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        Emil Bernhardt
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          <h1>
      
        Emil Bernhardt
      </h1>
          
      
      
      
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              <h2>Academic interests</h2>

<p>I work with classical musicology and history. The main emphasis is on the 19<sup>th</sup> century, but I am also interested in current tendencies at the contemporary music scene. I am particularly interested in aesthetic issues in a philosophical perspective, partly with regard to interdisciplinary aspects, partly with regard to analysis, music criticism and performance practice. In my PhD I examined the performance practice of the Austrian conductor Nikolaus Harnoncourt, through three of his recordings. As a postdoc research fellow I work with various issues related to rhythm in works by Franz Schubert.</p>

<h2>Background</h2>

<p style="margin-bottom:11px">I am a trained violinist and composer from Barratt Due Music Institute and the Norwegian Academy of Music, with a study stay in Freiburg, Germany. I have a master’s degree in philosophy from the University of Oslo, and a PhD from the Norwegian Academy of Music. Since 2012, I have worked as a freelance music critic, mainly in the weekly newspaper Morgenbladet, but also with publications in international media and radio.</p>

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    <div id="vrtx-publications-wrapper">

      <h2>Publications</h2>



      <div id="vrtx-publication-tabs">
        <ul>
            <li><a href="#vrtx-publication-tab-1" name="vrtx-publication-tab-1">Scientific articles and book chapters</a></li>
            <li><a href="#vrtx-publication-tab-2" name="vrtx-publication-tab-2">Books</a></li>
            <li><a href="#vrtx-publication-tab-3" name="vrtx-publication-tab-3">Other</a></li>
        </ul>



    <div id="vrtx-publication-tab-1">
  <ul class="vrtx-external-publications">

      <li id="vrtx-external-publication-10288962" class="vrtx-external-publication">
        <div id="vrtx-publication-10288962">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-10288962">
                Bernhardt, Emil
            </span>(2025).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Alltid et annet sted – estetisk forflytning og fantasiens plikt.
                </span>
                    <span class="vrtx-parent-contributors">
                            In Holm, Henrik &amp; Alexeeva, Anastasiya (Ed.),
                    </span>
                <span class="vrtx-parent-title parent-title-articlesAndBookChapters">
                    Estetiske fag i samfunnet.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-CHAPTERACADEMIC">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/forlag?pid=665CFA70-B6E5-408F-B969-47844CA13B26">Cappelen Damm Akademisk</a>.
                </span>
                <span class="vrtx-issn">ISSN 9788202868673.</span>
                            
