Per F. Broman

Selected Publications

Books or Parts of Books

In Progress
Karin Rehnqvist. Monograph in Swedish. Stockholm: Royal Academy of Music, Gidlunds. Forthcoming.

“To Joy and Failure: Ingmar Bergman’s Musicians.” In Music and Auteur Filmmaker in European Art House Cinema of the 1950s to the 1980s: Individuality and Identity, edited by Michael Baumgartner and Ewelina Boczkowska. New York: Routledge.

Published
“Aesthetic Value, Ethos, and Phil Collins: The Power of Music in South Park.” South Park and Philosophy, edited by Robert Arp. Malden, MA, Oxford, UK: Blackwell Publishing, 2007: 236–49. Updated in The Ultimate South Park and Philosophy 2013.

Sven-David Sandström. Monograph in Swedish. Stockholm: Royal Academy of Music, Atlantis, 2012.

“Silence and Sound in Ingmar Bergman’s Films.” In Music, Sound and Filmmakers: Sonic Style in Cinema. James Wierzbicki, editor. New York: Routledge, 2012: 15–21.

“The Good, the True, and the Professional: Teaching Music History in an Age of Excess.” In Vitalizing Music History Pedagogy. Edited by James Briscoe. College Music Society, 2010.

Editor of and contributor to What Kind of Theory is Music Theory? Epistemological Exercises in Music Theory and Analysis (A collection of essays co-edited with Nora Engebretsen. My own article is entitled “Music Theory: Art, Science, or What?” along with the co-authored Preface. Acta Universitatis Stockholmiensis. Stockholm Studies in Musicology 1. Stockholm: 2007. (Contributors include Gregory Proctor (Ohio State University), Elizabeth Sayrs (Ohio University), Mark Debellis (Columbia University), Elisabeth Kotzakidou Pace (Columbia University), Marion Guck (University of Michigan), Jacob Derkert (Stockholm University), Sten Dahlstedt (Uppsala University), Stephen Peles (University of Alabama), Ruth Tatlow (Stockholm University), Jonathan Dunsby (Eastman School of Music), James Manns (University of Kentucky).)

“Musik för komedi och tragedi: Dag Wiréns musik till En lektion i kärlek och Fröken Julie” [Music for Comedy and Tragedy: Dag Wirén's Music for A Lesson in Love and Miss Julie], Dag Wirén: En vägvisare, ed. by Martin Tegen. Hedemora: Gidlunds förlag, 2005: 201–06; 227–33; 290–92.

“Interpreting the Artwork: The Composer and the Placebo Aesthetic Experience.” Frispel: festskrift till Olle Edström [Free Play: Festschrift in Honor of Olle Edström]. Gothenburg: Gothenburg University, 2005, 423–34.

"Reconstructing Ingmar: Allusions, Life, Art, and the Purging of the Great Model," Woody Allen and Philosophy, edited by Mark T. Conard and Aeon J. Skoble (Chicago and La Salle: Open Court, 2004): 151–65.

The chapter “New Music in Sweden” in New Music in the Nordic Countries, ed. by John White, Pendragon Press, 2002: 445–588.

“Back to the Future”: Towards an Aesthetic Theory of Bengt Hambræus, Gothenburg: University of Gothenburg, 1999.

Editor-in-chief of Crosscurrents and Counterpoints: Offerings in Honor of Bengt Hambræus at 70, co-editors Nora Engebretsen and Bo Alphonce, University of Gothenburg Press, 1998.

Articles
“Mute the Bereaved Memories Speak: ‘Vulgar! Rough! Tasteless!—A major music event! Brilliant critique of civilization’.” Ars Lyrica 22 (2013): 21–39.

““Defining the Historiographic Landscape of Contemporary Swedish Music: An Eagle’s Eye View from Abroad.” ISCM World Music Magazine 19 (2009).

Über Musik redet mann! Nicht? Jan W. Morthenson: Metamusik.” [On the concept Metamusic as developed by composer Jan W. Morthenson (1940). In Swedish.] Nutida musik 2008:1: 5–15.

“Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach.” Co-authored with Nora Engebretsen. Journal of Music Theory Pedagogy 2007: 35–65.

“In Beethoven’s and Wagner’s Footsteps: Phrase Structures and Satzketten in the Instrumental Music of Béla Bartók.” Studia Musicologica Academiae Scientiarum Hungaricae 48 (2007): 113–31.

“Appealing to the Music and Connecting the Dots: Writing a History of Post-World War II Swedish Art Music.” Svensk Tidskrift för Musikforskning 87 (2005): 35–53.

'When All Is Said and Done': Swedish ABBA Reception during the 1970s and the Ideology of Pop." Journal of Popular Music Studies 17/1 (2005): 45–66.

