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- Rosenberg, Susanne, 1957-, et al.
(författare)
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”En utsmyckning av oändligheten runt omkring” : på jakt efter kulningens dragläge
- 2008
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Ingår i: Noterat. - Stockholm : Svenskt Visarkiv. - 1400-7339. ; 16, s. 100--108
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Hur mycket måste man ta i för att det skall bli det en stark kulningston? Behöver man en speciell röstteknik för kulning? Hur starkt är kulning? Finns det ett kulningens optimala dragläge? Här några frågor som denna artikel försöker belysa.
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- Rosenberg, Susanne, 1957-
(författare)
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Flowparametrar som verktyg i konstnärlig process
- 2023
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Annan publikation (film/video) (övrigt vetenskapligt/konstnärligt)abstract
- En video där Susanne Rosenberg presenterar några inspel när det gäller konstnärlig process och verktyg som kan vara användbara att kunna/ utveckla. Teman som behandlas är Flow som konstnärliga parametrar, och hur dessa kan användas kreativt för att komma vidare med sitt projekt.
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- Rosenberg, Susanne, 1957-
(författare)
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FOG : Folkmusikens gehörsmetod
- 2019
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Folkmusikens gehörsmetod Folkmusikens gehörsmetod – FOG är ett konstnärligt och pedagogiskt utvecklings- och forskningsprojekt på Institutionen för folkmusik, KMH (2018-2021) som undersöker gehörsmetoden som vi använder dagligen i undervisningen.Vad är målet? Medvetandegöra gehörsprocessen för att beskriva, utveckla och tillgängliggöra för fler.Resultat Resultaten av forskningsprojektet kommer presenteras i form av:konstnärliga gestaltningar, reflektioner, forskningsartiklar, pedagogiskt material, seminarium, konserter, konferenspublikation.
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- Rosenberg, Susanne, 1957-
(författare)
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Folk Song Lab : improvising folk songs
- 2018
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This is a presentation of an on-going project called Folk Song Lab which addresses different approaches or methods for this deconstruction, and moreover reflection of my findings. The idea is to present the findings, the methods, and result with recordings and images from the experimental sessions as well as with sessions in itself.
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- Rosenberg, Susanne, 1957-
(författare)
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Folk Song Lab : improvising folk songs
- 2019
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This is a presentation of an on-going project funded by the Swedish Research Council called "Folk Song Lab - deconstruction, improvisation and flow”,The purpose of the project is to develop and explore new models for collective improvisation in traditional folk singing. The starting point is the ethnological performance-perspective, meaning that a folk song takes form only in the performance, viewing the song as a cognitive frame. In this explorative study, this perspective is researched using features of traditional folk song in new contexts. The project also aims at observing how the design of models for improvisation affects the participant experience of psychological flow, both on individual and on group level. The goal of the project is to establish new artistic expressions for folk song, thus revitalizing and renewing folk singing of today by means of collective improvisation and to shed light on how flow and artistic expression in a collective context are interrelated.
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- Rosenberg, Susanne, 1957-
(författare)
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FOLK SONG LAB : deconstruction, improvisation and flow
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This is a presentation of the ideas behind and the findings in the ongoing project Folk Song Lab. This project aims to explore new artistic expressions for folk song, thus revitalizing and renewing folk singing of today through collective improvisation, developed and explored by the artists in the project. The research questions take their starting point in the ethnological performance perspective, meaning that a folk song takes form only in the performance, viewing the song as a cognitive frame. ‘What was it she had carried in her memory? Not a text, but a ballad: an entity soluble in the mind, to be concretely realized at will in words and music.’ (Bronson, 1969). Thus, how can collective improvisation in sessions examine the cognitive framework of folk songs? How can central dimensions in folk singing style, such as musical and lyric formulation in the moment, evolve and be promoted through different improvisation models? Singing, performing, composing are facets of the same act. […] the moment of composition is the performance.’ (Albert Lord, Singer of Tales 1960)The project also aims to observe how the design of models for improvisation affects the participant experience of psychological flow, both on individual and group levels. How can flow be stimulated by designed improvisation models based on flow features such as mimicry, play, risk, reorientation, feedback & real-life performance using improvisation? The models such as ‘shadow-singing’ ‘meandering’, ‘storyboard ball, ad’ are tested and evaluated by their creative usefulness. The project is unique from the perspective of the genre, gender, and instrument and is inter-disciplinary. The participants are beside project leader folk singer Susanne Rosenberg, three other professional folk singers and two neurological researchers. The project is supported by The Swedish Research Council in a three-year project.
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- Rosenberg, Susanne, 1957-
(författare)
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FOLK SONG LAB Deconstructing folk song as a tool for improvisation
- 2016
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In my artistic research, “Kurbits-ReBoot, Swedish traditional singing in new artistic contexts” (Rosenberg, 2013), I experimented with developing artistic methods and concepts relating to variation and improvisation from the perspective of the folk singer as a creative performer (performer-composer) and the song as an imaginary entity that only exists in the interpretation of a singer. This implies that a song is viewed as a container for ideas, a framework, a starting point for creating something - the song - every time you sing – a musical work being created by the singer, rather than a musical work in the sense of a composition that is interpreted by a singer.My inspiration to this idea came from my own experiences as being part of an oral tradition in folk singing and learning by ear from singers “in the moment”, but also from testimony from collectors and performers about the art of folk singing, such as about the English ballad singer Mrs Brown: “What was it she had carried in her memory? Not a text, but a ballad: a entity soluble in the mind, to be concretely realized at will in words and music.”(Bronson, 1969). This concept, that the song only takes a concrete form through the act of singing, is realized in its interpreted form only, could be just as relevant for today’s traditional singers as it was for Mrs Brown, since it points to the possibility of empowering the performative momentum and performative power of the folk singer as an interpreter of ‘here and now’, creating presence. But this concept also gives rise to the interesting question on how to use this idea of “the song” as a ‘framework’ for a musical performance in a our present time where everything can be recorded, logged, saved and listened to again and again, where increasingly less and less things really happens “now”. In my work I have experimented with using parameter from the concept of “Flow” (Csikszentmihaly, 1990) and the ideas of using the dynamic between orality and literacy (Ong, 1982) in order to address this complex issue. In Folk Song Lab I’ve experimented with using the language of Folk Song by deconstructing and with an artistic investigation with the perspective of Folk Song as a framework for musical expression in the moment.This is a presentation of an on-going project called Folk Song Lab which addresses different approaches or methods for this deconstruction, and moreover reflection of my findings. The idea is to present the findings, the methods, and result with recordings and images from the experimental sessions as well as with sessions in it self. I myself is both part of the setting and participating in this experiment as well as the reflecting part.[1] In the Project ”Contemporary Folk Songs” 2014
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