight were poetry and four were plays, with fiction accounting for the rest. During this period, a total of 27 translations of different authors were published. German authors were most widely represented (30), followed by French (27), Estonian and American (26 each), Norwegian and Swedish (23 each) authors. The publishers accounting for most of these were Grāmatu draugs and Tilts in the United States, Daugava in Stockholm, and Imanta in Copenhagen. In the 1940s and 1950s, authors whose books could never be published in Soviet-occupied Latvia (James Joyce, George Orwell, Albert Camus et al.) were published outside its borders. Yet the publishers in exile had to pay attention to the rather conservative tastes of the majority of their readership and its reservations about works created in the Soviet Union (e.g., Doctor Zhivago by Boris Pasternak).

Locating the Format What is format radio? At a glance, the answer might seem simple. In common parlance, the concept is often presented as a pejorative counterpart to non-commercial broadcasting. However, to render the concept synonymous with commercial broadcasting neglects its historical specificity. Previous research has demonstrated the nuanced factors at stake in the selection of music at specific broadcasting stations (Ahlkvist and Fisher 301-325). Beyond economic structures and conditions, however, remains the matter of whether we can posit an aesthetic expression that epitomises format radio. Previous research has focussed predominantly on semantic source materials and theoretical propositions to hone in on the question. However, my wager is that the signal content itself can help us reveal something about the nature of formats. To pursue such a task, the Swedish case offers a promising possibility. Swedish media archives provide the opportunity to study how, and if, formatting tendencies can be detected beyond the realm of commercial broadcasting. Unlike many of its global counterparts, Sweden maintained a public service radio monopoly until the late twentieth century. Throughout the 1980s, experiments were done with regional radio, and by 1993 full commercial licencing was permitted. The result is a rare situation where the entire flow of daily Public Service Broadcasting (PSB) can be studied from the 1980s onwards, which in turn allows for large-scale analysis of the relationship between organisation structure and content stylistics before and after the introduction of commercial broadcasting. Broadcasting in Sweden was during this time maintained by the company Sveriges Radio (SR), and had been in more or less the same form since the early 1920s. The organisation was not directly owned by the state, but financed through the so-called broadcasting licence, which in turn depended upon governmentally decided goals. The overall ambition was similar to the usual PSB objectives: the guiding documents for broadcasting would thus be inclined to emphasise values like objectivity and diversity – yet little is said about aesthetics (Banerjee and Seneviratne 10). This arrangement was the setting for regular conflicts throughout Swedish radio history, in which the demand of the audience squared off with the ideals of broadcasters. Yet in the last decade of the century, the media environment was about to change in a precedented way. During these years, conceptual and economic tension between commercial and public service radio reached new heights, in turn forcing the matter of formats on the agenda. Research by Stjernstedt and Forsman, while not exclusively focussed on radio formats, addresses the theme within the broader framework of commercial Swedish radio. Their findings, along with those of Hedman and Jauert, suggest the influence of commercial formats on Swedish radio prior to the formal introduction of commercial broadcasting. This allows for an interesting epistemic possibly: if their propositions are correct, it would allow us to study the character of radio formats, without being intermixed with the scope of commercial broadcasting. The following analysis thus attempts to track the actual changes in the content, which could reveal the influence of format radio on PSB. For critics like David Hendy and Wolfgang Hagen, the format comes down to a question of self-similarity, “Programmierung von Selbstverständlichkeit” as Hagen critically dubs it (333), supposedly induces a certain superficial uniqueness of music stations, despite a fundamental sameness in their content. For this reason, the analysis is focussed on repeated similarities in the musical content. Methodological Approach Given the significant role ascribed to music in the theorisation of radio formatting, this aspect appears to be a potentially apt focus for constructing an experimental analysis. This is also practical as it allows for the translation and application of established spectral analysis methods from the realm of music analysis. In the context of audio data, spectral analysis refers to a process where the frequency components of a sound signal are decomposed and examined as numerical values. This method is crucial in audio engineering to understand the underlying structure and composition of sound and can assist in identifying specific patterns or anomalies in audio data. The analysis uses a sampling approach, concentrating on full-day broadcasts from music channels P2 and P3 in order to capture the general channel characteristics. These were the two formal music channels of SR during the time, with P3, the popular music channel, being directed at a younger audience, and P2 offering a more diverse mixture of classic and world music. The data, selected randomly from five weekdays across each of the years 1988, 1991, 1994, and 1999, are examined for indicators of self-similarity and format structuring. The hypothesis guiding this study