The thesis



Indy500: seklernas udde

Hamlet II: Exit Ghost

A Language at War

Arrival Cities: Växjö



Musical Composition as a

Dramaturgical Strategy



and resources


List of works

and performances


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The Bells

Champs d'étoiles

CHAPTER 5.4.1 - 5.4.3

EXAMPLE 5.4.1. Video-excerpt, part I. Score p.11, bar 61-70.

EXAMPLE 5.4.2. Video-excerpt, part I. Score p. 23, bar 123-150.

EXAMPLE 5.4.3. Video-documentation from the workshop with Musica Vitae

EXAMPLE 5.4.5. Video-excerpt, part III. Score p. 191-203, bar 1-150.

One important literary source for Dahlqvist when writing the text was the essay We Refugees by Hannah Arendt, where she develop her thoughts on refugees and human rights, based in her own experiences of fleeing the German Nazi-regime.

2 Everything’s closed. There’s only this room.

1 Just. You have your voice. Go.

2 All roads are closed to those who flee.

3 You won’t be fleeing. You’re not a refugee. You'll be travelling. Go.

2 I can’t travel.

3 You'll be travelling. You won’t be fleeing. You’ll be travelling. You have your voice. Speak, use your voice.

2 I have my family here everyone. My brother everyone. I smoke my cigarette and wait.

1 He’ll understand. Go.

2 I can’t leave him my family. I can’t. I smoke my cigarette and wait

The vocal ensemble has a role similar to the choir in the antique Greek tragedies, commenting and contemplating the actors’ words. Sometimes they are more of an actor themselves that respond and exhort.

You won’t die here, go

You won’t die here, go

You won’t die here, go

You’re the dividing line, go

You have your rights, go.

You'll travel from here, go

You’re travelling from here, go

You're not fleeing, go,

You’re not a refugee, go

you go travelling from here, go

In your own right, go.

You will talk, go.

You have your voice, go


One of the first events in the creative process of Arrival Cities: Växjö was a one-day workshop together with the string orchestra. For this I had made a couple of short musical sketches that I wanted to try. This was an opportunity to hear some of the musical ideas before continuing to work on them. I took the famous chord in The Augurs of Spring that the strings play repeatedly with successive down-bows as the underlying harmonic idea.

The material from the workshop session in the example above in the final performance version.