Our PhD projects
My research project revolves around Saleh Al-Kuwaity, a Jewish Iraqi composer (1908-1986) who shared his career with his brother, oud player and singer Daud Al-Kuwaity. The two emigrated from Iraq in 1951 and settled in Israel.
In Iraq, his name was erased due to his Jewish background, and his popular songs were published as "traditional Iraqi". In Israel, he was mostly neglected, due to his Arabic background. The music of Al-Kuwaity was a meeting point of Jewish and Muslim performers and listeners. I explore his music and his biography as embodiment of Jewish-Arabic culture in Iraq during the 1930s-1940s. I also look at current performances of Al-Kuwaity's music. These renditions present different interpretations compared with recordings from the composer's time. I use here the concepts of revival and of cultural translation.
In her PhD project, Veronika Muchitsch examines the links between vocal sound in pop music and body politics. Following an interdisciplinary approach, the project combines theoretical and methodological concepts from the disciplines of musicology, post-structuralism, cultural and gender studies.
The voice is approached through its sonic characteristics and understood as inextricably bound to (human) bodies – both, in processes of production and perception of sounds. Consequently, vocal sounds are understood as sonic traces of inscribed (Foucault) body politics, which are in turn determined by specific ideologies. In her recent work on the vocal sound of Beyoncé, Veronika Muchitsch has examined links to post-feminist and neoliberal ideologies, which have been identified as structured by norms and exclusions along the dividing lines of sex, gender, ethnicity, class, age, dis/ability and other categories of identity in academic analyses across disciplines.
Given the hegemonic status of these ideologies in contemporary life, the PhD project studies ways of positioning oneself towards them through individual voices, and, ultimately, asks for their sonic transgressions.
Karin Eriksson's doctoral dissertation project concerns Swedish folk music, and more specifically the Zorn mark...
Phonograph for the future: the idea and practice around the Swedish archival recordings 1896-1930
Along with recording technology developments around 1900 came a new way of storing sound.
Besides the novelty of the technique and commercial production of phonograms, recordings with documentary intentions were made to be preserved for the future. The dissertation project involves archival records in Sweden during the period 1896-about 1930, when the phonograph was the technique used for these purposes. The questions deal with matters of why people recorded the sound (especially music) in this purpose, what was recorded, by whom, and how it happened.
The Russian Good Friday Mass in a historical perspective
The Russian Good Friday Mass can be traced back to the Byzantine liturgy, and its early Christian roots. It shall in the thesis serve as an illustration to the Russian church music development in general. Particular attention is given to its interpretation of neums, the musical notes used in the medieval manuscripts in the whole Christian world - in the Russian Church until the late 1600s. Neums are still used by the Russian Old Believers and in the Greek Church. They are not fully translatable into modern notation and they also specify other aspects of the music.
Sven Karpe and the Swedish violin pedagogy
During World War II, when most of Sweden was set on war footing, Swedes were forced to concern themselves with emergency preparedness and supply problems. Not only public administration, businesses and nonprofit Sweden were forced to a time out from normal living and working circumstances, also the cultural sphere halted pending the outcome of the war. When peace finally came Sweden, as well as Western countries in general, saw a prolonged boom that in some respects lasted until the early 1970s. The state took one initiative after another and made large investments in education, public welfare and infrastructure.
Kjell-Åke Hamréns thesis is examining a post-war phenomenon of precisely this nature, namely the professionalization of violin teaching violin at the Royal College of Music in Stockholm. He is also looking into how an entirely new profession, that of violin pedagogues for the community music schools, arose at the Royal College at the same time, and how this was critical for the long-term improvement of standards in the violinist profession. A special case study is devoted to the violinist and pedagogue Sven Karpe, whose work as a teacher at the Royal College from 1950 and at summer courses for talented young violinists in Kall in Jämtland from 1954, came to be highly influential in the development of violin teaching methods. The emphasis of the thesis is on the possible interaction between the state initiated reform policy within higher music education and the work led by Sven Karpe to identify teaching methods that would promote sufficient teaching outreach to allow for real top level results in Swedish violin playing.