Chamber music for rock festivals: textural references to progressive rock in Ketil Hvoslef’s Konsert for violin og pop-band (1979)

Iyán F. Ploquin

doi:10.5216/mh.v23.73305

Authors

Iyán F. Ploquin Universidad de Oviedo, Espanha, fernandeziyan@uniovi.es https://orcid.org/0000-0003-4737-8345

DOI:

https://doi.org/10.5216/mh.v23.73305

Keywords:

texture, musical meaning, appropriation, chamber music, progressive rock, Ketil Hvoslef

Abstract

Abstract: Konsert for violin og pop-band is an example of the appropriation of a popular music genre within western art music. By means of instruments such as the electric guitar, this composition presents progressive rock textures that function as a genre synecdoche. This article presents a perceptual and semiotic analysis of this work to determine the characteristics of these textures and the connotations that they contribute. This is supported by the study of its cultural context and the different audiences it is intended for, from its premiere at a rock festival to its survival within the chamber music scene.

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Author Biography

Iyán F. Ploquin, Universidad de Oviedo, Espanha, fernandeziyan@uniovi.es

Iyán F. Ploquin (Tiñana, 1992) is a researcher and musicologist from the University of Oviedo. In 2022, he obtains his PhD with the thesis entitled “The Electric Guitar in European Chamber Music: Textural Innovations and Musical Hybridization”. His work focuses on two main lines of research: psychoacoustics and signal processing applied to musical analysis, and semiotics. He has published several articles in international journals, and he has participated as a speaker at several international conferences. He is part of the research group Gimcel (Grupo de Investigación en Música Contemporánea de España y Latinoamérica Diapente XXI).