Peter Edwards

• Dysers, Christine; Edwards, Peter; Lochhead, Judy (2026). Music of Absence: An Aesthetics of Loss in the New Millennium (Edinburgh University Press).
  
  Edwards, Peter (2026). 'The Lament, Loss and the Power of Speaking in Music' in Dysers, Christine; Edwards, Peter; Lochhead, Judy (eds.) (2026). Music of Absence: An Aesthetics of Loss in the New Millennium (Edinburgh University Press).
• Edwards, Peter (2024). Critical Composition, Creativity and Style in "Le Grand Macabre". In Hiekel, Jörn Peter & Eule, Johann Casimir (Ed.), Zwischen Apokalypse und Groteske György Ligeti: LE GRAND MACABRE. Edition text+kritik (et+k). ISSN 978-3-96707-846-6. pp. 85–96.
• Edwards, Peter (2022). Analysing the Concerto for Violin and Orchestra: Apparitions of the Past and Future. I Marx, Wolfgang (Red.), I Don’t Belong Anywhere: György Ligeti at 100. Brepols. ISSN 978-2-503-60240-0. ss. 93–109.
• Edwards, Peter (2021). Ideology, Performance, and Ironic Distance in Musical Slapstick, In Ervin Malakaj & Alena E. Lyons (ed.),  Slapstick: An Interdisciplinary Companion.  Walter de Gruyter (De Gruyter).  ISBN 9783110570793.
• Edwards, Peter (2021). Levy, Benjamin R., Metamorphosis in Music: the Compositions of György Ligeti in the 1950s and 1960s (Oxford and New York: Oxford University Press, 2017). ISBN 9780199381999.  Music Analysis.  ISSN 0262-5245. doi: https://doi.org/10.1111/musa.12170
• Edwards, Peter (2017). "Bartók, Ligeti and the Innovative Middle Road", In Amy Bauer & Márton Kerékfy (eds.), György Ligeti's Cultural Identities, London and New York: Routledge).  ISBN 978-1472473646.
• Edwards, Peter (2016). György Ligeti's Le Grand Macabre: Postmodernism, Musico-Dramatic Form and the Grotesque (Abingdon and New York: Routledge). (Book.) (Monograph.)
• Edwards, Peter (2015). "Convergences and Discord in the Correspondence between Ligeti and Adorno".  Music & Letters, 96 (2).  ISSN 0027-4224. doi: 10.1093/ml/gcu132 
• Edwards, Peter (2015). "Resisting Closure: The Passacaglia Finale from György Ligeti's Le Grand Macabre".  Music Analysis, 34 (3).  ISSN 0262-5245. doi:10.1111/musa.12056 
• Edwards, Peter (2015). "Remembrance and Prognosis in the Music of György Ligeti", in Transformations of Musical Modernism, ed. by E. E. Guldbrandsen and J. Johnson, Cambridge University Press. ISBN 9781107127210. 
• Edwards, Peter (2012). Tradition and the Endless Now. A Study of György Ligeti's Le Grand Macabre, PhD diss., Universitetet i Oslo. 

• Dysers, Christine; Edwards, Peter & Lochhead, Judith (2026). Introduction: Absence and Music Thinking, Music of Absence: An Aesthetics of Loss in the New Millennium. Edinburgh University Press. ISSN 9781399555807. s. 1–20. doi: https:/edinburghuniversitypress.com/media/resources/9781399555807_Introduction_Music_of_Absence.pdf. Fulltekst i vitenarkiv Vis sammendrag

  This collection of essays studies how music of the twenty-first century resonates with sentiments of despondency and loss in the context of the multiple existential crises of the time: climate change, political violence, financial crises, racial inequities and technological acceleration. Investigating musical expressions of absence across a wide variety of genres and philosophical approaches, the collection aims to stimulate an interdisciplinary conversation about music as an alternative mode of thinking at a time when established frames of reasoning are called into question. Themed sections engage with the multiplicity of emergent meanings that absence alludes to, opening new lines of inquiry into how music enacts new forms of being in the world and creates pathways to better futures.

• Edwards, Peter (2026). The Lament, Loss and the Power of Speaking in Music, Music of Absence: An Aesthetics of Loss in the New Millennium. Edinburgh University Press. ISSN 9781399555807. s. 119–129. doi: https:/edinburghuniversitypress.com/book-music-of-absence.html. Fulltekst i vitenarkiv Vis sammendrag

  This collection of essays studies how music of the twenty-first century resonates with sentiments of despondency and loss in the context of the multiple existential crises of the time: climate change, political violence, financial crises, racial inequities and technological acceleration. Investigating musical expressions of absence across a wide variety of genres and philosophical approaches, the collection aims to stimulate an interdisciplinary conversation about music as an alternative mode of thinking at a time when established frames of reasoning are called into question. Themed sections engage with the multiplicity of emergent meanings that absence alludes to, opening new lines of inquiry into how music enacts new forms of being in the world and creates pathways to better futures.