                <span class="vrtx-pages">p. 13–32.</span>
            doi: <a href="https://doi.org/https:/cdforskning.no/cdf/catalog/book/261">https:/cdforskning.no/cdf/catalog/book/261</a>.
            <a href="https://hdl.handle.net/11250/5321987">Full text in Research Archive</a>
                <span class="vrtx-publication-summary">
                            <a href="#" aria-expanded="false" aria-label="Show summary" class="vrtx-publication-summary">Show summary</a>
                            <p class="vrtx-publication-summary" style="display:none">This essay starts with the following observation: The aesthetic effect always happens somewhere else than we initially believe. I would argue that there is a displacement here, from an
assertion that is manageable to an effect that remains uncontrollable. Furthermore I would argue that this displacement is aesthetically qualifying. What happens never merges with the motivation for what was done; what was done had a different aim than what happens. This perspective emphasises what we might call the event aspect of aesthetics, and our conception of what we can actually do is adjusted accordingly. I approach the idea of such a displacement in three ways: First, I briefly mention three examples from our contemporary cultural sphere. These are what has been called historically informed performance practice in classical music, then what has been called reality literature, and finally the painter Odd Nerdrum’s relationship to classical painting. Secondly, I examine the relationship between the idea of aesthetic displacement and modern aesthetics’ concept of aesthetic autonomy. Might the idea of aesthetic displacement be thought of as an example of such autonomy? Thirdly, I pursue the event and action perspective and ask whether a practical counterpart to aesthetic displacement is possible. Is there anything we can do that somehow corresponds to the fact that something happens? Here I try to develop a concept of a duty of imagination. </p>
                </span>
        </div>
    </li>
      <li id="vrtx-external-publication-2304009" class="vrtx-external-publication">
        <div id="vrtx-publication-2304009">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2304009">
                Bernhardt, Emil
            </span>(2024).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Emphatic Articulation: ‘Klangrede’ as a performative concept in Nikolaus Harnoncourt’s orchestral interpretation.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-ARTICLE">
                        Studia Musicologica Norvegica.
                </span>
                <span class="vrtx-issn">ISSN 0332-5024.</span>
                            50(1-2024),
                <span class="vrtx-pages">p. 123–142.</span>
            doi: <a href="https://doi.org/10.18261/smn.50.1.8">10.18261/smn.50.1.8</a>.
            <a href="https://hdl.handle.net/10852/118709">Full text in Research Archive</a>
                <span class="vrtx-publication-summary">
                            <a href="#" aria-expanded="false" aria-label="Show summary" class="vrtx-publication-summary">Show summary</a>
                            <p class="vrtx-publication-summary" style="display:none">In a 2004 interpretation of Schubert’s Symphony in B minor, Austrian conductor Nikolaus Harnoncourt and the Berlin Philharmonic foreground a certain awareness regarding articulation. This awareness brings with it a broadening of the concept of articulation that transcends choices regarding accents, endings, slurs, and so on. Harnoncourt’s articulation, that is, incorporates what he refers to as the act of ‘pronouncing’ (as in quite deliberately enunciating) the musical material. This practice – what the author of this article labels ‘emphatic articulation’ – can also be framed as an attempt to clarify the relationship between music and language, an issue of importance to Harnoncourt that is most explicitly represented by his notion of Klangrede. The concept of meaning proves crucial to understanding Klangrede, and this article seeks to shed light on this relation in the context of musical performance. According to the 18th-century German philosopher Herder, the human ability to deal with meaning is based on a reflective awareness that only comes into being through the act of speaking itself. With the support of Herder’s ‘reflective awareness’, this article plumbs the depths of the emphatically articulated musical performance as a timebound act, and asks whether it might be understood in a similar way.</p>
                </span>
        </div>
    </li>
      <li id="vrtx-external-publication-2042661" class="vrtx-external-publication">
        <div id="vrtx-publication-2042661">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2042661">
                Bernhardt, Emil
            </span>(2022).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        &quot;... ins neumische umzusetzen&quot;: Interpretation und Dialektik bei Adorno und Harnoncourt.
                </span>
                    <span class="vrtx-parent-contributors">
                            In Freund, Julia; Nanni, Matteo; Schermann, Jakob M. &amp; Urbanek, Nikolaus (Ed.),
                    </span>
                <span class="vrtx-parent-title parent-title-articlesAndBookChapters">
                    Dialektik der Schrift: Zu Adornos Theorie der musikalischen Reproduktion.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-CHAPTERACADEMIC">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/forlag?pid=3B5A2B80-91DB-41A1-80EE-52C0DB6C6132">Brill | Fink</a>.
                </span>
                <span class="vrtx-issn">ISSN 9783770566808.</span>
                            
                <span class="vrtx-pages">p. 421–445.</span>
            doi: <a href="https://doi.org/10.30965/9783846766804_017">10.30965/9783846766804_017</a>.
            <a href="https://hdl.handle.net/10852/101101">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1884880" class="vrtx-external-publication">
        <div id="vrtx-publication-1884880">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1884880">
                Bernhardt, Emil
            </span>(2020).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Prozessualit?t und Natur. Musikalische Beziehungen zwischen Ragnhild Berstad und Giacinto Scelsi.
                </span>
                    <span class="vrtx-parent-contributors">
                            In Gottstein, Bj?rn &amp; Kunkel, Michael (Ed.),
                    </span>
                <span class="vrtx-parent-title parent-title-articlesAndBookChapters">
                    Scelsi Revisited backstage.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-CHAPTERACADEMIC">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/forlag?pid=6216DB69-10AF-4454-8AE1-4ED0180BCD66">PFAU-Verlag</a>.
                </span>
                <span class="vrtx-issn">ISSN 9783897275522.</span>
                            
