Tore Størvold
Biographic Data
| ID | 1603032 |
|---|---|
| NAME | Tore Størvold |
| GIVEN NAMES | Tore |
| FAMILY NAME | Størvold |
| SIGNATURE | STØRVOLD T |
| AFFILIATIONS | University of Oslo |
| ORCID | 0009-0007-6036-1026 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Musical Submersion in Anthropocene Seas: Oceanic Aesthetics in Björk and John Luther Adams
This article explores the relationship between musical aesthetics and evolving submarine imaginaries in an age of unprecedented threats to the ocean. The discussion is structured around two case studies: Björk's performance of the song ‘Oceania’ at the opening ceremonies of the 2004 Olympics, and John Luther Adams's 2013 Pulitzer Prize-winning Become Ocean for orchestra. In these examples, culturally and historically situated visions of the ocean…
On Dissonant Landscapes: Tore Størvold and Susan O’Shea, in conversation
An interview with Susan O'Shea and Tore Størvold to discuss the recently published book, Dissonant Landscapes: Music, Nature and The Performance of Iceland
Musical aesthetics below ground: Volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”
This article presents a musicological and ecocritical close reading of the song “Brennisteinn” (“sulphur” or, literally, “burning rock”) by the acclaimed post-rock band Sigur Rós. The song—and its accompanying music video—features musical, lyrical, and audiovisual means of registering the turbulence of living in volcanic landscapes. My analysis of Sigur Rós’s music opens up a window into an Icelandic cultural history of inhabiting a risky Earth, …
Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland
This article bridges ecocriticism and popular music analysis in a close reading of three examples that respond musically to environmental debates in Iceland during the period 2006–2009. Political-environmental tensions in Iceland reached a heated level in the mid 2000s with the construction of the Kárahnjúkar hydropower project, which elicited a string of artistic and musical responses. While considering Valgeir Sigurðsson’s “Grýlukvæði,” Björk’s…
Sigur Rós: Reception, Borealism, and Musical Style
Since the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers …
Sigur Rós: Reception, Borealism, and Musical Style
Since the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers …
Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland
This article bridges ecocriticism and popular music analysis in a close reading of three examples that respond musically to environmental debates in Iceland during the period 2006–2009. Political-environmental tensions in Iceland reached a heated level in the mid 2000s with the construction of the Kárahnjúkar hydropower project, which elicited a string of artistic and musical responses. While considering Valgeir Sigurðsson’s “Grýlukvæði,” Björk’s…
Music and the Kárahnjúkar Hydropower Plant: Style, Aesthetics, and Environmental Politics in Iceland
This article bridges ecocriticism and popular music analysis in a close reading of three examples that respond musically to environmental debates in Iceland during the period 2006–2009. Political-environmental tensions in Iceland reached a heated level in the mid 2000s with the construction of the Kárahnjúkar hydropower project, which elicited a string of artistic and musical responses. While considering Valgeir Sigurðsson’s “Grýlukvæði,” Björk’s…
Sigur Rós: Reception, Borealism, and Musical Style
Since the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers …
Musical aesthetics below ground: Volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”
This article presents a musicological and ecocritical close reading of the song “Brennisteinn” (“sulphur” or, literally, “burning rock”) by the acclaimed post-rock band Sigur Rós. The song—and its accompanying music video—features musical, lyrical, and audiovisual means of registering the turbulence of living in volcanic landscapes. My analysis of Sigur Rós’s music opens up a window into an Icelandic cultural history of inhabiting a risky Earth, …
On Dissonant Landscapes: Tore Størvold and Susan O’Shea, in conversation
An interview with Susan O'Shea and Tore Størvold to discuss the recently published book, Dissonant Landscapes: Music, Nature and The Performance of Iceland
Musical Submersion in Anthropocene Seas: Oceanic Aesthetics in Björk and John Luther Adams
This article explores the relationship between musical aesthetics and evolving submarine imaginaries in an age of unprecedented threats to the ocean. The discussion is structured around two case studies: Björk's performance of the song ‘Oceania’ at the opening ceremonies of the 2004 Olympics, and John Luther Adams's 2013 Pulitzer Prize-winning Become Ocean for orchestra. In these examples, culturally and historically situated visions of the ocean…
Art (5 works) · Aesthetics (4 works) · History (4 works) · Musical (4 works) · Philosophy (4 works) · History (3 works) · Linguistics (3 works) · Literature (3 works) · Music History and Culture (3 works) · Philosophy (3 works)