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Ophav

 Ophav:
Steengaard Christensen, Bo1, Forfatter
Steinskog, Erik 2, Vejleder
Tilknytninger:
1Det Humanistiske Fakultet, Københavns Universitet, København, Danmark, diskurs:7035              
2Institut for Kunst- og Kulturvidenskab, Det Humanistiske Fakultet, Københavns Universitet, København, Danmark, diskurs:7038              
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Indhold

Ukontrollerede emneord: -
 Abstract: This thesis examines the construction of a national identity around Danish jazz. The thesis deals with identities and especially national identities and how they are constructed, but most importantly it deals with the construction of the phenomenon Danish jazz. In the years 1998 to 2004 the Danish saxophonist Hans Ulrik and the Danish trumpet player Thomas Fryland each released two albums with Danish songs, and this thesis examines these albums as examples of how Danish jazz can be constructed. Both musicians visually use Danish symbols in the construction – e.g. images of rune stones or modern Danish design. The performing musicians on the albums are – with one minor exception – established Danish jazz musicians, and the repertoires on the albums consist of all melodies from den danske sangskat (literally: the Danish song treasure. I.e. a large repertoire of songs rooted in the traditions of especially community singings, which – even though the repertoire cannot be fully defined – consists of hymns, folksongs, working class songs or songs from revues etc. that all has been ascribed some sort of significance as nationally important; therefore the term treasure). The musical interpretations on the albums are very different from each other, but the albums are all contributions to the negotiation of Danish jazz, and the thesis shows, that the negotiation takes place on the terms of an almost stabile view on what it means to be Danish. Interpretations of Danish folksongs etc. in jazz is a phenomenon that is seen as originally started by the Danish bass player Niels-Henning Ørsted Pedersen (NHØP) and the American pianist Kenny Drew in the 1970ies. Drew was settled in Denmark for almost 30 years, and several other American jazz musicians also dominated the Danish jazz scene especially in the 1960ies. Thus the construction of Danish jazz seems even more important since the Danish jazz scene was and still is exceptionally influenced by American tendencies. NHØP and Drew’s version of the Danish traditional “I skovens dybe stille ro” is especially well known in the context of interpretations of Danish songs in jazz, and the albums of Hans Ulrik and Thomas Fryland represents three versions of this song, that are all analyzed in this thesis.
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Filer

Navn:
Christensen_Bo_Steengaard.pdf (Hovedtekst)
Bemærkninger:
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Tilgængelighed:
Offentlig
Mime-type / størrelse:
application/pdf / 794KB
Copyright dato:
2011
Copyright information:
De fulde rettigheder til dette materiale tilhører forfatteren.
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Basal

Bogmærk denne post: https://diskurs.kb.dk/item/diskurs:24061:5
 Type: Speciale
Alternativ titel: konstruktionen af en national identitet omkring dansk jazz
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Detaljer

Sprog: Danish - dan
 Datoer: 2011
 Sider: -
 Publiceringsinfo: København : Københavns Universitet
 Indholdsfortegnelse: -
 Note: -
 Type: Speciale
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