“Gender, Ideology, and Structure:Pedagogical Approaches to the Music of Karin Rehnqvist.” College Music Symposium 44 (2004): 15–27.

“Bengt Hambræus and the Canadian Dream.” ex tempore: A Journal of Compositional and Theoretical Research in Music 10, No. 1 (2000): 5–11.

"Reger and Riemann: Some Analytical and Pedagogical Prospects," Svensk Tidskrift för Musikforskning [The Journal of the Swedish Musicological Society] 84 (2002): 13–25.

Several short entries on Swedish composers for the Danish dictionary Gads Musikleksikon (Copenhagen, 2003).

“I skuggan av Bloomington: Kompositionsundervisningen vid Butler University.” [In the Shadow of Bloomington: The Composition Program at Butler University. In Swedish.] Nutida Musik 42/4 (1999): 40–47.

“‘Touching up the Paint or a Complete Vinyl Residing? Meta-Analytical Strategies in Stephen Ingham’s Second Sonata for Piano and Tape.” Perspectives of New Music 37 No. 1 (1999): 5–25.

“Hambræus, Bengt.” The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie. London: Macmillan Publishers Ltd., 2001.

“‘I am no longer sure what MUSIC is’: Nya Frågor kräver Nya Svar: Senare Trender inom Musikforskningen.” [New Questions Demand New Answers: Recent Approaches in Musicology. In Swedish.] Nutida Musik 40, no. 1 (1997): 4–14.

“Pluralistic Perception, Token Musics, and Canon Formations: Memoirs from Darmstadt 1996.” In the Plural: Institutions, Pluralism and Critical Self-Awareness in Contemporary Music. Papers from three seminars on contemporary music organized by Department of Musicology, University of Copenhagen, as part of ISCM World Music Days 1996. Edited by Søren Møller Sørensen. Copenhagen: Department of Musicology, University of Copenhagen, 1997: 49–53.

“Richard Wagners Mästersångarna i Nürnberg: En Dold Antisemitisk Plan?” [Richard Wagner’s Die Meistersinger in Nürnberg: A Hidden anti-Semitic Plan? In Swedish.] OV-Revyns Årsbok 1995–96. Stockholm: Operavännerna, 1996: 20–22.

“Camp, Ironi, (Neo) Avantgarde: Tre läsningar av Gloriasatsen ur Sven-David Sandströms High Mass.” [Camp, Irony, (Neo) Avantgarde: Three Readings of the Gloria Movement from Sven-David Sandström’s High Mass. In Swedish.] Nutida Musik 39, no. 2–3 (1996): 33–38.

“Paleomodernism, neomodernism, and postmodernism och något om Montreal.” [Paleomodernism, Neomodernism, Postmodernism and the Musical Life in Montreal. In Swedish.] Nutida Musik 38, no. 3 (1995): 3–13.

“Emperor’s New Clothes: Performance Practice in the Late Twentieth Century. Svensk Tidskrift för Musikforskning [Journal of Swedish Musicological Society.] 76–77 (1994–95): 31–53.

Conference Paper Presentations

“To Joy and Failure: Ingmar Bergman’s Musicians.” Paper presented at the American Musicological Society Annual Meeting, Vancouver, BC, November 6.

“Ingmar Bergman’s Sublime Failure: Music, Madness, and the Hour of the Wolf.” Paper presented at the American Musicological Society annual conference, Pittsburgh, PA, November 8, 2013.

“The Musical Detective: Kurt Wallander, Jussi Björling, and the Art of Listening.” Paper presented at the Music and the Moving Image conference, New York University, June 1, 2014.

“Mute the Bereaved Memories Speak: A Pasolinian Requiem.” Paper presented at the Music and the Moving Image conference, New York University, June 1, 2013.

“Jan W Morthenson: The Reluctant Avant-Gardist?" Paper presented at the 2011 Annual Meeting of the American Society for Aesthetics, Tampa, FL, October 29, 2011.

“Bergman’s Sublime Failure: Constructing and Transcending the Madness in The Hour of the Wolf.” Paper presented at the Music and the Moving Image conference at New York University, June, 2011.

“Behind the Curtain: Ingmar Bergman’s Musical Conception in Höstsonaten.” Paper presented at the American Musicological Society annual meeting, Philadelphia, PA, November 15, 2009.

“Musical Function in the Gesamtkunstwerk: Chopin and Werle in Bergman’s Persona and Autumn Sonata.” Paper presented at the 15th Nordic Musicological Congress, Oslo, Norway, August 7, 2008.

“Torture, Pain, and Phil Collins: The Power of Music in South Park.” Paper presented at the Music and the Moving Image conference at NYU, May 30, 2008.

