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David Monrad Johansen

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scales are often apparent. Even though Monrad Johansen had achieved significant recognition with these pieces, it was clear to him that the style was a dead-end, and the following pieces show a composer on a stylistic search. Then, during the studies in 1933 and 1935, he turned more into a
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Monrad Johansen had a very central position in Norwegian music life in the 1920s and 1930s. He was the leading person within the musical nationalism around 1925, after having achieved great recognition with the 7 songs to old Norwegian folk stories (opus 6) and the piece for male choir,
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op. 13, are the most pure nationalistic of Monrad Johansen’s works, and often called a Norwegian impressionism. Regarding sound, they are related to impressionism, but have structures with more polyphonic features than what was common in f. ex.
345: 78:. Later, in 1933 and 1935, he spent short periods abroad for further studies. Monrad Johansen’s study time was extraordinary diverse, and his development was affected by this. 350: 184: 81:
It is difficult to categorise his style, with all the different influences that he went through. Before Berlin, he was within the conservative late
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direction, more polyphonic, more clear tonality, classical forms – also more clear sound and colours, and fewer dissonances than in the 1930s.
263: 340: 97:, and around 1920 this style is apparent in his music. This was also a very productive period. At the same time, he was influenced by the 292: 335: 235: 251: 325: 330: 116:
op. 15 (1926). It was composed for soloists/vocals, choir and orchestra, and it is based on the poem Voluspaa, from the
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folk stories/songs, but seldom melodies. He did, however, arrange some folk tunes for piano (opus 9 and 10).
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Bergen: Editio norvegica, 1969. Quote from page 211:"... and also member of the Nazi Kulturting 1942-45."
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Athena S. Leoussi and Steven Grosby (editors); pp. 55-67. Edinburgh University Press. 2007.
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Nationalism and Ethnosymbolism: History, Culture and Ethnicity in the Formation of Nations.
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he was convicted of treason and sentenced to four years of forced labour.
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in 1915 for further studies. In 1920, he went for a study trip to
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People convicted of treason for Nazi Germany against Norway
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David Monrad Johansen - Great Norwegian encyclopedia
74:, which inspired him to start studying dissonant 27:(8 November 1888 – 20 February 1974) was a 252:Music and Nationalism: Five Historical Moments. 230:(in Norwegian). Oslo: Cappelen. p. 202. 190:David Monrad Johansen's son was the composer 20:Portrait of David Monrad Johansen (1888-1974) 8: 277:Contemporary Norwegian Orchestral Music. 203: 112:Monrad Johansen’s most famous piece is 89:. After Berlin, under the influence of 351:20th-century Norwegian male musicians 211: 209: 207: 7: 169:, Johansen joined the fascist party 101:. He several times used lyrics from 14: 293:David Monrad Johansen - Biography 93:, he started studying the French 1: 58:and others until he went to 341:Members of Nasjonal Samling 227:Norsk krigsleksikon 1940-45 177:collaborationist government 163:German occupation of Norway 367: 336:Norwegian male composers 218:"Johansen, David Monrad" 216:Stenseth, Bodil (1995). 85:, clearly influenced by 21: 185:Norwegian legal purge 120:. This piece and the 25:David Monrad Johansen 19: 326:Musicians from Vefsn 331:Norwegian composers 99:nationalistic style 95:Impressionist music 222:Dahl, Hans Fredrik 175:and supported the 22: 264:978-0-7486-2113-2 165:in the course of 123:Nordlands Trompet 52:Catharinus Elling 38:and grew up near 358: 302: 280: 275:Bjarne Kortsen. 273: 267: 248: 242: 241: 213: 172:Nasjonal Samling 103:Norse literature 366: 365: 361: 360: 359: 357: 356: 355: 306: 305: 300: 289: 284: 283: 274: 270: 249: 245: 238: 215: 214: 205: 200: 181:Vidkun Quisling 34:He was born in 12: 11: 5: 364: 362: 354: 353: 348: 343: 338: 333: 328: 323: 318: 308: 307: 304: 303: 301:(in Norwegian) 295: 288: 287:External links 285: 282: 281: 268: 243: 236: 202: 201: 199: 196: 13: 10: 9: 6: 4: 3: 2: 363: 352: 349: 347: 344: 342: 339: 337: 334: 332: 329: 327: 324: 322: 319: 317: 314: 313: 311: 299: 296: 294: 291: 290: 286: 278: 272: 269: 265: 261: 257: 253: 247: 244: 239: 237:82-02-14138-9 233: 229: 228: 223: 219: 212: 210: 208: 204: 197: 195: 193: 192:Johan Kvandal 188: 186: 182: 178: 174: 173: 168: 164: 159: 157: 156: 149: 147: 146:neo-classical 142: 138: 134: 130: 125: 124: 119: 115: 110: 108: 104: 100: 96: 92: 88: 84: 79: 77: 73: 72:Fartein Valen 69: 65: 61: 57: 53: 49: 45: 41: 37: 32: 30: 26: 18: 276: 271: 255: 250:Jim Samson. 246: 225: 189: 170: 167:World War II 160: 153: 150: 121: 113: 111: 87:Edvard Grieg 80: 76:counterpoint 33: 24: 23: 321:1970 deaths 316:1888 births 161:During the 155:Draumkvedet 83:romanticism 66:, and here 56:Iver Holter 44:Christiania 310:Categories 198:References 68:Stravinsky 31:composer. 107:Norwegian 91:Alf Hurum 29:Norwegian 137:Phrygian 114:Voluspaa 224:(ed.). 129:Debussy 40:Mosjøen 262:  234:  141:Lydian 133:Dorian 60:Berlin 220:. In 64:Paris 36:Vefsn 260:ISBN 254:In: 232:ISBN 139:and 118:Edda 48:Oslo 179:of 105:or 312:: 206:^ 194:. 135:, 54:, 240:. 46:(

Index


Norwegian
Vefsn
Mosjøen
Christiania
Oslo
Catharinus Elling
Iver Holter
Berlin
Paris
Stravinsky
Fartein Valen
counterpoint
romanticism
Edvard Grieg
Alf Hurum
Impressionist music
nationalistic style
Norse literature
Norwegian
Edda
Nordlands Trompet
Debussy
Dorian
Phrygian
Lydian
neo-classical
Draumkvedet
German occupation of Norway
World War II

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