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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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| 2. |
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| 3. |
- Rosenberg, Susanne, 1957-
(författare)
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Sångarens avtryck : IRL, inspelning, transkription
- 2019
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- “The degree to which all of this was conveyed systematically varied greatly by culture; but on the whole, the music, with all of the mentioned components, was transmitted as one entity.” (Nettl, 1985). Nettl beskriver här inlärningsprocessen eller metodiken om vi så vill i en gehörstradition inkluderande repertoar och sångstil som en helhet. Men hur lär vi ut sångstil och repertoar inom folksång idag, när folksången endast är en del av en diversifierad musikvärld? Inom den västerländska konstmusiken har sångstil lärts ut genom metodik som utvecklat av sångare och pedagoger sedan 1500-talet t.ex. Maffei (1562) och Caccini (1602) och inom pop, jazz och rockgenren har pedagogiskt material utvecklats av sångare som t.ex. Jo Estill (1994) och Cathrine Sadolini (2000) m.fl. redan sedan mitten av 1900-talet. Metodik och pedagogik hos dessa pedagoger kan sägas avspeglar estetiska ideal, hur sången ska låta, vilken sångstil det handlar om, vad man behöver kunna inom just den genren (även om genre-begreppet inte används utan är implicit). Inom folksången har situationen varit delvis en annan. Fokus har primärt legat på att beskriva sångstil utifrån musikvetenskapligt och musiketnologiskt perspektiv inte ett metodiskt, både internationellt och i en skandinavisk kontext genom t.ex. Alan Lomax Cantometrics (1976). Först under de senaste 30 åren har metodik för folksångstil börjat utvecklas i en nordisk kontext.På vilket sätt avspeglar en metodik en genre och dess sångstil?På vilket sätt påverkar metodiska val en genre och dess sångstil?På vilket sätt kan Nettls beskrivning av en metodik inom gehörstradition vara giltig idag?
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- Rosenberg, Susanne, 1957-
(författare)
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The "Folk Trad Orality Method" in Higher Education and elsewhere? : New Curriculum Design
- 2019
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In some other genres, such as within Western classical music, education on higher level has a long history and there is a strong pedagogic and methodological tradition of formal music education since several hundred years. Within folk & traditional music, we don’t have that long a history within a higher education system, but what we do have is a long history of informal music education outside of the higher education context with oral teaching methods, learning by ear, primarily based on tacit knowledge and mimicry. At the folk music department at the Royal College of Music in Stockholm we have since the start of folk music educations in 1979 developed teaching methods and subjects into a curriculum which take its starting point from the central qualities of orally transmitted music. We call this concept “Folk Trad Orality Method” which amongst other things implies when it comes to teaching: interactivity, a close linkage between performance and theory, imitation/mimicry, holistic, improvisation, interdisciplinary, orality as important aspects of the method. A fundamental starting point for folk music can be expressed as: There is no original - only variants. Tradition implies change and continuity and tradition requires competence. There are no strong boundaries between function and art. And most of all: The individual interpretation is what is aimed for, the musician is in focus, not the music as an object. Meaning that we educate “creative interpreters” that are both musicians, interpreters, arrangers, composer – all at the same time. As teachers we facilitate the learning of the tradition based on our competence which in most cases starts from our own tacit knowledge on how to play, sing, dance and our experience in meeting with the tradition coupled with an analytical perspective on the practice. Thus, the conceptual ground for the music we play and teach is still the same even if the platform or the context is different in the higher education. But this Folk Trad Orality Method concept is sometimes questioned by e.g. teachers from other genres, and by ethnomusicologist, and also by students! – Giving the argument that if you learn by ear and by imitation as a central method, is it really possible to develop an individual expression, become a profiled musician? How can this conflict be addressed? What are the challenges in using these methods? Research shows that it might be the opposite around, that the oral transmission methods actually created a strong nudging in the right direction when it comes to creating individual “creative interpreter” from a holistic perspective. One could argue that the Folk Trad Orality Method in fact holds a lot of opportunities also outside of the folk & trad music context? What are the possibilities inherent in this method? How can this be developed also outside of the folk music context? This presentation addresses and problematize the usefulness of the Folk Trad Orality Method both inside and outside of the higher music education.
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- Rosenberg, Susanne, 1957-, et al.
(författare)
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Tradition Meets Innovation : The case of folk music and higher education in the North
- 2019
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This session offers insight to higher education in folk music performance in Finland, Sweden and Scotland, reflecting on educational models where historical styles meet creativity. While the old environments and modes of transmission for folk music have been rapidly vanishing in the West, a new platform for traditional music has been born: academia. A new generation of educated folk musicians has emerged. Education has had a profound effect on the folk music scene. The emphasis on creativity has enabled the resulting music to be diverse, from traditional to experimental and everything in between. Research into traditional music has gained a new perspective as well – that of the highly skilled musician-composer. What works? How is it done? What are the challenges? A reflective session on higher education in folk music today and in the future.
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