                <span class="vrtx-pages">p. 119–134.</span>
            
            <a href="https://hdl.handle.net/11250/4196554">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1884734" class="vrtx-external-publication">
        <div id="vrtx-publication-1884734">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1884734">
                Bernhardt, Emil
            </span>(2020).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Tilbake til det neumiske: Fortolkning og dialektikk hos Adorno og Harnoncourt.
                </span>
                    <span class="vrtx-parent-contributors">
                            In Vark?y, ?ivind &amp; Holm, Henrik (Ed.),
                    </span>
                <span class="vrtx-parent-title parent-title-articlesAndBookChapters">
                    Musikkfilosofiske tekster. Tanker om musikk – og spr?k, tolkning, erfaring, tid, klang, stillhet m.m..
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-CHAPTERACADEMIC">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/forlag?pid=665CFA70-B6E5-408F-B969-47844CA13B26">Cappelen Damm Akademisk</a>.
                </span>
                <span class="vrtx-issn">ISSN 9788202696818.</span>
                            
                <span class="vrtx-pages">p. 215–242.</span>
            doi: <a href="https://doi.org/10.23865/noasp.115.ch12">10.23865/noasp.115.ch12</a>.
            <a href="https://hdl.handle.net/11250/3527152">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1767098" class="vrtx-external-publication">
        <div id="vrtx-publication-1767098">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1767098">
                Bernhardt, Emil
            </span>(2019).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Reflective Performativity in the Interpretations of Nikolaus Harnoncourt.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-ARTICLE">
                        Music and Practice.
                </span>
                            5.
            
            <a href="https://hdl.handle.net/11250/4617142">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1577679" class="vrtx-external-publication">
        <div id="vrtx-publication-1577679">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1577679">
                Bernhardt, Emil
            </span>(2017).
                <span class="vrtx-title title-articlesAndBookChapters">
                    <!-- For readability. Too many underlined characters when both present -->
                        Fremmedhet og funksjon: Om Walter Benjamins oversettelsesbegrep.
                </span>
                <span class="vrtx-publisher publisher-articlesAndBookChapters publisher-category-ARTICLE">
                        Agora Journal for metafysisk spekulasjon.
                </span>
                <span class="vrtx-issn">ISSN 0800-7136.</span>
                            
                <span class="vrtx-pages">p. 207–228.</span>
            
            <a href="https://hdl.handle.net/11250/4018584">Full text in Research Archive</a>
        </div>
    </li>
    </ul>
      <p class="vrtx-more-external-publications"><a href="https://nva.sikt.no/research-profile/428771">View all works in NVA</a></p>
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  <ul class="vrtx-external-publications">

      <li id="vrtx-external-publication-10209548" class="vrtx-external-publication">
        <div id="vrtx-publication-10209548">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-10209548">
                Holm, Henrik; Alexeeva, Anastasiya; Berg, Lise-Kari; Berg, Arild Skarsfjord; Bernhardt, Emil &amp; Bl?lid, Kersti Fosse
                    <a href="javascript:void(0);" title="Get all contributors" onclick="addContributor('https://api.cristin.no/v2/nvaresults/10209548/contributors', 'vrtx-publication-contributors-10209548')">
                    [Show all&nbsp;26&nbsp;contributors for this article]</a>
            </span>(2025).
                <span class="vrtx-title title-books">
                    <!-- For readability. Too many underlined characters when both present -->
                        Estetiske fag i samfunnet.
                </span>
                <span class="vrtx-publisher publisher-books publisher-category-ANTHOLOGYACA">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/forlag?pid=665CFA70-B6E5-408F-B969-47844CA13B26">Cappelen Damm Akademisk</a>.
                </span>
                <span class="vrtx-isbn">ISBN 9788202868673.</span>
            