• Edwards, Peter (2025). En oppdiktet musikk. Irrasjonell logikk og ekspressiv tilblivelse i Adrian Leverkühns Dr. Fausti Veklage. Agora Journal for metafysisk spekulasjon. ISSN 0800-7136. 43(3-4), s. 85–107. doi: 10.18261/agora.43.3-4.5. Fulltekst i vitenarkiv
• Edwards, Peter (2024). Critical Composition, Creativity and Style in "Le Grand Macabre". I Hiekel, Jörn Peter & Eule, Johann Casimir (Red.), Zwischen Apokalypse und Groteske György Ligeti: LE GRAND MACABRE. Edition text+kritik (et+k). ISSN 9783967078466. s. 85–96. Fulltekst i vitenarkiv
• Edwards, Peter & Sailer, Uta (2023). Death in Music and Music in Death: Reflections on Mortality and Listening in the Performances of Marino Formenti. I Marx, Wolfgang (Red.), Music and Death. Funeral Music, Memory and Re-Evaluating Life.. Boydell & Brewer. ISSN 9781837650644. s. 155–169. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Analysing the Concerto for Violin and Orchestra: Apparitions of the Past and Future. I Marx, Wolfgang (Red.), I Don’t Belong Anywhere: György Ligeti at 100. Brepols. ISSN 9782503602400. s. 93–109. Fulltekst i vitenarkiv Vis sammendrag

  2023 marks the centenary of Ligeti’s birth, an appropriate moment to take stock of the relevance this composer has in the contemporary world, to assess where he “belongs” today and how our views of his œuvre and our understanding of his position in musical and cultural history have evolved. What do Ligeti and his music have to say to us in our post-postmodernist age? Why do his works still fascinate us so much? This book offers new readings of core compositions such as «Aventures», «Lontano», «Le Grand Macabre», the «Hölderlin Fantasies» and «Galamb borong». It also reassesses the context and reception of Ligeti’s works, including the influence of Romanian music (not least in his childhood), musical life in Hungary between 1945 and 1956, the ways in which his thinking was influenced by his experience of different soundscapes, yet also the surprisingly widespread use of his music in film and TV (beyond the usual suspect). Finally it presents new sources discovered or made available only recently: letters exchanged between Ligeti and Aliute Mecys in 1972, the correspondence between the composer and his publisher Schott, and an extended BBC interview from 1997.

• Edwards, Peter (2021). Ideology, Performance, and Ironic Distance in Musical Slapstick. I Malakaj, Ervin & Lyons, Alena E. (Red.), Slapstick: An Interdisciplinary Companion. De Gruyter Brill. ISSN 9783110570793. s. 37–52. doi: 10.1515/9783110571981-004. Fulltekst i vitenarkiv
• Edwards, Peter (2017). Bartók, Ligeti and the Innovative Middle Road. I Bauer, Amy & Kerékfy, Márton (Red.), György Ligeti's Cultural Identities. Routledge. ISSN 9781472473646. s. 149–162. doi: 10.4324/9781315592411-10. Fulltekst i vitenarkiv Vis sammendrag

  Twentieth-century art music, according to dominant narratives, variously oscillates between extremes of progression and retrospect, and unity and multiplicity. While the music of György Ligeti displays qualities from both ends of these scales, his famously ambiguous rhetoric and references to his ‘third way’ imply a determination to seek out an alternative, innovative ‘middle road’ beyond any such dichotomies. As this chapter will discuss, there are aspects of Ligeti’s music and his creative process that bring a level of substance to his rhetoric. Moreover, the middle road and its manifestation in Ligeti’s music can be traced to the influence of his Hungarian heritage and Béla Bartók in particular, revealing another significant but underexposed narrative in twentieth-century music. I will argue that the influence of Bartók permeates Ligeti’s compositional poetics to a much greater degree than is currently acknowledged. The first reference to the middle road in twentieth-century music appears in a programme note by Schoenberg; the term is used to denote the compromise that he perceives in the retrospective tendencies in Stravinsky’s neoclassical music. These comments are referred to by Adorno in the opening pages of his seminal Philosophy of New Music; however, Adorno’s brief exegesis places the notion of compromise in a different, more favourable light (this aspect of his discussion is, arguably, widely misread). Adorno, in reference to René Leibowitz’s article ‘Béla Bartók, the Possibility of Compromise in Contemporary Music’, acclaims Bartók for pursuing the middle road in a move beyond the inevitability of progressive twelve-note music or retrospective diatonicism into new and innovative territory. Ligeti in turn explores the implications of Leibowitz’s discourse more fully in his own writings, praising the significance of Bartók. Moreover, several of Ligeti’s theoretical texts display underlying affinities with Bartókian tradition, and close archaeological studies of Ligeti’s music indicate the submersed and as yet largely unexplored influence of Bartók across the vast span of his oeuvre.