suggests that format radio, shaped by technical standards and theoretical principles, exhibits a degree of radiophonic self-similarity. This proposition is explored quantitatively, applying statistical methods to the spectral data to assess similarities. The analysis itself is executed in combining a set of Python libraries. Initially, a segmentation model from The National Audiovisual Institute of France is used to isolate the musical content from the broadcasts. Then, the audio analysis library librosa converts these segments into spectral data, providing insights into timbre, key, and tempo. The results are presented using Principal Component Analysis (PCA) visualisations. These visualisations employ dimension reduction to represent the relationships between audio segments in a Euclidean space, with the proximity of nodes indicating similarity between data points. Even though the PCA method has limitations, well-discussed in the methodological literature, it grants certain insight into the structure of the dataset (Jolliffe and Cadima). In essence the method uses two-dimensional space to plot the relationship between n-dimensional data objects. The implication is that the distance between each entry entails something about the general similarity between the features of these data points. Critical scholarship, like that of Johanna Drucker, has brought attention to the epistemological tendencies inherent in these standardised statistical methods. The PCA method was also at the centre of discussions concerning the general credibility of computational literary studies in 2019, and I here follow Andrew Piper’s conclusion that the limitations are less a reason to abandon ship, and more an encouragement to remain “skeptical” (11). Thus, it is a call for complementary and comparative approaches. In order to do this, my analysis also employs audio recognition tools to compare the feature elements of the data set. By comparing both these different levels of analysis, across yearly samples from the decade, the study traces the evolution of musical styles and formats, potentially relating them to wider technological, cultural, or sociopolitical shifts. Results Fig. 1: The distribution of observations from the years 1988, 1991, 1994, and 1999, arranged from the top right to the bottom left. For each year, around 1,000 songs from each channel were studied. Data from 1988 indicate that the popular music channel P3 had a somewhat broader distribution spectrum in its content than its more eclectic counterpart. Initially, this may seem counterintuitive, as one might expect the expanding range of classic and world music of P2 to exhibit greater sonic variety than a channel playing mainstream and popular music. A possible explanation for these results can be found in prior research. Musicologist Alf Björnberg has provided a detailed account of the musical content of Sveriges Radio. His narrative emphasises that P3 underwent a significant content shift during the 1980s. Throughout this decade, the channel began to accommodate artists and genres that had been marginalised in the expanding landscape of broadcast media for decades (320). While P2 was not without variation during this era, P3 experienced a more notable change, moving towards avant-garde rock and experimental electronic music. This shift reflects a broader trend in the radio landscape, where traditional boundaries of genre and style were increasingly blurred, allowing for more diverse and experimental sounds to emerge in mainstream channels. The visualisation of these data not only highlights these historical shifts but also provides a quantitative basis for understanding the evolution of musical trends and preferences within the radio broadcasting domain. Björnberg’s study, predominantly centred on playlists and textual documents, mainly focusses on the period up to the end of the 1980s. Shortly summarising the 1990s, Björnberg concludes that 'the effects of commercial competition were most noticeable for P3' (326), especially during the early years of this competition. The data reveal a surprising trend in this regard too. At first glance, it might appear that P3 is reducing its musical variety, which could be interpreted as a response to the new, more rigidly formatted radio landscape. However, this perception is an illusion created by the rescaling of graphs to accommodate P2's possibly drastic content expansion. When calculating the average distance between points in P3's data, it becomes evident that the variation remains within the same range, with a fluctuation of only 0.4. This figure contrasts with P2's distance, which increases from 34.2 to 46.7 between 1988 and 1994. Instead of P3 reducing its musical variety, it is P2 that broadens its musical offerings. This can be seen as a response to the identified issue. Sveriges Radio addressed the new competitive situation with two seemingly contradictory initiatives: seeking a unique sonic identity while emphasising "diversity with a quality signifier" (Björnberg). The developments in P2's data can be viewed as a concrete expression of this ambition to counter the entry of format radio with increased variation. These findings underscore the complexities and adaptive strategies in the broadcasting landscape, demonstrating how public broadcasters like Sveriges Radio navigated the challenges posed by commercial competition. By expanding and diversifying their musical content, channels like P2 showed a commitment to maintaining their relevance and appeal in a rapidly changing media environment. This study not only sheds light on the historical trajectory of Swedish radio but also offers broader insights into the dynamics of cultural adaptation and change within the media industry. However, it is crucial to understand what the analysis actually signifies – it is not