Emil Bernhardt

• Bernhardt, Emil (2025). Alltid et annet sted ¨C estetisk forflytning og fantasiens plikt. I Holm, Henrik & Alexeeva, Anastasiya (Red.), Estetiske fag i samfunnet. Cappelen Damm Akademisk. ISSN 9788202868673. s. 13¨C32. doi: https:/cdforskning.no/cdf/catalog/book/261. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Bernhardt, Emil (2024). Emphatic Articulation: ¡®Klangrede¡¯ as a performative concept in Nikolaus Harnoncourt¡¯s orchestral interpretation. Studia Musicologica Norvegica. ISSN 0332-5024. 50(1-2024), s. 123¨C142. doi: 10.18261/smn.50.1.8. Fulltekst i vitenarkiv Vis sammendrag

  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 ¨C what the author of this article labels ¡®emphatic articulation¡¯ ¨C 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.

• Bernhardt, Emil (2022). "... ins neumische umzusetzen": Interpretation und Dialektik bei Adorno und Harnoncourt. I Freund, Julia; Nanni, Matteo; Schermann, Jakob M. & Urbanek, Nikolaus (Red.), Dialektik der Schrift: Zu Adornos Theorie der musikalischen Reproduktion. Brill | Fink. ISSN 9783770566808. s. 421¨C445. doi: 10.30965/9783846766804_017. Fulltekst i vitenarkiv
• Bernhardt, Emil (2020). Prozessualit?t und Natur. Musikalische Beziehungen zwischen Ragnhild Berstad und Giacinto Scelsi. I Gottstein, Bj?rn & Kunkel, Michael (Red.), Scelsi Revisited backstage. PFAU-Verlag. ISSN 9783897275522. s. 119¨C134. Fulltekst i vitenarkiv
• Bernhardt, Emil (2020). Tilbake til det neumiske: Fortolkning og dialektikk hos Adorno og Harnoncourt. I Vark?y, ?ivind & Holm, Henrik (Red.), Musikkfilosofiske tekster. Tanker om musikk ¨C og spr?k, tolkning, erfaring, tid, klang, stillhet m.m.. Cappelen Damm Akademisk. ISSN 9788202696818. s. 215¨C242. doi: 10.23865/noasp.115.ch12. Fulltekst i vitenarkiv
• Bernhardt, Emil (2019). Reflective Performativity in the Interpretations of Nikolaus Harnoncourt. Music and Practice. 5. Fulltekst i vitenarkiv
• Bernhardt, Emil (2017). Fremmedhet og funksjon: Om Walter Benjamins oversettelsesbegrep. Agora Journal for metafysisk spekulasjon. ISSN 0800-7136. s. 207¨C228. Fulltekst i vitenarkiv

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• Holm, Henrik; Alexeeva, Anastasiya; Berg, Lise-Kari; Berg, Arild Skarsfjord; Bernhardt, Emil & Bl?lid, Kersti Fosse [Vis alle 26 forfattere av denne artikkelen] (2025). Estetiske fag i samfunnet. Cappelen Damm Akademisk. ISBN 9788202868673. 284 s. doi: 10.23865/cdf.261. Fulltekst i vitenarkiv Vis sammendrag

  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.

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• Banach, Agnes-Maria; Bernhardt, Emil; Wold, Bendik & Kaasa, Janicke S. (2025). Lansering av Agoras temanummer om Thomas Mann - Doktor Faustus. Fulltekst i vitenarkiv
• Kaasa, Janicke S.; R?nning, Geir O.; Banach, Agnes-Maria & Bernhardt, Emil (2025). Redaksjonelt. Agora Journal for metafysisk spekulasjon. ISSN 0800-7136. 3-4, s. 3¨C7. Fulltekst i vitenarkiv
• Kaasa, Janicke S.; R?nning, Geir O.; Banach, Agnes-Maria & Bernhardt, Emil (2025). Agora: Thomas Manns Doktor Faustus. Fulltekst i vitenarkiv
• Bernhardt, Emil (2024). The Beauty and/of the Beat: Expressive Regularity in Schubert. Fulltekst i vitenarkiv
• Bernhardt, Emil (2023). Hva er musikk? Fulltekst i vitenarkiv
• Bernhardt, Emil (2023). More than a Metaphor? Schubert and an Aesthetics of the Body. Fulltekst i vitenarkiv
• Bernhardt, Emil (2023). Entrainment and Aesthetic Experience. Fulltekst i vitenarkiv
• Nielsen, Nanette; Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective. Fulltekst i vitenarkiv
• Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective. Fulltekst i vitenarkiv
• Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective. Fulltekst i vitenarkiv
• Bernhardt, Emil (2022). Rhythm and Form: Tradition and Radicalism in Schubert. Fulltekst i vitenarkiv
• Guldbrandsen, Erling Eliseus; Bernhardt, Emil; Buene, Eivind; Szilvay, Peter Sebastian & Neset, Anne Hilde (2021). Rolf Gupta: Jordens sang, en kritisk diskusjon. Fulltekst i vitenarkiv
• Bernhardt, Emil (2021). Gender Biases in the Art Music Field today? Descriptive, personal and critical Remarks. Fulltekst i vitenarkiv
• Bernhardt, Emil (2021). Fortolkningens doble liv ¨C om Mozart med Leif Ove Andsnes og Olga Pashchenko. Musikk & Historie. ISSN 2535-7883. Fulltekst i vitenarkiv
• Bernhardt, Emil (2020). Beethovens tider. Agora Journal for metafysisk spekulasjon. ISSN 0800-7136. s. 527¨C538. Fulltekst i vitenarkiv
• Bernhardt, Emil (2015). Verdoppelte Empfindsamkeit? Perspektiven einer Gef¨¹hls?sthetik in der Musik von Lars Petter Hagen. Positionen. Texte zur aktuellen Musik. ISSN 0941-4711. s. 13¨C16. Fulltekst i vitenarkiv
• Bernhardt, Emil (2015). Fanget i ord. Prosa - tidsskrift for skribenter. ISSN 0805-276X. s. 60¨C62. Fulltekst i vitenarkiv
• Bernhardt, Emil (2012). Radikal tolkning inom musik och teater: Exemplen Frank Castorfs "Meistersinger" och Anders Hultqvists "Beethovens femma". Nutida Musik. ISSN 1652-6082. s. 40¨C45. Fulltekst i vitenarkiv
• Bernhardt, Emil (2008). Was heisst "Kunstmusik"? Kunstmusik. ISSN 1612-6173. s. 4¨C8. Fulltekst i vitenarkiv
• Bernhardt, Emil (2021). Klangen av historie. Verk og fortolkning hos Nikolaus Harnoncourt. Norges musikkh?gskole. ISSN 9788278532904. Fulltekst i vitenarkiv Vis sammendrag

  English summary This study focuses on the performance practice of the Austrian conductor, Nikolaus Harnoncourt (1929¨C2016). 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 ¨C 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 ¨C 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.

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