• Edwards, Peter (2015). Convergences and Discord in the Correspondence between Ligeti and Adorno. Music & Letters. ISSN 0027-4224. 96(2), s. 228–258. doi: 10.1093/ml/gcu132. Fulltekst i vitenarkiv Vis sammendrag

  During the 1960s György Ligeti engaged with Theodor W. Adorno in public discussions and private correspondence, most significantly on ideas presented by Adorno in the lecture ‘Vers une musique informelle’ and developed further in ‘Difficulties’. Their previously unpublished letter correspondence provides a basis from which to examine their interaction, and casts new light on the level of Ligeti’s engagement with Adorno’s musical aesthetics. The study of the interaction between Ligeti and Adorno seeks to address recent calls for investigation into the range and nature of Adorno’s influence on composers and their poetics. Moreover, the implications of Ligeti’s contribution in response to Adorno, particularly in matters of musical form, are of potential significance to the broader analytical and aesthetic discourses on a wide range of repertories and genres to emerge in the late twentieth century.

• Edwards, Peter (2015). Resisting Closure: The Passacaglia Finale from György Ligeti's Le Grand Macabre. Music Analysis. ISSN 0262-5245. doi: 10.1111/musa.12056. Fulltekst i vitenarkiv Vis sammendrag

  The Passacaglia finale from György Ligeti's Le Grand Macabre (1974–7, rev. 1996) has been described as a point of stylistic crisis, marking Ligeti's return to more traditional compositional means. Consonances and tonal allusions in the music are regarded as indicative of this retrospective tendency. However, notions of functional hierarchy or even pitch centres do little to explicate the underlying processes that contribute to the sense of perpetual unfurling in the Passacaglia. Contained within the resistance to tonal teleology is a process of differentiation in the pitch material. In this respect, the Passacaglia might be considered a further development in Ligeti's continuing effort to inject process into musical material, albeit with increasing levels of intervallic transparency. I further substantiate this argument by situating the analytical findings in this article in a historical context. The final version of this research has been published in Music Analysis. © 2015 Wiley

• Edwards, Peter (2015). Remembrance and Prognosis in the Music of György Ligeti. I Guldbrandsen, Erling E. & Johnson, Julian (Red.), Transformations of Musical Modernism. Cambridge University Press. ISSN 9781107127210. s. 190–200. doi: 10.1017/cbo9781316411766.011. Fulltekst i vitenarkiv Vis sammendrag

  Profound transformations in the composition, performance and reception of modernist music have taken place in recent decades. This collection brings fresh perspectives to bear upon key questions surrounding the forms that musical modernism takes today, how modern music is performed and heard, and its relationship to earlier music. In sixteen chapters, leading figures in the field and emerging scholars examine modernist music from the inside, in terms of changing practices of composition, musical materials and overarching aesthetic principles, and from the outside, in terms of the changing contextual frameworks in which musical modernism has taken place and been understood. Shaped by a 'rehearing' of modernist music, the picture that emerges redraws the map of musical modernism as a whole and presents a full-scale re-evaluation of what the modernist movement has all been about. – – Contributors: – – Erling E. Guldbrandsen, Julian Johnson, Susan McClary, Arnold Whittall, Björn Heile, David Metzer, Michael Cherlin, Jean-Paul Olive, Marion Hestholm, Edward Campbell, Peter Edwards, Samuel Wilson, Arnulf Christian Mattes, Francesca Placanica, Anders Førisdal, Tanja Orning

Se alle arbeider i NVA

• Dysers, Christine; Edwards, Peter & Lochhead, Judith (2026). Music of Absence: An Aesthetics of Loss in the New Millennium. Edinburgh University Press. ISBN 9781399555807. doi: https:/www.jstor.org/stable/10.3366/jj.33169508. Fulltekst i vitenarkiv Vis sammendrag

  This collection of essays studies how music of the twenty-first century resonates with sentiments of despondency and loss in the context of the multiple existential crises of the time: climate change, political violence, financial crises, racial inequities and technological acceleration. Investigating musical expressions of absence across a wide variety of genres and philosophical approaches, the collection aims to stimulate an interdisciplinary conversation about music as an alternative mode of thinking at a time when established frames of reasoning are called into question. Themed sections engage with the multiplicity of emergent meanings that absence alludes to, opening new lines of inquiry into how music enacts new forms of being in the world and creates pathways to better futures.