                <span class="vrtx-pages">284 p.</span>
            doi: <a href="https://doi.org/10.23865/cdf.261">10.23865/cdf.261</a>.
            <a href="https://hdl.handle.net/11250/4348611">Full text in Research Archive</a>
                <span class="vrtx-publication-summary">
                            <a href="#" aria-expanded="false" aria-label="Show summary" class="vrtx-publication-summary">Show summary</a>
                            <p class="vrtx-publication-summary" style="display:none">I denne tverrfaglige antologien er estetiske fag i skolen et m?tepunkt for kritisk refleksjon i samfunnet. Skolen som landets st?rste samfunnsinstitusjon er en realitet som kan sette fruktbare premisser for en refleksjonsprosess der estetiske fag og samfunnsutviklingen kan ses i lys av hverandre.
Bidragene i antologien viser noe av spennvidden i forskning p? estetiske fag i samfunnet n?r de p? ulikt vis skriver seg inn i og refererer til eksisterende litteratur i feltet. Hvordan kan estetiske fag v?re en arena der elevene kan gi motstand og ?ve seg i ? ut?ve mot til kritikk? Artiklene viser at estetiske fag handler om ? utvikle konstruktive og myndige perspektiver p? et samfunn i rask endring. Felles for samtlige artikler i denne antologien er antakelsen om at evnen til ? tenke selv utvikles i samklang med elevenes evne til kreativitet og utforskertrang.
Synopsis in English
This interdisciplinary anthology positions aesthetics, art and education in schools as a meeting point for critical reflection within society. As the country’s largest social institution, the school constitutes a framework capable of establishing fertile conditions for a reflective process in which the arts and societal development may be understood in relation to one another.
The contributions in this volume reflect the diversity of research on arts education within society, engaging with and referencing existing scholarship in the field through various approaches. Central to the inquiry is the question: In what ways might the arts serve as a pedagogical arena where students can articulate resistance and cultivate the courage to engage in critique? The articles collectively underscore that arts education is concerned with fostering constructive and empowered perspectives on a society undergoing rapid transformation. A shared premise across all contributions is the belief that the capacity for independent thought evolves in alignment with students’ creative abilities and exploratory drive.</p>
                </span>
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      <p class="vrtx-more-external-publications"><a href="https://nva.sikt.no/research-profile/428771">View all works in NVA</a></p>
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      <li id="vrtx-external-publication-10294721" class="vrtx-external-publication">
        <div id="vrtx-publication-10294721">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-10294721">
                Banach, Agnes-Maria; Bernhardt, Emil; Wold, Bendik &amp; Kaasa, Janicke S.
            </span>(2025).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Lansering av Agoras temanummer om Thomas Mann - Doktor Faustus.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/5326847">Full text in Research Archive</a>
        </div>
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      <li id="vrtx-external-publication-10294720" class="vrtx-external-publication">
        <div id="vrtx-publication-10294720">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-10294720">
                Kaasa, Janicke S.; R?nning, Geir O.; Banach, Agnes-Maria &amp; Bernhardt, Emil
            </span>(2025).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Redaksjonelt.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-EDITORIAL">
                        Agora Journal for metafysisk spekulasjon.
                </span>
                <span class="vrtx-issn">ISSN 0800-7136.</span>
                            3-4,
                <span class="vrtx-pages">p. 3–7.</span>
            
            <a href="https://hdl.handle.net/11250/5326846">Full text in Research Archive</a>
        </div>
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      <li id="vrtx-external-publication-10294717" class="vrtx-external-publication">
        <div id="vrtx-publication-10294717">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-10294717">
                Kaasa, Janicke S.; R?nning, Geir O.; Banach, Agnes-Maria &amp; Bernhardt, Emil
            </span>(2025).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Agora: Thomas Manns Doktor Faustus.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/5326845">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2303991" class="vrtx-external-publication">
        <div id="vrtx-publication-2303991">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2303991">
                Bernhardt, Emil
            </span>(2024).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        The Beauty and/of the Beat: Expressive Regularity in Schubert.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4527563">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2200369" class="vrtx-external-publication">
        <div id="vrtx-publication-2200369">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2200369">
                Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Hva er musikk?                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4033379">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2195820" class="vrtx-external-publication">
        <div id="vrtx-publication-2195820">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2195820">
                Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        More than a Metaphor? Schubert and an Aesthetics of the Body.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4494458">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2195827" class="vrtx-external-publication">
        <div id="vrtx-publication-2195827">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2195827">
                Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Entrainment and Aesthetic Experience.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4446653">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2199131" class="vrtx-external-publication">
        <div id="vrtx-publication-2199131">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2199131">
                Nielsen, Nanette; Martin, Remy Richard &amp; Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Entrainment, free will, and musicking: an enactivist perspective.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4636014">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2197942" class="vrtx-external-publication">
        <div id="vrtx-publication-2197942">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2197942">
                Martin, Remy Richard &amp; Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Entrainment, free will, and musicking: an enactivist perspective.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/4412035">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2198874" class="vrtx-external-publication">
        <div id="vrtx-publication-2198874">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2198874">
                Martin, Remy Richard &amp; Bernhardt, Emil
            </span>(2023).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Entrainment, free will, and musicking: an enactivist perspective.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/5221008">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2042690" class="vrtx-external-publication">
        <div id="vrtx-publication-2042690">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2042690">
                Bernhardt, Emil
            </span>(2022).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Rhythm and Form: Tradition and Radicalism in Schubert.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/3910597">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1939422" class="vrtx-external-publication">
        <div id="vrtx-publication-1939422">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1939422">
                Guldbrandsen, Erling Eliseus; Bernhardt, Emil; Buene, Eivind; Szilvay, Peter Sebastian &amp; Neset, Anne Hilde
            </span>(2021).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Rolf Gupta: Jordens sang, en kritisk diskusjon.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/3900455">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2004995" class="vrtx-external-publication">
        <div id="vrtx-publication-2004995">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2004995">
                Bernhardt, Emil
            </span>(2021).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Gender Biases in the Art Music Field today? Descriptive, personal and critical Remarks.
                </span>
                            
