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Grip mikrofonen?

Dahl, Per
Journal article, Peer reviewed
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http://hdl.handle.net/11250/185904
Issue date
2009
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  • Vitenskapelige publikasjoner (HF-IMD) [7]
Original version
Dahl, P. (2009) Grip mikrofonen? Studia Musicologica Norvegica, 
35, pp. 156-173  
Abstract
Listening to 210 recordings of Grieg’s opus 5 no. 3 from 1899–2005, I have selected a small

section of the song (bars 10–16), and analysed the singer’s choice of expressions of intensity

or intimacy. Intensity is defined as a quality where the potentiality of the expression is linked

with general, congeneric elements (signs, symbols, gestures). Intimacy is defined as a quality

where the actuality of the expression is linked with the performer and the moment of

performance.

From 1926 a new kind of singer emerged: the gramophone artist using the microphone as

his/her main expression tool resulting in intimacy, mostly by performing regular text rhythms

in an irregular way (parlando). The concert hall singer did not change his/her style of singing,

taking advantage of the studio until the beginning of 1950s. The tendency of tidying up

performances towards more literary correct performances is documented in these recordings

up to 1975. Then the intimacy of parlando again becomes the main expression in this section.
Publisher
Universitetsforlaget
Journal
Studia Musicologica Norvegica

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