• Edwards, Peter (2016). György Ligeti's Le Grand Macabre: Postmodernism, Musico-Dramatic Form and the Grotesque. Routledge. ISBN 9781472456984. 166 s. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Dysers, Christine; Edwards, Peter; Lochhead, Judith; Celik, Kristina Socanski & Pilvar, Payam (2026). Music of Absence Book Launch at the Nobel Peace Center, 18.09.26. doi: https:/edinburghuniversitypress.com/book-music-of-absence.html. Fulltekst i vitenarkiv Vis sammendrag

  The SONIC CITIZENSHIP event held at the Nobel Peace Center served as a launch for both an exhibition of the same name and the ground-breaking book Music of Absence: An Aesthetics of Loss in the New Millennium (EUP, 2026), edited by Christine Dysers, Peter Edwards and Judith Lochhead. Talks and presentations explored music and sound as a site for critical listening and reflection on themes of citizenship, belonging, and social justice in the 21st century. Presentations given by Christine Dysers, Judith Lochhead, Peter Edwards, Payam Pilvar and Kristina Socanski Celik. Organised by the Prisons of Note research project and the Democracy of Silence research project, in collaboration with Ultima Contemporary Music Festival and the Dept. of Musicology, UiO.

• Mangaoang, Áine Ryan; Edwards, Peter & Frödén, Lucy Cathcart (2026). Sonic Citizenship. doi: https:/www.nobelpeacecenter.org/en/exhibitions/sonic-citizenship. Fulltekst i vitenarkiv Vis sammendrag

  An immersive, multisensory audiovisual exhibition featuring short films, music & images | @ Pop-Up Studio Nobel Peace Center, Oslo | 18.09.2026-11.10.2026. Curated by Áine Mangaoang, Peter Edwards, and Lucy Cathcart Frödén.

• Edwards, Peter (2026). The Ringing Grooves of Change. doi: https:/youtu.be/e-H1VLsSltY?si=R2gF85b-qKIJgk1S. Fulltekst i vitenarkiv
• Edwards, Peter (2026). Literacy of Silence for Twenty-First Century Citizenship. Fulltekst i vitenarkiv
• Edwards, Peter (2025). Sonic Citizenship. doi: https:/www.hf.uio.no/imv/english/research/news-and-events/events/Research-Forum/2025/sonic-citizenship.html. Fulltekst i vitenarkiv Vis sammendrag

  A research forum event exploring the role of music and sound in democratic practices. In collaboration with the University of Leeds.

• Edwards, Peter (2025). Premieresamtale: Fin de partie. doi: https:/soundcloud.com/user-346437832/01-opptak-samtale-fin-de?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing. Fulltekst i vitenarkiv
• Edwards, Peter (2025). The Eye of the Storm: Music and the Aesthetics of Overload. doi: https:/www.southampton.ac.uk/music/RMAconference2025.page. Fulltekst i vitenarkiv
• Edwards, Peter (2025). Memory and the Aesthetics of Overload. doi: https:/fabricadesites.fcsh.unl.pt/ncmm/. Fulltekst i vitenarkiv
• Edwards, Peter (2025). Music, the Crossroads, and the Prospect of Loss. doi: https:/nsae25.wordpress.com/programme/. Fulltekst i vitenarkiv
• Jarman, Freya; Mangaoang, Áine Ryan & Edwards, Peter (2025). Infernal Voices: The Sinister Reaches of the High Voice. doi: https:/www.hf.uio.no/imv/forskning/aktuelt/arrangementer/?view=allprevious&page=2&u-page=2. Fulltekst i vitenarkiv Vis sammendrag

  Throughout the history of western vocal music, high notes and high voices have come to signify a range of ideas that don’t seem at first to be issues of gender but which very rapidly turn out to be gendered spaces. From the purity and innocence of the angelic church treble, through the coloratura of the nineteenth-century operatic madwoman and the heroic climaxes of her tenor counterpart, to the antisemitic coding in Wagner’s high-tessitura villain roles, high voices do an awful lot of cultural work. Drawn from a book-length project on the topic, this paper will consider how high voices and high vocal notes code for sinister spaces—the devilish, the demonic, the underworld—and how these spaces are also intensely gendered. In order to explore these themes, I draw on examples from heavy metal and death metal, opera from Purcell to Penderecki, musical theatre, and various vocal accompaniments to death.