            
            <a href="https://hdl.handle.net/11250/3487924">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-2042750" class="vrtx-external-publication">
        <div id="vrtx-publication-2042750">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-2042750">
                Bernhardt, Emil
            </span>(2021).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Fortolkningens doble liv – om Mozart med Leif Ove Andsnes og Olga Pashchenko.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-ARTICLEJOURNAL">
                        Musikk &amp; Historie.
                </span>
                <span class="vrtx-issn">ISSN 2535-7883.</span>
                            
            
            <a href="https://hdl.handle.net/11250/3680238">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1884844" class="vrtx-external-publication">
        <div id="vrtx-publication-1884844">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1884844">
                Bernhardt, Emil
            </span>(2020).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Beethovens tider.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-BOOKREVIEW">
                        Agora Journal for metafysisk spekulasjon.
                </span>
                <span class="vrtx-issn">ISSN 0800-7136.</span>
                            
                <span class="vrtx-pages">p. 527–538.</span>
            
            <a href="https://hdl.handle.net/11250/3505006">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1577823" class="vrtx-external-publication">
        <div id="vrtx-publication-1577823">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1577823">
                Bernhardt, Emil
            </span>(2015).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Verdoppelte Empfindsamkeit? Perspektiven einer Gefühls?sthetik in der Musik von Lars Petter Hagen.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-ARTICLEJOURNAL">
                        Positionen. Texte zur aktuellen Musik.
                </span>
                <span class="vrtx-issn">ISSN 0941-4711.</span>
                            
                <span class="vrtx-pages">p. 13–16.</span>
            
            <a href="https://hdl.handle.net/11250/5255308">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1577825" class="vrtx-external-publication">
        <div id="vrtx-publication-1577825">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1577825">
                Bernhardt, Emil
            </span>(2015).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Fanget i ord.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-BOOKREVIEW">
                        Prosa - tidsskrift for skribenter.
                </span>
                <span class="vrtx-issn">ISSN 0805-276X.</span>
                            
                <span class="vrtx-pages">p. 60–62.</span>
            
            <a href="https://hdl.handle.net/11250/4723022">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1577821" class="vrtx-external-publication">
        <div id="vrtx-publication-1577821">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1577821">
                Bernhardt, Emil
            </span>(2012).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Radikal tolkning inom musik och teater: Exemplen Frank Castorfs &quot;Meistersinger&quot; och Anders Hultqvists &quot;Beethovens femma&quot;.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-ARTICLEJOURNAL">
                        Nutida Musik.
                </span>
                <span class="vrtx-issn">ISSN 1652-6082.</span>
                            
                <span class="vrtx-pages">p. 40–45.</span>
            
            <a href="https://hdl.handle.net/11250/5254890">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1577824" class="vrtx-external-publication">
        <div id="vrtx-publication-1577824">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1577824">
                Bernhardt, Emil
            </span>(2008).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Was heisst &quot;Kunstmusik&quot;?                </span>
                <span class="vrtx-publisher publisher-other publisher-category-ARTICLEJOURNAL">
                        Kunstmusik.
                </span>
                <span class="vrtx-issn">ISSN 1612-6173.</span>
                            
