Per F. Broman

Per Fredrik Broman, född 1962, är en svensk-amerikansk musikforskare.

Per F. Broman är professor i musikteori vid Bowling Green State University i Ohio i USA.^[1] Han studerade vid Ingesunds Musikhögskola, Kungliga Musikhögskolan, McGill University i Montréal och disputerade 1999 med en avhandling om tonsättaren Bengt Hambræus vid Göteborgs universitet. Han sedan har dess bland annat skrivit om mottagandet av Abba, Ingmar Bergmans filmmusik i antologin Music, Sound and Filmmakers: Sonic Style in Cinema, musikanvändandet i TV-serien South Park och var huvudredaktör för antologin What Kind of Theory Is Music Theory? Epistemological Exercises in Music Theory and Analysis.^[2]

Bibliografi i urval

Böcker

• Karin Rehnqvist. Stockholm: Gidlunds, 2018.
• What Kind of Theory is Music Theory? Epistemological Exercises in Music Theory and Analysis. Tillsammans med Nora Engebretsen. Acta Universitatis Stockholmiensis. Stockholm Studies in Musicology 1. Stockholm: 2007.
• Crosscurrents and Counterpoints: Offerings in Honor of Bengt Hambræus at 70. Tillsammans med Nora A. Engebretsen and Bo Alphonce. Göteborg: Göteborgs universitet, 1998.
• Sven-David Sandström. Stockholm: Atlantis, 2012.
• Back to the Future”: Towards an Aesthetic Theory of Bengt Hambræus. Gothenburg: Gothenburg University, 1999.

Artiklar

• “Another Woody: J. S. Bach in Dixieland.” BACH: Journal of the Riemenschneider Bach Institute. 50, no. 2 (2019): 254–74.   
• “Mute the Bereaved Memories Speak: ‘Vulgar! Rough! Tasteless!—A major music event! Brilliant critique of civilization’.” Ars Lyrica 22 (2013): 21–39.

• “Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach.” Medredaktör Nora Engebretsen. Journal of Music Theory Pedagogy (2007): 35–65.
• “In Beethoven’s and Wagner’s Footsteps: Phrase Structures and Satzketten in the Instrumental Music of Béla Bartók.” Studia Musicologica Academiae Scientiarum Hungaricae 48 (2007): 113–31.
• “‘When All Is Said and Done’: Swedish ABBA Reception during the 1970s and the Ideology of Pop.” Journal of Popular Music Studies 17/1 (2005): 45–66.
• “Appealing to the Muse and Connecting the Dots: Writing a History of Post-World War II Swedish Art Music.” Svensk Tidskrift för Musikforskning 87 (2005): 35–53.
• “Gender, Ideology, and Structure: Pedagogical Approaches to the Music of Karin Rehnqvist.” College Music Symposium 44 (2004): 15–27.
• “Bengt Hambræus and the Canadian Dream.” ex tempore: A Journal of Compositional and Theoretical Research in Music 10/1 (2000): 5–11.
• “Reger and Riemann: Some Analytical and Pedagogical Prospects.” Svensk tidskrift för musikforskning [Journal of Swedish Musicological Society.] 84 (2002): 13–25.
• “Touching up the Paint or a Complete Vinyl Residing? Meta-Analytical Strategies in Stephen Ingham’s Second Sonata for Piano and Tape.” Perspectives of New Music 37/1 (1999): 5–25.
• “Emperor’s New Clothes: Performance Practice in the Late Twentieth Century.” Svensk Tidskrift för Musikforskning [Journal of Swedish Musicological Society.] 76–77 (1994–95): 31–53.

Bokkapitel

• “From Where Does the Music Come? Musical Meaning and Musical Discourse in Ingmar Bergman’s Films.” I Ingmar Bergman: A Enduring Legacy. Lund and Manchester: Lund University Press, Manchester University Press: 167–84.
• “To Joy and Failure: Ingmar Bergman’s Musicians.” I Music in European Postwar Cinema, redigerad av Michael Baumgartner och Ewelina Boczkowska. New York: Routledge. Under utgivning.
• “Aesthetic Value, Ethos, and Phil Collins: The Power of Music in South Park.” I The Ultimate South Park and Philosophy: Respect My Philosophah! Redigerad av Robert Arp and Kevin S. Decker. Malden, MA, Oxford, UK: Blackwell Publishing, 2013: 247–59.
• “Silence and Sound in Ingmar Bergman’s Films.” I Music, Sound and Filmmakers: Sonic Style in Cinema. James Wierzbicki, editor. New York: Routledge, 2012: 15–21.
• “The Good, the True, and the Professional: Teaching Music History in an Age of Excess.” I Vitalizing Music History Pedagogy. Redaktör James Briscoe. College Music Society, 2010: 19–26.
• “Music Theory: Art, Science, or What?” In What Kind of Theory is Music Theory? Epistemological Exercises in Music Theory and Analysis. Redigerad av Per F. Broman and Nora Engebretsen. Acta Universitatis Stockholmiensis. Stockholm Studies in Musicology 1. Stockholm: 2007: 17–34.
• “Interpreting the Artwork: The Composer and the Placebo Aesthetic Experience.” I Frispel: festskrift till Olle Edström. Gothenburg: Gothenburg University, 2005: 423–34.
• “Musik för komedi och tragedi: Dag Wiréns musik till En lektion i kärlek och Fröken Julie” [Music for Comedy and Tragedy: Dag Wirén’s Music for A Lesson in Love and Miss Julie]. I Dag Wirén: en vägvisare. Redigerad av Martin Tegen. Hedemora: Gidlunds förlag, 2005: 201–06; 227–33; 290–92.
• “Reconstructing Ingmar: Allusions, Life, Art, and the Purging of the Great Model.” I Woody Allen and Philosophy. Redigerad av Mark T. Conard and Aeon J. Skoble. Chicago and La Salle: Open Court, 2004: 151–65.
• “New Music of Sweden.” I New Music of the Nordic Countries. Redigerad av John White. Hillsdale, NY: Pendragon Press, 2002: 445–588.

Broman finns som uppslagsord i följande lexica: Gads Musikleksikon, Directory of American Scholars, och Who’s Who in America. Publikationer i Libris.

Källor