• Edwards, Peter; Dysers, Christine & Lochhead, Judith (2024). Absence in Music: Enacting the Non-Conceptual in the Twenty-First Century. Fulltekst i vitenarkiv
• Edwards, Peter (2024). Twenty-First Century Lament. Fulltekst i vitenarkiv
• Edwards, Peter (2024). The lament, loss and the power of speaking in music of the 21st century. Fulltekst i vitenarkiv
• Edwards, Peter (2024). Imagining Form and Capturing the Moment: The Musical Sketches of György Ligeti. doi: https:/www.hf.uio.no/ilos/english/research/centre/lce/news-and-events/events/workshops/previous.html. Fulltekst i vitenarkiv
• Edwards, Peter (2024). Musical Aesthetics of Loss in the 21st Century. Fulltekst i vitenarkiv
• Jensenius, Alexander Refsum; Edwards, Peter; Klungnes, Kristina Mariell Dulsrud; Berg, Anna & Jenssen, Kjell Runar (2024). Musikksnakk: Filmmusikk. Fulltekst i vitenarkiv Vis sammendrag

  Musikk skaper stemning i filmer. Men hvordan klarer filmmusikken å bevege oss så mye? Og hva er starten på fortellingen om hvorfor man bruker musikk for å skape en viss stemning? Se for deg en hai komme svømmende mot en uviten bader – i stillhet. Hva med Frodo og Sam som karrer seg opp Mount Doom til lyden av... ingenting? Eller Katniss Everdeen som kjører i en vogn i flammer gjennom Capitol, uten trommer som drønner og majestetiske horn? Litt kjedelig, ikkesant? Musikk er viktig i film for å lage en viss stemning. Men hvordan ble det sånn? Er det bare for å få oss til å føle, eller ligger det en historie bak filmmusikken?

• Edwards, Peter & Pettersen, Stine Helen (2024). Erfaringer fra en rettssak om musikken til Harry Potter Filmene. Fulltekst i vitenarkiv Vis sammendrag

  Presentasjon i forbindelse med en studiedag dedikert til utforskning av musikk-opphavsrett i Norge. Arrangør: Peter Edwards, Institutt for musikkvitenskap

• Edwards, Peter (2024). Musikksnakk: Filmmusikk. Fulltekst i vitenarkiv
• Edwards, Peter (2023). Musikk og opphavsrett. Fulltekst i vitenarkiv
• Edwards, Peter (2023). Research Forum at the Opera: Bluebeard's Castle. Fulltekst i vitenarkiv
• Edwards, Peter & Nielsen, Nanette (2023). Kunstmusikken lever! Også på Universitetet i Oslo. Fulltekst i vitenarkiv
• Edwards, Peter (2023). Sakkyndig rapport og vitneforklaring. Borgarting Lagmannsrett (expert testimony and report: Court of Appeals). Fulltekst i vitenarkiv Vis sammendrag

  Saken gjaldt flere krav knyttet til anførte inngrep i immaterielle rettigheter i forbindelse med markedsføring og gjennomføring av konserter med musikk fra Harry Potter-filmene. Saken gjaldt også krav om erstatning for tap som følge av at det ved midlertidig forføyning var lagt ned forbud mot å gjennomføre konserter. Lagmannsretten kom til at musikken var fremført i bearbeidet form og at dette innebar en krenkelse av rettighetshaverens opphavsrett. Rettighetshaverens krav om forbud mot fremføring og om erstatning for opphavsrettskrenkelsen ble tatt til følge. Videre kom lagmannsretten til at markedsføringen av konsertene ikke var i strid med markedsføringsloven § 25, og rettighetshaverens krav om erstatning etter markedsføringsloven ble ikke tatt til følge. For øvrig ble begge partenes anker forkastet.

