NMH - Brage (Norges musikkhøgskole)
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Konsertdramaturgi i sangkonserten : om sangerens formidlingskompetanse
Get PDFNorges musikkhøgskole. Masteroppgave. Utøving med fordypningsemneI masterprosjektet mitt har jeg lett etter svar på hvordan arbeid med konsertdramaturgiske elementer kan videreutvikle min formidlingskompetanse. Jeg har arbeidet med tematikken både fra teoretisk og praktisk perspektiv. Gjennom konsertarbeid, litteraturstudier, fokusgruppeintervjuer, loggføring og video‐/lydopptak har jeg planlagt, handlet, observert og reflektert, i henhold til aksjonsforskningens prosesser.
Arbeid med konsertdramaturgi og formidlingskompetanse er et stort felt og kan ta mange retninger. Her har hovedfokus vært på utvikling av sangerens kompetanse, sett fra sangerens perspektiv. Kunstverket og publikums opplevelse har vært sentrale brikker i vurderingen av formidlingskompetansen: Uten kunsten og et publikum som kan oppleve den, har sangeren lite å arbeide med. I videre arbeider kunne det være interessant å se enda mer konkret på hvordan ulike paratekster og kontekster påvirker interpretasjonen og selve kunstverket – altså å anlegge et mer verksentrert perspektiv på musikkformidling. Det kunne også være interessant å gå nærmere inn i arbeid med skuespillerteknikk i sangkonserter, eller se på hvordan bevegelser og arbeid med kroppen påvirker stemmelyden.
Gjennom å arbeide så systematisk med konsertdramaturgi som jeg her har hatt anledning til, har jeg videreutviklet min formidlingskompetanse, jeg har fått nye perspektiver og flere ben å stå på. Min erfaring er at det å arbeide konseptbasert med sangrepertoar, å arbeide bevisst med programmering, rom, iscenesettelse, rolle og kropp, er meningsfullt og utviklende for sangere som ønsker å bli bedre formidlere. Dette arbeidet utvikler imidlertid ikke bare sangeren, men i min erfaring både utfordrer og engasjerer det også publikum. Jeg har videre erfart at en slik vinkling kan tilføre kunstverket – sangkonserten – noe substansielt, på samme måte som musikk kan tilføre et dikt en ny dimensjon. Det er essensielt at ideene som iverksettes, springer ut av en kunstnerisk impuls, og de kan kun bli vellykkede om de tilfører kunsten noe eget. Både det praktiske og teoretiske arbeidet har bidratt til å gi meg et begrepsapparat, en terminologi, som fungerer på tvers av kunstfelt, og som vil være nyttig i videre arbeid med andre kunstsjangre.
I innledningen formulerte jeg prosjektets problemstilling slik: På hvilke måter kan jeg som sanger videreutvikle min formidlingskompetanse gjennom arbeid med de konsertdramaturgiske elementene programmering og konsept, rom og iscenesettelse og rolle og kropp?
