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What struck me as the real common denominator - at least of what I thought were the most interesting contributions - is a reliance on approaches drawn from Cultural Studies, which has led to investigations of amateur practices and itinerant performers, often drawing on original archival research. This marks a refreshing departure from the traditional writing of music and theatre history in the Nordic countries, which for a long time was focused exclusively on national repertoires and artists, often structured around simplistic labels such as 'classicism', 'enlightenment', 'pre-romanticism', 'realism', etc. Though the present volume is not entirely free from the old periodizing, the latter has become laudably secondary. Swedish Journal of Music Research, Volume 103, 2021

What struck me as the real common denominator - at least of what I thought were the most interesting contributions - is a reliance on approaches drawn from Cultural Studies, which has led to investigations of amateur practices and itinerant performers, often drawing on original archival research. This marks a refreshing departure from the traditional writing of music and theatre history in the Nordic countries, which for a long time was focused exclusively on national repertoires and artists, often structured around simplistic labels such as 'classicism', 'enlightenment', 'pre-romanticism', 'realism', etc. Though the present volume is not entirely free from the old periodizing, the latter has become laudably secondary. Swedish Journal of Music Research, Volume 103, 2021

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Randi Margrete Selvik is Emeritus Professor in Musicology, Department of Music, Norwegian University of Science and Technology (NTNU), Trondheim. Svein Gladsø is Emeritus Professor in Theatre Studies, Department of Art and Media Studies, Norwegian University of Science and Technology (NTNU), Trondheim. Anne Margrete Fiskvik is Professor, Programme for Dance Studies, Department of Musicology, Norwegian University of Science and Technology (NTNU), Trondheim.

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