• Edwards, Peter (2023). Blended Learning: "Body and Mind", a Circle U Collaboration. Fulltekst i vitenarkiv
• Edwards, Peter (2023). Music of the Future and Sense-Making. Performing György Kurtág’s Fin de partie. Fulltekst i vitenarkiv
• Edwards, Peter (2023). Talk and concert with asamisimasa. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Pønkebadet. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Marino Formenti and the transformative concert recital. Fulltekst i vitenarkiv
• Edwards, Peter (2022). György Ligeti’s Concerto for Violin and Orchestra: Conceiving Rhythm and Form by Association. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Frode Olsen – om å synge Fin de partie. Scenekunst.no. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Frode Olsen – en karriere i sang. Scenekunst.no. Fulltekst i vitenarkiv
• Edwards, Peter (2021). Levy, Benjamin R., Metamorphosis in Music: the Compositions of György Ligeti in the 1950s and 1960s (Oxford and New York: Oxford University Press, 2017). x + 304 pp. £59.00 (hb). ISBN 9780199381999. Music Analysis. ISSN 0262-5245. Fulltekst i vitenarkiv
• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Fulltekst i vitenarkiv Vis sammendrag

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.

• Jensenius, Alexander Refsum; Danielsen, Anne & Edwards, Peter (2020). Vi trenger kort og godt mer automagi i Cristin. Fulltekst i vitenarkiv Vis sammendrag

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen.

• Edwards, Peter (2019). VOeX Festival 2019. Fulltekst i vitenarkiv Vis sammendrag

  Seminar on 'the voice' voice organised by Hedda Høgåsen-Hallesby and Peter Edwards: What is a voice? How have voices been used in music? How is the voice used in new technology today? What does our voice say about us? And what happens within us when we hear a voice? Listen to music researchers, technologists, psychologists, and singers in conversation. Speakers: Nina Sun Eidsheim, Professor of Musicology at UCLA and author of the book "Sensing Sound: Singing and Listening as Vibrational Practice." David Levin, Professor of Performance Studies at the University of Chicago. Stan Hawkins, Professor of Popular Music at the University of Oslo. Nanette Nielsen, Associate Professor in Opera Studies at the University of Oslo. Catherine Anne Bradley, Associate Professor in Medieval Music at the University of Oslo. Alexander Refsum Jensenius, Associate Professor in Music Technology at the University of Oslo. Thomas Schubert, Professor of Psychology at the University of Oslo. Sagar Sen, Technology Researcher at the Simula Research Laboratory. Espen Systad, Technologist and Specialist in the Use of the Human Voice in New Media. Mathias Gillebo, Tenor and PhD Candidate at the Norwegian Academy of Music. Lydia Hoen Tjore, Soprano at the Norwegian National Opera & Ballet. Hedda Høgåsen-Hallesby, Dramaturg at the Norwegian National Opera & Ballet. Peter Edwards, Associate Professor, University of Oslo

• Edwards, Peter (2019). Frahmtiden er ny-klassisk. [Journal]. Vårt Land. Fulltekst i vitenarkiv
• Edwards, Peter (2019). Udo Zimmermann's Weiße Rose. Fulltekst i vitenarkiv
• Nielsen, Nanette; Aksnes, Hallgjerd; Edwards, Peter & Kvalbein, Astrid (2018). Launch for Nanette Nielsen’s book _Paul Bekker’s Musical Ethics_. Introduction and moderation by Hallgjerd Aksnes, panel discussion including: Peter Edwards (University of Oslo), Peter Franklin (University of Oxford), Sarah Hibberd (University of Bristol), Astrid Kvalbein (NMH) and Aksel Tollåli (Oslo). Fulltekst i vitenarkiv
• Eriksen, Asbjørn Øfsthus & Edwards, Peter (2018). Musikk og humor. Fulltekst i vitenarkiv
• Edwards, Peter (2017). Expressive States in Theory and Practice: Spatially-Conceived Forms from East to West. Toru Takemitsu's November Steps. Fulltekst i vitenarkiv
• Edwards, Peter (2016). Death and Process in Music of the Late Twentieth and Early Twenty-First Centuries. Fulltekst i vitenarkiv
• Edwards, Peter (2016). The Impossibility of the Return in Bernd Alois Zimmermann’s Musique pours les soupers du Roi Ubu. Fulltekst i vitenarkiv
• Edwards, Peter (2016). ’Leit-Characteristics’ and Expressive States in Ligeti’s Le Grand Macabre. Fulltekst i vitenarkiv
• Edwards, Peter (2016). The Performance of Orchestral Overload in the Music of Zimmermann and Nørgård. Fulltekst i vitenarkiv
• Edwards, Peter (2016). Dash against the quiet. Fulltekst i vitenarkiv
• Edwards, Peter (2016). Musical Sketches in the late Twentieth Century: György Ligeti and the Creative Process. Fulltekst i vitenarkiv
• Edwards, Peter; Mattes, Arnulf Christian; Kvalbein, Astrid & Orning, Tanja (2015). Listening to the Twentieth Century. Fulltekst i vitenarkiv
• Edwards, Peter (2015). Musikkens historie og aktualitet: Et fag under fornyelse. Fulltekst i vitenarkiv
• Edwards, Peter (2014). Ligeti and Adorno: The Letter Correspondence. Fulltekst i vitenarkiv
• Edwards, Peter (2014). Boulez Springar (performance Ultima 13.09.14). Fulltekst i vitenarkiv
• Dirdal, Linn Carin; Orning, Tanja; Edwards, Peter & Jensenius, Alexander Refsum (2014). – Lytting er et arbeid. [Internet]. Ballade. Fulltekst i vitenarkiv Vis sammendrag

