Opera on the Move in the Nordic Countries during the Long 19th ...

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48 Juvas Marianne Liljas ämnesdidaktiska studier. (Ed.) A. Burman, A. Gravis, J. Rönnby, p. 139- 162. Södertörn Studies in Higher Education, 2010. Ling, Jan 2009: Franz Liszt och 1800-talets konstmusik. Stockholm: Gidlunds Förlag. Rolf, Bertil 1991: Profession, tradition och tyst kunskap: En studie i Michael Polanyis teori om den professionella kunskapens tysta dimension. Nora: Bokförlaget Nya Doxa. Rosselli, John 1992: Singers of Italian <strong>Opera</strong>: The history of a profession. Cambridge: Cambridge University Press. Rostwall, Anna-Lena & Selander, Staffan (Ed.) 2008: Design för lärande. Stockholm: Norstedts Akademiska Förlag. Rundberg, Alfred 1952: Svensk <strong>Opera</strong>konst. Stockholm: Kultur och Form. Stark, James 1999: Bel canto: A History of Vocal pedagogy. Toronto Buffalo London: University of Toronto Press. Stenius, Yrsa 2002: Tills vingen brister: en bok om Jussi Björling. Stockholm: Brombergs. Sundin, Bertil 1995: Barns musikaliska utveckling. Stockholm: Liber Utbildning AB. Sörensson Gertten von, Iwa 2011: Dixi et salvavi meam: Fritz Arlberg och striden om sångtekniken. Kandidatuppsats, Stockholms universitet. Tegen, Martin & Lewenhaupt, Inga 1992: ”Teatrarna och deras musik” in; Musiken i Sverige: den nationella identiteten 1810-1920. Bd 3. (Ed.) Leif Jonsson; Martin Tegen. p.129-154. Stockholm: Bokförlaget T. Fischer & Co. Kungl. Musikaliska akademiens skriftserie 74:3. Uddén, Berit 2001: Musisk pedagogik med kunskapande barn – Vad Fröbel visste om visan som tolkande medel i barndomens studiedialog. Skrifter från Centrum för musikpedagogisk forskning: Stockholm: KMH Förlaget. Diss. Periodical Die Musik 1908:8 Thalia 19/3 1910 Göteborgs- Sjöfarts och Handelstidning 22/10 1912 Örebrokuriren 13/12 1915 Borlänge Tidning 10/10 1916 Borlänge Tidning 1/12 1917 Hudiksvallsposten 20/6 1918. Engelholms tidning 30/12 1922 Mönsteråstidningen 26/2 1923 Sångartidningen 37:1951 Såningsmannen 6/7 1963 Svensk Tidning för Musik 1968 Council for Research in Music Education 1989:99
Summary The Björling ‘<strong>Opera</strong>’ The aim in this chapter was to develop a deeper understanding about the informal Björling ‘school’ in Sweden. Contextually the example is related to the micro history of opera education, contributing to the macro perspective through a provincial example of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle. The Björling family model of opera schooling belongs to the classic canon of domestic home education that was common at the time. Within the field of opera singing it is a significant reference in the historical context of the Nordic history of vocal education. The uniqueness of the Björling ‘school’ seemed to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It is clear from his results that he was familiar with the neo-humanistic ideal on which the reformed music education was based. Of specific interest is the term Gesang als Unterricht as a concept for developing children’s musical and memorising capacities. Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition. David Björling’s vocal ideal was part of the contemporary debate about “The decadence of the singing art”, and seems to have had its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model. 49
Page 1: Anne Sivuoja, Owe Ander, Ulla Britt
Page 5 and 6: Contents Anne Sivuoja with Owe Ande
Page 7 and 8: Introduction Anne Sivuoja with Owe
Page 9 and 10: Introduction ity of vocal resources
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Page 52 and 53: 52 Marianne Tråvén most of them w
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Page 58 and 59: 58 Marianne Tråvén 1816 the singi
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Page 92 and 93: 92 Ingela Tägil Published referenc
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