The Blues in Sweden before 1960: varying conceptions of a genre
This article presents a review of the various meanings and shapes of blues as a genre in Sweden c. 1920–1960, drawing primarily on presentations in newspapers and jazz magazines, and recordings. Blues has been construed as an African American music, rising from specific social conditions; as an American music, a source for and subgenre of jazz; and as a part of music in the international modern society in general.
In 1923 blues was introduced as a new dance, and many new tunes were promoted as blues; medium tempo, chromaticism and altered chords seem to be the distinguishing traits. From the mid-thirties, blues was discussed as a predecessor to jazz as well as a jazz genre format (‘12-bar blues’). The rising interest in blues is followed through audience reactions in press, recordings, and jazz criticism. Jazz critics tended to promote country blues and Bessie Smith as authentic forms, while Josh White’s performances during his annual tours in the fifties were praised for his consummate artistry. The trad jazz boom, boogie woogie piano, skiffle and rock’n’roll all used the 12-bar format. In parallel, blues was also an occasional pop song denomination signalling melancholy. Identifying as a blues singer was not an option; this would change during the sixties.
Four fields of tension are identified: blues as a specific expression for African American experience vs. blues as a genre suited for Western modernity in general; blues as a subgenre to jazz vs. blues as an autonomous sphere; blues considered as genuine folk music vs. blues as popular music; and blues as a genre of mainly historical significance vs. blues as having contemporary relevance.
Master classes, arguably the pinnacle of the master–apprentice tradition, have been common within higher education of Western classical music. Although claimed to be effective, teaching and learning of musical interpretation in this setting are not well-researched. One seven day long piano master class in the form of a self-contained university course was critically analysed from a hermeneutic perspective and philosophically discussed using three components from the ancient dialogue Philopseudes concerning the learning of magic as well as my experiences of apprenticeship. The empirical material consisted of observations of and field notes from 18 master class lessons; six video-stimulated interviews with two students, master class teacher, and the students’ regular teacher; qualitative semi-structured follow-up interviews with two students and the students’ regular teacher; and scanned versions of the students’ scores. The analysis indicated that the students’ learning of musical interpretation is hindered owing to the master’s beliefs and actions; the lessons centre on the master’s privileged access to secret knowledge mediated in writing; and, the metaphors of gods, ghosts, and Weiheküsse, can be used to understand the master’s storytelling and teaching. I suggest re-negotiating the master class and the required competencies of teachers for such classes within higher music education.