  Lytter vi annerledes til ulike typer musikk? Og i så fall, hvorfor? Richard Wagner og Radiohead stiller likt når Institutt for musikkvitenskap i høst har satt lytting på timeplanen. – Målet er å utvide den vitenskapelige paletten, sier emneansvarlig Tanja Orning.

• Kildahl, Mari; Orning, Tanja; Edwards, Peter & Jensenius, Alexander Refsum (2014). We no longer really listen to music. [Internet]. ScienceNordic. Fulltekst i vitenarkiv Vis sammendrag

  Researchers believe it's about time we reclaim the listening experience and pay more attention to it in musicology.

• Edwards, Peter (2014). Nye former for lytting, nye former for musikkforståelse. Fulltekst i vitenarkiv
• Edwards, Peter (2014). By the sound of its voice (13.10.2014). Fulltekst i vitenarkiv
• Edwards, Peter (2014). By the sound of its voice (10.10.2014). Fulltekst i vitenarkiv
• Kildahl, Mari; Orning, Tanja; Edwards, Peter & Jensenius, Alexander Refsum (2014). Vi lytter ikke lenger som før. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Musikk er ikke noter. Musikk handler om kropp, om å skape og lytte. Men hvordan lytter vi til musikk i vår tid? Er vi i ferd med å glemme hva det vil si å lytte for alvor? Forskere frykter det.

• Edwards, Peter & Guldbrandsen, Erling E. (2013). Highlighting Ligeti: Le Grand Macabre. Fulltekst i vitenarkiv
• Edwards, Peter & Guldbrandsen, Erling E. (2013). Et dypdykk i det makabre. Om György Ligetis opera "Le grand macabre" i La Fura dels baus' produksjon. Ballade. ISSN 0332-5148. Fulltekst i vitenarkiv
• Edwards, Peter (2013). Apati og handling. Ballade. ISSN 0332-5148. Fulltekst i vitenarkiv
• Edwards, Peter (2013). The Weight. Fulltekst i vitenarkiv Vis sammendrag

  Concert at the "interkulturelt museum", Grønland, Oslo. 18 January 2013

• Edwards, Peter (2013). Gesture and the Poetics of Musical Modernism. Fulltekst i vitenarkiv
• Edwards, Peter (2012). György Ligeti's Le Grand Macabre. [Radio]. "Spillerom" på NRK P2. Fulltekst i vitenarkiv
• Edwards, Peter (2012). Boulez Springar (performance Ultima 20.09.14). Fulltekst i vitenarkiv
• Edwards, Peter (2012). Tradition and the Endless Now: A Study of György Ligeti's Le Grand Macabre. Fulltekst i vitenarkiv
• Edwards, Peter (2012). Eivind Grovens renstemte orgel. [TV]. Intervjuet av Stål Talsnes i LørdagsMagasinet på TV2. Fulltekst i vitenarkiv
• Edwards, Peter (2012). Gesture and the Flip Side of Tradition. Fulltekst i vitenarkiv
• Edwards, Peter (2012). Reunion: 2012. Fulltekst i vitenarkiv
• Edwards, Peter (2012). Boulez Springar. Fulltekst i vitenarkiv Vis sammendrag

  Concert at Eivind Groven's Organ House, 1 December 2012. Commission funded by the Arts Council Norway

• Edwards, Peter (2011). Pseudomotivicism in Ligeti's Music. Fulltekst i vitenarkiv
• Edwards, Peter (2011). Dialectical Horizons in György Ligeti's 'Le Grand Macabre'. Fulltekst i vitenarkiv
• Edwards, Peter (2011). "Ligeti, Adorno and the Creative Process". Fulltekst i vitenarkiv
• Edwards, Peter (2011). Ligeti, Adorno and the Difficulty of Form. Fulltekst i vitenarkiv
• Mattes, Arnulf Christian & Edwards, Peter (2011). Fra romantikken til elektronika: nye perspektiver på klangflatens historie. Fulltekst i vitenarkiv
• Edwards, Peter (2010). Iterations. Fulltekst i vitenarkiv Vis sammendrag