an absolute statement about the variation in music, but rather an analysis based on a number of specific measures. The assessment of the musical content, as mentioned earlier, is based on the combined factors of tempo, key, and a simplified measure of timbre. These metrics are analytically recognised methods for categorising musical content and have been used in previous research to address genre variation (Bogdanov et al.). However, this does not necessarily mean that they provide a comprehensive understanding of how the music actually sounded. In the graphs above, the timbre data is represented by a median value. To more accurately capture the variation in the sound profile, it might be more appropriate to analyse a broader spectrum of frequency values. In the following graphs, values are compared over time across 13 different frequency bands, based on the first 30 seconds of each song. This refined approach allows for a more nuanced understanding of the sonic domain. By examining a wider range of frequency values, the analysis can potentially reveal subtler shifts in the musical characteristics of the radio channels over time. This method acknowledges that while tempo, key, and timbre are significant, they are only part of a more complex auditory picture. By broadening the scope of analysis to include more detailed frequency data, a richer and more textured picture of the evolution of musical content on these radio stations emerges. This approach offers deeper insights into the intricate ways in which radio programming responds to and reflects broader musical trends and listener preferences. Fig. 2: The distribution of observations from 1988, 1991, 1994, and 1999, from the top right to the bottom left. This approach to measuring audio content results in a less dramatic visualisation, with no longer a clear dominance in the pace of development; instead, both channels undergo a similar process of differentiation. What we observe here is a form of channel profiling, where both channels progressively establish a more distinct sound profile. According to the definition by Hendy and Hagen, this type of channel characterisation can be considered in terms of formatting. What is revealed is an increase in channel self-similarity. However, this empirical examination of audio material suggests a nuanced understanding of formatting. On one hand, both channels, particularly P2, expand certain aspects of their music. Simultaneously, the sound profile becomes more distinctly framed for each channel. Understanding this stylistic evolution compels us to reflect on what self-similarity means on a perceptual level. While self-similarity as a mathematical concept does not require comparative data points from another source, this value means little for the listener's perceptual experience. The content coherence of a channel, in terms of experience, depends on a contrasting example. This contrast is precisely what the two music channels within Sveriges Radio offered during this period. Their musical profiles became clearer by sonically contrasting with each other. Under this broader channel similarity, certain characteristics, such as tempo and key, appear to have been able to vary more freely. Nonetheless, this profiling represents a type of complexity reduction – an increased predictability within the format's constraints. These conclusions offer an indication on how radio channels adapt and refine their identities over time, responding to both internal objectives and external competitive pressures. It underscores the dynamic nature of radio broadcasting, where channels continually evolve their formats to maintain relevance and listener engagement. The nuanced understanding of formatting and self-similarity provides valuable insights into the strategic decisions made by broadcasters in shaping their auditory content. Björnberg echoes Hagen and Hendy’s tendency to primarily criticise the lack of creativity in radio formats. However, his focus is specifically on a certain format – the 'adult contemporary' (Björnberg). Against this backdrop, a comparative study of the audio content of commercial alternatives would indeed be interesting. Unfortunately, due to the scarcity of preserved material, compiling a proportionate dataset for such a study is challenging. However, we can still contemplate the general content of 'adult contemporary' music. One speculative approach to addressing this question is to examine the instruments used in the music to see if they align with specific format descriptions. Such an analysis could provide further insight into how the PSB style is changing under the stakes of commercial competition. Fig. 3: Percentage distribution of instruments in sub-segments from the music content of P2 and P3 in the sample data from 1988. The results offer a potential explanation for the questions raised by the initial graphs in this study. While P2 shows some variation, there remains a, perhaps expected, focus on string instruments and the piano. P3, on the other hand, displays a wide mix of content. Notably, there is a relatively high presence of the accordion – an instrument that is as lauded as it is loved within the Swedish context. The instrument belongs to a longer tradition of popular music, encapsulating both certain folk music traditions, as well as ‘dansband’ tunes. Already by the onset of broadcasting, the accordion split the audiences right down the middle (Hadenius 76), and by the late 1960s, it was proclaimed a “dead” instrument (Björnberg 257). Here, my results highlight a certain perseverance of the instrument, speaking to the resilience of this sound. While the accordion may seem peripheral to the 1990s debates about radio formats, this example serves both as a reminder of the persistence of stylistic questions and their emotional charge. Therefore, it