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- Rosenberg, Susanne, 1957-
(författare)
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A singing-style map? : Traditional folk singing in SwedenHow can it be described, and how can we teach it?
- 2024
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Konferensbidrag (refereegranskat)abstract
- This presentation discusses features of the singing style in Swedish folk singing. This also leads to an attempt to describe some aspects of teaching folk singing style. In addition, it proposes a model for describing a singing style by combining particular features into a whole – a “singing style map” – as a compound concept. Individual features may be shared with other styles, allowing them to be combined into yet other singing styles. The presentation focuses on describing the features of the singing style from the singer's perspective and their usefulness for singing. It argues that, in folk singing, the singer’s voice quality and personality will always shine through even if stylistic features are shared within the style, which implies no contradiction. The features and the model describe both musical and technical aspects of singing, e.g. language as a tool for musical expression, voice mode, articulation, ornamentation, meter and phrasing, etc.
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| 2. |
- Rosenberg, Susanne, 1957-
(författare)
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‘A Tight-rope walk’ : Improvising Collectively with End Rhymes in the Style of the Swedish Medieval Ballads
- 2022. - 1
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Ingår i: Rhyme and Rhyming in Verbal Art, Language and Song. - Helsinki : Finnish Literature Society. - 9789518585872 ; , s. 197-212
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Bokkapitel (refereegranskat)abstract
- What happens when contemporary folk singers improvise end rhymes in the style of the Swedish medieval ballads? In an ongoing project – Folk Song Lab – folk singers collectively improvised ballads with end rhymes using different methods. How do different improvising methods affect the result? Is it possible to acquire additional skills in rhyming via improvisation? Furthermore – how do the singer’s expertise, the number of participants in a session, and the setting in which improvisation occurs affect the result? Can improvisation sessions promote a higher degree of variation in not only the melody but also the storytelling? These questions are discussed through a presentation of results from two different collective improvising sessions.
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| 3. |
- Rosenberg, Susanne, 1957-
(författare)
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'A Tight-rope Walk' : How to describe artistic methods for improvisation in Folk Songs
- 2023
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Konferensbidrag (refereegranskat)abstract
- Within artistic research, we try out and formulate new methods for artistic practice. But how do we, in the best way, disseminate those? How do we present artistic methods for musical creation? Visually? Through objects? Through narrative? With word as a text? Through the” act of singing”? These are intriguing questions; even if the research thrives in the artistic practice, we still want to disseminate our findings broadly so that other artists and interested parties can use and build knowledge on that. This presentation will give examples of how to answer those questions by presenting findings from the project Folk Song Lab (supported by The Swedish Research Council 2019-2022), where, through collective improvisation, different artistic methods have been carved out and tested. Through art practice, the project has developed methods of singing from the perspective of flow parameters (Csikszentmihalyi) and ‘System 1’ (Kahneman). With a foundation from traditional singing and its stylistic and musical structure, a framework for creating anew has been formulated: a place, a time, and collective improvisation has been performed in a real-life performance. These findings and the different ways of disseminating them could be interesting not only within the field of folk singing or music but also be useful and give perspective in other genres and art forms.
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| 4. |
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| 5. |
- Rosenberg, Susanne, 1957-
(författare)
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Cognitive strategies in rhyming new ballads : an improvisatory approach
- 2019
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Konferensbidrag (refereegranskat)abstract
- In the artistic research project “Folk Song Lab” (Rosenberg, 2019-2021) methods for oral composition and improvisation is tested from the concept of the song as being a cognitive framework both when it comes to tonality, melody and lyrics referring to Bronson’s quote: “What was it she had carried in her memory? Not a text, but a ballad: a fluid entity soluble in the mind, to be concretely realized at will in words and music.”(Bronson, 1969:71)By collective improvising sessions new songs are created in the project, both when it comes to melody and lyrics using rhyme as a vital ingrediency. The cognitive framework being useful both regarding to tonality and when it comes to text-formulas such as rhyme-pattern. The narrative starting point comes from structures that can be found in the Swedish medieval ballads and paring with different returning formulas (Jansson, 1999) such as “the grey horse”, “the green woods”, “the lily-white hand” by rhyming. In the Folk Song Lab project new ballads are improvised where the end-rhyme is a vital part. Also song-games that are promoting end-rhyme is tested in an improvisatory setting to enhance the participants internal knowledge in how to use rhyme as an tool for creating new songs.How does todays folk singer deal with rhyming as a tool? How can you learn the skills of rhyming? What are the benefits of using rhyme in an improvisatory setting?This paper presents findings from this ongoing research projects and compares these findings with traditional material. It will also present the viewpoint that improvisatory skills and creativity benefit from using formulas such as rhymes, and that internal knowledge could give room for strategies that promotes being freer in the moment (deManzano & Ullén 2012; Pinho et al 2016). This also reflects on the cognitive framework as useful when creating, and points back to quotation such as Albert Lord’s: “Our oral poet is composer. Our singer of tales is a composer of tales. Singer, performer, composer, and poet are one under different aspects but at the same time. Singing, performing, composing are facets of the same act.”(Lord, 2003).
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| 6. |
- 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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| 7. |
- Rosenberg, Susanne, 1957-
(författare)
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Heartbeat and Breath : finding methods for describing the Swedish folk singing style and methods for teaching.
- 2020
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Ingår i: Studia Fennica, Folkloristica. - 1235-1946.