  Premiered at the NuMusic festival Stavanger, 2010, and commissioned with funding from the Arts Council Norway

• Edwards, Peter (2010). Iterations II. Fulltekst i vitenarkiv Vis sammendrag

  Concert held at Handel House Museum, London, 04.11.2010

• Edwards, Peter (2009). Ligeti i vinden. Morgenbladet. ISSN 0805-3847. Fulltekst i vitenarkiv
• Edwards, Peter (2009). B-sides, Undercurrents and Overtones: Peripheries to Popular Music, 1960 to the Present By George Plasketes. Popular Musicology Online. ISSN 1357-0951. Fulltekst i vitenarkiv
• Edwards, Peter (2009). Samstemmig lidenskap. Morgenbladet. ISSN 0805-3847. Fulltekst i vitenarkiv
• Edwards, Peter (2009). Self-fashioning in Modernism. Fulltekst i vitenarkiv
• Edwards, Peter (2009). Cognition, Meaning and Analysis in Music; A Study of György Ligeti and his Later Works. Fulltekst i vitenarkiv
• Edwards, Peter (2009). Ligeti and Dialectical Progression. Fulltekst i vitenarkiv
• Edwards, Peter (2009). Balkansemblet German tour. Fulltekst i vitenarkiv Vis sammendrag

  Tour of Germany. Including a performance broadcast on German radio.

• Edwards, Peter (2008). Chiaroscuro. Fulltekst i vitenarkiv
• Edwards, Peter (2007). 1976 Polyphony. Fulltekst i vitenarkiv Vis sammendrag

  Premiered i Pittsburgh, PA (performed regularly since).

• Fong, Daniel Xiong Yang; Hansen, Kai Arne; Edwards, Peter & Hilder, Thomas Richard (2025). Queer Living and Dying in Opera: (Re)thinking Gender-Sex-Sexuality as/for Queer Opera Singers. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This article-based dissertation examines how queer opera singers, particularly those in Norway, perform, regulate, and negotiate their genders-sexes-sexualities. Through close engagement with posthumanist theories, the researcher tracks the many ever-changing materials and discourses that (might) shape singers’ identities on and off the stage. In doing so, this dissertation examines the multiple and nuanced ways in which singers co-constitute themselves and are being co-constituted. To facilitate such an examination, the researcher employs autoethnography and conducts ethnographic research with members of a Norwegian queer opera company and a higher music education vocal department in Norway. Granted that the world and people are necessarily in flux, this research situates itself within the post-qualitative paradigm, continuously (dis)entangling personal, local, regional, and global data in its analyses and outputs. In doing so, the research vacillates between the empirical and speculative to elucidate the potential opportunities and limitations faced by singers. The research offers the following findings: First, that queer opera singers, especially those in Norway, continue to face gender-sex-sexuality-related tensions and limitations despite society’s social progress. Secondly, that such tensions and limitations arise due to the complex entanglements between society’s and opera culture’s various materials and discourses and the queer singer’s body-voice, experiences, and material histories. Hence, this research recommends that it is only by attending to the specific material-discursive relationships in a queer singer’s milieu that appropriate interventions can be found. Finally, that Norwegian queer opera singers, in response to the difficulties they face, adopt strategies of negotiation whilst in operatic spaces and create their own opera productions and expressions that both assert and challenge present gender-sex-sexuality concepts.

• Edwards, Peter (2023). Tilleggskommentarer og oppsummering av sakkyndig rapport for høyesterett. Høyesterett. Fulltekst i vitenarkiv
• Edwards, Peter (2022). Musikkfaglig sakkyndig vitne rapport. Oslo tingrett og Borgarting lagmannsrett. https://lovdata.no/dokument/LBSIV/avgjorelse/lb-2022-26097?q=. Fulltekst i vitenarkiv Vis sammendrag

  Musikkanalyse og verk sammenlikning i rettssak der åndsverkloven og opphavsrett stod sentralt. Sakkyndig rapport og vitneforklaring. https://lovdata.no/dokument/LBSIV/avgjorelse/lb-2022-26097?q=

• Edwards, Peter (2012). Tradition and the Endless Now. A Study of György Ligeti's Le Grand Macabre. Universitetet i Oslo. Fulltekst i vitenarkiv

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