                <span class="vrtx-pages">p. 4–8.</span>
            
            <a href="https://hdl.handle.net/11250/4030127">Full text in Research Archive</a>
        </div>
    </li>
      <li id="vrtx-external-publication-1957315" class="vrtx-external-publication">
        <div id="vrtx-publication-1957315">
            <span class="vrtx-contributors" id="vrtx-publication-contributors-1957315">
                Bernhardt, Emil
            </span>(2021).
                <span class="vrtx-title title-other">
                    <!-- For readability. Too many underlined characters when both present -->
                        Klangen av historie. Verk og fortolkning hos Nikolaus Harnoncourt.
                </span>
                <span class="vrtx-publisher publisher-other publisher-category-DOCTORDISSERTAT">
                        <a class="vrtx-publisher" href="https://kanalregister.hkdir.no/publiseringskanaler/info/nvakanal?pid=B965D9E5-E2C9-46F0-81CA-3EB9C637E6B2">Norges musikkh?gskole</a>.
                </span>
                <span class="vrtx-issn">ISSN 9788278532904.</span>
                            
            
            <a href="https://hdl.handle.net/11250/2723587">Full text in Research Archive</a>
                <span class="vrtx-publication-summary">
                            <a href="#" aria-expanded="false" aria-label="Show summary" class="vrtx-publication-summary">Show summary</a>
                            <p class="vrtx-publication-summary" style="display:none">English summary This study focuses on the performance practice of the Austrian conductor, Nikolaus Harnoncourt (1929–2016). The approach is aesthetical and philosophical rather thanbiographical and historical. The study aims at discussing and developing concepts (partly taken from Harnoncourt’s own texts, partly from a broader theoretical vocabulary) that may reveal and make visible central aspects of Harnoncourt’s specific interpretation and performance practice. It also seeks to contribute to a more general conceptual development in current research on musical interpretation, especially with regard to orchestral music. A basic premise of the study is that Harnoncourt’s performance practice has its roots in what has been called the historically informed/oriented performance practice (HIP). The study argues that the historical orientation that characterizes this movement adds a discursive element to the practice of musical interpretation. By ‘discursive element’ I mean partly an occupation with historical knowledge and information (which is usually articulated in academic terms), partly a reflection on how this information may be seen to influence the concrete musical performance. The basic inquiry of the study is directed towards the relationship between historical consciousness and musical success; between conceptual orientation and practical interpretation; between theoretical discourse and aesthetic experience. The study argues that the main characteristic of Harnoncourt as a conductor is how he manages to turn the discursive element into an imminent aspect of his performances, regarded as objects of my aesthetic experience. In other words, the role of discourse and discursivity is not merely limited to the preparatory work ahead of the actual realisation. Rather, it forms an axis that reaches into the very moment of musical performance and of musical listening. How this happens is discussed partly through the analysis of three examples – his performances of Symphony No. 39 in E flat major by W. A. Mozart, first movement; of Symphony No. 5 in c minor by L. v. Beethoven, second movement; and of Symphony No. 8 (The Great C major) by F. Schubert, second movement – and partly through a thorough investigation of the relationship between musical performance and the listening experience. Regarding Harnoncourt’s own work, the concepts of history, language and transparency will be of central importance, whereas the concepts of performativity and aesthetic experience will be crucial when it comes to the listener’s perspective.</p>
                </span>
        </div>
    </li>
    </ul>
      <p class="vrtx-more-external-publications"><a href="https://nva.sikt.no/research-profile/428771">View all works in NVA</a></p>
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        <span class="published-date-label">Published</span>
        <span class="published-date">Sep. 22, 2021 9:42 AM </span>
        
        - <span class="last-modified-date">Last modified</span>
        <span class="last-modified-date">Dec. 7, 2022 2:41 PM</span>
        
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          <h2>Keywords:&nbsp;</h2>

<p>Musicology, philosophical aesthetics, performance practice, music history and analysis, aesthetic experience, music criticism&nbsp;</p>

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