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Tidskriftsartikel (refereegranskat)abstract
- This article presents and discusses features of singing style in Swedish folk singing. This also leads to an attempt to describe some aspects of teaching folk-singing style. Also, it proposes a model for describing a singing style by combining particular features into a whole – a “singing style map” – as a compound concept. Individual features may be shared with other styles, allowing them to be combined into yet other singing styles. The paper focuses on describing the features of the singing style from the perspective of the singer, and on their usefulness for singing. It argues that, in folk singing, the singer’s personal voice quality and personality will always shine through even if stylistic features are shared within the style, which in itself implies no contradiction. The features and the model describe both musical and technical aspects of singing, e.g. language as a tool for musical expression, voice mode, articulation, ornamentation, meter and phrasing etc.The Department of Folk Music, KMH, in Stockholm has used this model, with its methods and feature set, as an aid for teaching Swedish folk singing from a holistic perspective for more than 30 years. Central to the model is the constant interplay between studying, describing and doing, in a fundamentally creative approach.
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| 8. |
- Rosenberg, Susanne, 1957-
(författare)
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Higher education in Folk Music as an active part in today’s music development. : The example of ‘Kulning’
- 2020
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ‘Kulning’ – herding call - is a vocal expression, that originally was developed for communication between women and animal in the outdoor summer pastures of Sweden. It is a music that uses the landscape as a resonator, and in good conditions, it can be heard at a distance of 5 km or more. ‘Kulning ‘combines high pitch melody lines with various callings were the differences between voice modes are used for contrast. Due to its function for communication, it is improvised and adjusted to the situation in pitch, length and sounds, calling for long or short distances. In the mid 20th century, the art of kulning practice was declining, basically because the function of summer pasture, where it had its roots, not being in use any longer. However, the practice of ‘kulning’ has found other contexts for further use. Since the very start of folk music programs at The Royal College of Music in Stockholm, (KMH), ‘kulning’ has been taught as a standard part of voice knowledge for modern folk singers. In this new environment; pedagogic literature has been developed to aid the teaching and learning; new artistic work and collaborations have been based on the art of ‘kulning’, and composers have used ‘kulning’ in their music. ‘Kulning’ has also been researched and described in collaboration between scientific scholars and ‘kulning’ experts. Furthermore, elective courses have been developed within KMH open to both amateurs and professionals from other genres allowing them to learn this vocal expression.The platform of Folk music studies at KMH has been influential and a vital part for today’s development of ‘kulning’ practice, and today ‘kulning’ is hugely popular both as an art and as an amateur movement and is performed all over the world in a variety of contexts. This presentation will lay out some examples of this influence and development from the viewpoint of the folk music department at Royal College of Music in Stockholm (KMH) and discuss the importance of Higher Music Education being in the forefront to both keep and develop local traditions such as ‘kulning’.
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| 9. |
- Rosenberg, Susanne, 1957-
(författare)
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Higher education in Folk Music as an ecosystem for today’s music development : The example of ‘Kulning’
- 2024
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Konferensbidrag (refereegranskat)abstract
- ‘Kulning’, or herding call, was originally used by women as a powerful vocal working tool for communication with the cattle at the summer pastures in rural Scandinavia. Today, ‘Kulning’ has transformed into an artistic expression in its own right that can be heard in experimental music, modern composition and arrangements, and even used as a tool for self-defence. ‘Kulning’- has become a popular movement amongst women as a powerful use of the woman's voice. At the Folk Music Department at KMH in Stockholm, we have created a platform for ‘Kulning’as an artistic expression using improvisation and vocal techniques in many different contexts and offer free courses that teach this vocal technique and music style, attracting hundreds of participants from various backgrounds over the years. What role has this platform played, based on our artistic, pedagogic, and scientific research, in this transformation? How do we, as artistic practitioners, researchers, and teachers, act as agents of change and innovation within and outside of arts education, giving room to using your voice both as a musical expression and an expression of female power? How has this traditional use of the voice reoriented itself into new contexts, contributing to today's society? References How do we formulate and teach this unique voice use? How do we use it in artistic practice? How is it used and thriving today both inside and outside performed on stage Women herds would use the power of their voices in a high pitch and improvise melodies and calls.
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| 10. |
- Rosenberg, Susanne, 1957-
(författare)
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Improvising Folk Songs : The Folk Song Lab project
- 2023
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Konferensbidrag (refereegranskat)abstract
- A presentation of the findings in a research project called Folk Song Lab. Folk Song Lab acts as a platform for improvising folk songs in a collective setting in sessions starting from the cognitive framework (Rosenberg, 2019) of ballads, lullabies, folk chorales, and herding songs. It also takes its starting point from B. H. Bronson and A. Lord, indicating that the song only exists in the act of singing. One question asked in the project is what new skills can be acquired with this approach. Another question is how to use different memory systems, system one or system two (Kahneman, 2013) when improvising lyrics and melodies. It explores the possibility of creating artistic methods for flow, using play, risk, mimicry, reorientation, feedback, and real-life situations based on the findings of psychologist Csikszentmihalyi (1990), to nudge the participant to end up in the flow channel, being able to create more freely. A Folk song lab session is about improvising folk songs in a collective setting. Group size can vary from 5 to 40 participants, and a session lasts at least 40 minutes. In the session, everybody contributes by improvising and listening, taking turns, or improvising simultaneously. https://folksonglab.com
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