is instructive to study the instrument distribution in the final year of the sample data. Fig. 4: Percentage distribution of instruments in sub-segments from the music content of P2 and P3 in the sample data from 1999. The historical development has several interesting tendencies. Whilst the general distribution of instruments on P2 remains similar, P3 has witnessed significant changes. The previous sample displayed a wide variety of sounds with high distribution, albeit with guitar at the top. The data from 1999 have developed in a more guitar-centred direction. While this provides certain analytical depth to the previous stages of analysis, it might also give a clue into the more general question of format radio. The results demonstrate a tendency towards a clearer channel identity, with a more unified sound. Extending the interpretation, we can also consider the results in a scope of international research. Eric Weisbard, alongside other researchers like Saesha Senger, has extensively mapped the content of the top charts during the final decades of the twentieth century, revealing a clear direction towards synth music and guitar-driven rock during the 80s and 90s. Since we cannot study the actual content of commercial broadcasting in Sweden during this time, such historical references remain a promising second-degree comparison. In this perspective, P3 partly mirrors global trends, illustrating the station's responsiveness to changing listener preferences and the dynamic nature of music consumption. We are here engaged in classical historical work, piecing together fragments of data from different types of sources. Nevertheless, the results indicate how old traditions and global trends intermingle in the construction of a national format: a soundscape where accordions and guitars reverberate in parallel. Summary The investigation into SR’s channels P2 and P3 during the 1980s and 1990s reveals a nuanced understanding of radio formatting and its implications. Both channels exhibit idiosyncratic approaches that blend various musical styles to develop distinct channel identities within the context of format radio. While the channels have moved towards more predictable and structured formats, reminiscent of commercial radio, this has not led to an overall homogenisation of content. Instead, each channel has developed a unique version of formatting, and maintained its distinct identity while incorporating elements of structure and predictability. Finally, this matter runs up against an epistemological question which has fascinated sound scholars for some time. To create format radio is to create a sound in time that feels uniform. Philosophers and psychologists have long debated whether sounds can at all be understood as continuous perceptual phenomena, and what it means for a sound to be 'the same' over time (for example, Moles). If sonic uniformity is a scientific challenge already on the time scale of the second, then radiophonic flows introduce whole new complications and questions. Here it is no longer the similarity between two tones in flow, but day-long broadcast products to be understood under the same channel identity. This requires a shaping of sound at completely different scale. The empirical study of such challenges has only begun. References Ahlkvist, Jarl A., and Gene Fisher. "And the Hits Just Keep on Coming: Music Programming Standardization in Commercial Radio." Poetics 27.5-6 (2000): 301–325. Banerjee, Indrajit, and Kalinga Seneviratne. Public Service Broadcasting: A Best Practices Sourcebook. Asian Media Information and Communication Centre, 2005. Björnberg, Alf. Skval och harmoni: musik i radio och TV 1925-1995. Stockholm: Etermedierna i Sverige, 1998. Bogdanov, D., J. Serr, N. Wack, and P. Herrera. "From Low-Level to High-Level: Comparative Study of Music Similarity Measures." Proceedings of the IEEE International Symposium on Multimedia (ISM'09), International Workshop on Advances in Music Information Research (AdMIRe'09). 2009. 453-458. Doukhan, David, et al. "An Open-Source Speaker Gender Detection Framework for Monitoring Gender Equality." 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. Drucker, Johanna. Visualization and Interpretation: Humanistic Approaches to Display, Cambridge: MIT P, 2020. Forsman, Michael. Lokalradio och kommersiell radio 1975-2010: en mediehistorisk studie av produktion och konkurrens. Diss. Stockholms Universitet, 2011. Hadenius, Stig. Kampen om monopolet: Sveriges radio och TV under 1900-talet. Stockholm: Prisma 1998. Hagen, Wolfgang. Das Radio: Zur Geschichte und Theorie des Hörfunks – Deutschland/USA. Das Radio. Paderborn: Brill Fink, 2005. Hedman, L. "Radio." In Mediesverige 2003, ed. U. Carlsson. Gothenburg: Nordicom, 2002. Hendy, David. Radio in the Global Age. Cambridge: Polity, 2003. Jolliffe, Ian T., and Jorge Cadima. "Principal Component Analysis: A Review and Recent Developments." Philosophical Transactions of the Royal Society A 374 (2016). Juaert, Per. "Policy Development in Danish Radio Broadcasting 1980-2002: Layers, Scenarios and the Public Service Remit." In New Articulations of the Public Service Remit, eds. Gregory Ferrell Lowe and Taisto Hujanen. Gothenburg: Nordicom, 2003. McFee, B. et al. “Librosa: Audio and Music Signal Analysis in Python.” Proceedings of the 14th Python in Science Conference. 2015. 18-25. Moles, Abraham. Information Theory and Esthetic Perception. Trans. Joel E. Cohen. Urbana: U of Illinois P, 1966. Piper, Andrew. “Do We Know What We Are Doing?” Journal of Cultural Analytics 5.1 (2019). <https://doi.org/10.22148/001c.11826>. Stjernstedt, Fredrik. Från radiofabrik till mediehus: medieförändring och medieproduktion på MTG-radio. Örebro Universitet, 2013. Weisbard, Eric. Top 40 Democracy: The Rival Mainstreams of American music. Chicago: U of Chicago P, 2014.