“Bartók’s Sentences: Teaching Non-Tonal Form in the Undergraduate Curriculum,” paper presented at the College Music Society Great Lakes Chapter annual meeting, Bowling Green, OH, March 3, and at the CMS National Conference in Salt Lake City, November 15, 2007.

“Roman or Riemann: Considerations for the Bologna Process,” paper presented and co-authored with Nora Engebretsen at the Music Theory Symposium at the Royal College of Music, Stockholm, May 30, 2007.

“The Good, the True, and the Professional: Teaching Music History in an Age of Excess,” paper panel during the American Musicological Society Midwest Chapter, Chicago, October 7, and at the College Music Society National Conference in Salt Lake City, November 16, 2007.

“Beyond Diegesis: Ingmar Bergman and Music,” paper presented at the conference Music and the Moving Image, New York University May 20, 2007. An extended version wasread at the Swedish Musicological Society annual meeting, Stockholm University, June 12, 2007.

“Bartók’s Sentences: Teaching Non-Tonal Form in the Undergraduate Curriculum,” paper presented at the College Music Society Great Lakes Chapter annual meeting, Bowling Green, OH, March 3, 2007, and at the CMS National Conference in Salt Lake City, November 2007.

“Roman or Riemann: Considerations for the Bologna Process,” paper presented and co-authoried with Nora Engebretsen at the Music Theory Symposium at the Royal College of Music, Stockholm, May 30, 2007.

“Mighty Metaphors in the Music Theory Curriculum, paper given at the College Music Society annual meeting in San Antonio, TX, September 14, 2007.

“In Beethoven’s and Wagner’s Footsteps: Towards a Theory of Formal Functions in the Instrumental Music of Béla Bartók.” Paper presented at the conference “Bartók’s Orbit” organized by the Bartók Archives of the Institute for Musicology of the Hungarian Academy of Sciences, Budapest, March 23, 2006.

Sweeping the Theory Ice: “Curling Pedagogy” and its Pitfalls, paper presented at the College Music Society Annual Meeting, Quebéc City, November 5, 2005.

“Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach.” Joint paper given with Nora A Engebretsen at the College Music Society Annual Meeting, San Francisco, November 4, 2004.

“‘When All Is Said and Done’: Swedish ABBA Reception during the 1970s and the Ideology of Pop,” paper presented at the International Association for the Study of Popular Music, United States Section, the University of Virginia, October 15–17, 2004.

“The Music of ABBA in the Undergraduate Theory and Aural Skills Curricula.” Paper given at the College Music Society Great Lakes Chapter, Annual Meeting, the University of Michigan, Ann Arbor, March 27, 2003.

“The Work, The Composer, and Society: Writing a History of Swedish post-World War II Art Music.” Paper presented at the Royal Musical Association Annual Meeting, University of Cardiff, UK, September 13, 2003.

“‘Money, Money, Money’—‘The Winner Takes It All’: Ideological Conflicts in the ABBA Reception in Sweden During the 1970s.” Paper presented at the Swedish Musicological Society annual meeting at the University of Gothenburg, Sweden, June 4, 2002 and the College Music Society Annual Meeting in Kansas City, MO, September 26, 2002.

“Gender, Ideology, and Structure: Pedagogical Approaches to the Music of Karin Rehnqvist.” Society of Music Theory Annual Meeting. University of Pennsylvania, November 7–11, 2001.

“Herding Calls and poétique de la diffèrence sexuelle: Analyses of Two Works of Karin Rehnqvist.” Paper presented during the College Music Society Annual Meeting in Santa Fe, NM, November 15–18. 2000.

“Interpreting the Artwork: The Composer and the Placebo Aesthetic Experience,” paper presented at the American Society for Aesthetics Eastern Chapter meeting at University of South Carolina at Columbia, March 25, 2000.

“Bengt Hambræus and the Canadian Dream,” paper presented at the Canadian University Music Society as part of the conference “Toronto 2000: Musical Intersections,” November 1–5, 2000.

“‘The Organic Music’ and ‘that Other One’: The Post-World War II Modernist Relationship with World Music,” paper presented at the College Music Society Great Lakes Chapter annual meeting at Ball State University, Muncie IN, March 31–April 1; The College Music Society annual meeting on November 2, as part of the conference “Toronto 2000: Musical Intersections,” November 1–5, 2000.

“‘Back to the Future’: Bengt Hambraeus’s Notion of Music History.” Paper read at the 1999 CUMS Annual Conference, at Bishop’s University, Lennoxville, Québec, June 9–12. 1998 “‘Quasi-philosophy and Adiaphora’: Bengt Hambræus’s (mis)understanding of Theodor Adorno.” The Swedish Musicological Society Annual Meeting in Falun, Sweden, June 3–4, 1998.

 

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