grieg in the “world of unborn music:” edvard grieg's creative
TRANSCRIPT
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Grieg in the “World of Unborn Music:”
Edvard Grieg’s Creative Journey Through Language in
Haugtussa, Op. 67 By
Cheryl Christensen, Ph.D.
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Example 1. The Veslemøy motive and variations as they appear in opening vocal phrases of Haugtussa songs.
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Example 2. The love motive and variations as they appear in opening vocal phrases of Haugtussa songs.
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Figure 1. Contrary relationships in the love narrative of Haugtussa Op. 67.
Joy Sorrow
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Figure 2. A semiotic square mapping the contrary and contradictory emotions expressed in the poetic and
musical narrative in Haugtussa Op. 67.
Sorrow Joy
Not-Joy (Resignation)
Not-Sorrow (Obsession)
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Figure 3. All songs participating in the love narrative of Haugtussa mapped onto the semiotic square.
Sorrow
Vond Dag
Joy
Blåbær-Li Møte
Killingdans
Resignation
Ved Gjætle-Bekken
Obsession
Elsk
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Figure 4. The Narrative Path in Haugtussa Op. 67
Sorrow
Vond Dag
Joy
Blåbær-Li Møte
Killingdans
Resignation
Ved Gjætle-Bekken
Obsession
Elsk
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Example 3. Rhythm “a,” and rhythm “b”—the basic rhythmic ideas employed in “Møte” and “Vond dag.”
÷ c Ó ‰ jœ jœ jœ .œ jœ jœ jœ jœ jœ ˙
[Title]
÷ c Ó Œ . jœ jœ jœ jœ jœ jœ jœ jœ jœ œ œ ˙
[Title]
Rhythm “a”
Rhythm “b”
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Example 4. Opening vocal phrases of Møte and Vond Dag;���identical rhythms (Rhythm “a”)
÷ c Ó ‰ jœ jœ jœ .œ jœ jœ jœ jœ jœ ˙
[Title]
Rhythm “a”
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Example 5. “Møte” mm. 1-4
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Example 6. “Vond dag” mm. 1-14,
highlighting Veslemøy
motive and love motive.
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Figure 5. The narrative path and the contradictory relationship between Blåbær-Li and Ved Gjætle-Bekken
Sorrow
Vond Dag
Joy
Blåbær-Li Møte
Killingdans
Resignation
Ved Gjætle-Bekken
Obsession
Elsk
Sorrow
Vond Dag
Joy
Blåbær-Li Møte
Killingdans
Ved Gjætle-Bekken
Obsession
Elsk
Narra$ve path
Contradictory rela$onship
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Example 7. Opening vocal lines of Blåbær-Li and Ved Gjætle-Bekken
L.m. L.m.
L.m. L.m. L.m.
V.m.
L.m. Retro
V.m.
V.m. Retro
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Example 8. Ved Gjætle-Bekken mm. 93-6