Music Performance
D.M.A.
Swedish art song is seldom performed in its original language by American singers, despite Sweden's long and notable history of internationally recognized native classical singers who have introduced Swedish song to American audiences. These songs appear to be deserving of consideration for several reasons. First, the works of many Swedish song composers have been acclaimed by both performers and scholars. Second, American musicians perform and study works composed by the mainstream European peers of numerous Swedish song composers. Third, Swedish song is performed in its original language in other European countries by non-Swedish singers. The preceding statements suggest that American singers should, at the very least, have access to resources that enable them to explore the Swedish art song repertory. One factor that may be responsible for the dearth of performances of Swedish song by American singers is the perceived inaccessibility of the Swedish language. Swedish lyric diction is taught at very few American universities and conservatories. Swedish language courses, while not quite as rare, are not offered at most institutions. Most notably, there is a near total omission of the Swedish language from lyric diction resources written in English. The present work will address this omission. The purpose of this project is to provide American singers with a diction resource that will allow them to formulate and pronounce IPA transcriptions of Swedish song texts. This resource should enable informed performances of Swedish vocal repertoire by American singers. This study may also be useful to choral conductors interested in performing Swedish choral works.
Temple University--Theses

When the Swedish concert singer Jenny Lind toured the US in 1850, she became the prototype for the modern pop star. Meanwhile, her manager, P.T. Barnum, became the prototype for another figure of enduring significance: the pop culture impresario. Starting with Lind’s fabled US tour, Live Music in America surveys the ongoing impact and the changing conditions of live music performance in the US into the twenty-first century. It covers a range of historic performances, from the Fisk Jubilee Singers expanding the sphere of African American music in the 1870s, to Benny Goodman bringing swing to Carnegie Hall in 1938, to 1952’s Moondog Coronation Ball in Cleveland—arguably the first rock ‘n’ roll concert—to Beyoncé’s boundary-shattering performance at the 2018 Coachella festival. More than that, it details the roles played by performers, audiences, media commentators, and a variety of live music producers (promoters, agents, sound and stage technicians) in shaping what live music means and how it has evolved. Live Music in America connects what occurs behind the scenes to what takes place on the stage to highlight the ways in which live music is something that is very deliberately produced and does not just spontaneously materialize. Along the way, previously unstudied archival materials shed new light on the origins of jazz, the emergence of rock ‘n’ roll, and the rise of the modern music festival.

Swedish concert singer Jenny Lind made her American debut on September 11, 1850, at New York’s Castle Garden. At the time that she first arrived in the US, Lind was far from the first foreign musical celebrity to tour the country. But no previous touring artist engendered such widespread desires, such longing to hear her treasured voice and see her expressive countenance; nor did any previous artist give rise to such an explosion of efforts to represent her, both verbal and visual. Above all, no earlier touring artists, and few who came in the following decades, were met with such crowds at every turn. With Jenny Lind, music entered the American public sphere in a new way. It became part of something akin to what would, in the twentieth century, become termed “mass culture.” Performing just a year after cultural divisions had erupted in New York with the Astor Place Riot, Lind and her manager, P.T. Barnum, sought to present the singer as an icon of ideal femininity whose appeal crossed divisions of gender, race, and class. Yet they could not escape the social divisions of the era, and Lind’s concert tour was increasingly beset by conflict as it proceeded.