Norsk Kirkemusikk i etterkrigsårene
Up to the second World War, church music in Norway was marked by the inheritance from national romanticism and the rediscovery of Norwegian Gregorianism from the Middle Ages. During the 1950s, Norwegian musical life was dominated by neo- classicism. In concert music many church musicians followed co...
| Κύριος συγγραφέας: | |
|---|---|
| Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
| Γλώσσα: | Σουηδικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Έκδοση: |
1990
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| Στο/Στη: |
Svenskt gudstjänstliv
Έτος: 1990, Τόμος: 65, Σελίδες: 33-44 |
| Διαθέσιμο Online: |
Volltext (kostenfrei) |
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| 520 | |a Up to the second World War, church music in Norway was marked by the inheritance from national romanticism and the rediscovery of Norwegian Gregorianism from the Middle Ages. During the 1950s, Norwegian musical life was dominated by neo- classicism. In concert music many church musicians followed course with the other Norwegian composers from neo-classicism via twelve-tone technique and serialism to the avant-garde experiments of the 1960s. At the same time, church musicians in the spirit of Hindemith developed a more moderate-modern “utility music” concerning services and musical evenings. Conrad Ba den (1908-1989), Knut Nystedt (1915), and Egil Hovland (1924) were among the leading people here. Besides, the 1950s were characterized by the fight for a reintroduction of a restored Reformation century chorale and a renewed interest for Gregorianism. The 1960s were characterized by a strong wish to find new ways of expression. This was evident also in service music. In cooperation with poets and theologians, the composers designed new service forms where music, theatre, and dance were experimentally integrated. At the same time, the first experiments with pop and jazz services were carried out. From 1967 the so-called Tensing movement became an important factor in church work among young people. During the 1970s there was a remarkable change. The composers, who had only a few years earlier made hymns in the twelve-tone manner, let themselves now be influenced by Anglican church singing. The neoromantic style spread quickly, and it opened the door for a wide spectrum of musical genres. Work on a new hymn book led to a prospering of new hymnal tunes which moved stylistically from the style of simple folk songs to monumental hymns emanating from cathedral singing. The time up to the publication of ”Norsk Salmebok” (Norwegian Hymn Book) in 1985 will have to be recognized by future times as one of the richest and most fruitful periods of Norwegian church music. In the 1980s, Trond Kverno (1945) and Kjell Mprk Karlsen (1947), especially, have made themselves noticed. In the young generation, great expectations are being laid on Nils Henrik Asheim (1960). | ||
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