I dette arbeidet har jeg søkt å vise noen av svarene på problemstillingen. Som det vil ha fremgått, ligger disse først og fremst i det praktiske arbeidet jeg har gjort. I masteroppgaven har jeg søkt å legge frem teorier som har vært relevante for prosjektet og å beskrive mitt arbeid med konsertene og mine erfaringer fra dette arbeidet. Oppgaven representerer slik en verbal, teoretisk kompetanse. Den viktigste kompetansen er imidlertid vanskelig å få ned på papiret. Den vil forhåpentligvis få sitt
uttrykk gjennom kunstnerisk virksomhet på scenen – in action
Hva er «Libanonprosjektet»? Prosjektutvikling, innhold, deltagere og håp for framtida
Get PDFI dette kapitlet skal jeg prøve å gi en oversikt over hvordan «Libanonprosjektet» har utviklet seg fram til i dag, hovedinnholdet i musikkdelen, hvem som er involvert i prosjektet og noen tanker og ideer for utvikling i framtida. Framstillingen vil være kronologisk i tid, der jeg deler det opp i fem perioder; 2003–2005, 2005–2007, 2007–2009, 2009–2012 og 2012–2014. Musikkaktivitetene flyktningeleiren i Rashedieh har utviklet seg over en periode på mer enn ti år, og dette har vært en sentral del og den mest stabile arenaen for undervisningspraksis i Libanon for studenter fra NMH siden 2005. I «Libanonprosjektet » har NMH også hele tiden jobbet med å bidra til å etablere musikkundervisning i flere libanesiske skoler som igjen har resultert i at de har tilsatt musikklærere og innført musikkfaget som en fast del av timeplanen. Våre studenter ved NMH besøker disse skolene og holder konserter hvert år som en del av sin prosjektpraksis. Foruten UNRWA er disse flyktningene avhengig av støtte og hjelp fra eventuell familie i utlandet og/eller lokale og internasjonale Non-Governmental Organizations (NGO`er). Den viktigste samarbeidspartneren vår i dette prosjektet, og som driver det tidligere omtalte musikkprosjektet, er den palestinske helse- og sosialorganisasjonen Beit Atfal Assumoud (BAS). De ser internasjonal kontakt og kultur som viktige innsatsområder for sin virksomhet, og kombinasjonen kultur og mental helse har etter hvert blitt et varemerke for flere prosjekter i deres virksomhet. Under en periode preget av en viss politisk optimisme i Libanon, fra 2000–2005, engasjerte NORWAC seg i flere mental helseprosjekter i samarbeid med flere organisasjoner i Libanon. De har arbeidet med å opprette et nettverk av fagfolk fra Norge og Libanon for å bygge opp et mer organisert tilbud på dette området i Libanon. Ved Marouf Saad foundation (MSF)2 i byen Saida er det satt i gang et skoleringstilbud for mødre med formål om å gi dem en bedre beredskap til å støtte sine barn som går på deres skoler. Ved Imam Sadr foundation (IAS)3 i byen Tyr er det satt i gang kurs og utdanning for sykepleierstudenter om mental helseproblematikk. Ved en av deres skoler har NORWAC også bidratt til å opprette en egen avdeling for undervisning av barn med spesielle behov, en gruppe vi vanligvis ser lite til i det libanesiske skolesystemet. Videre er det opprettet Family Guidence sentre i Beirut og Tyr i samarbeid med Beit Atfal Assumoud (BAS). Disse sentrene er opprettet for å diagnostisere barn med lærevansker, og utrede hvilke hjelpetiltak som kan settes inn. Dette nettverket har dannet utgangspunktet for det felles kulturprosjektet NMH er en del av og som vi presenterer deler av i denne antologien. Fellesprosjektet blir i Norge uformelt omtalt som «Libanonprosjektet», og har utviklet seg til å bli et samarbeid mellom NORWAC, FORUM for kultur og internasjonalt samarbeid, Norges musikkhøgskole samt Jessheim videregående skole og Algarheim skole. Et utstrakt samarbeidsklima har gradvis utviklet seg gjennom disse årene, og alle samarbeidspartene utgjør en viktig del av et stort nettverk for solidaritetsarbeid, bistandsarbeid, helsearbeid, kulturutveksling og undervisning. Ikke minst er dette samarbeidsprosjektet blitt en viktig feltarbeids- og praksisarena for studenter ved Norges musikkhøgskole (NMH
Musical modernization : Pauline Hall as composer, theatre woman and leader of Ny Musikk
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2013. - På grunn av opphavsrettslige spørsmål er innholdet på de tilhørende CDene ikke tilgjengeliggjort her.Astrid Kvalbein’s Ph D project explores the work of Pauline Hall (1890-1969) as classical composer, theatre woman and leader of Ny Musikk, the Norwegian Section of the International Society for Contemporary Music (ISCM). Hall’s work is explored and discussed in relation to different conceptions of modernization, modernity and modernism through a combination of biographical, performance and discourse-oriented appoaches.
The main chapters 3, 5 and 6 consist of three parts: a biographical outline, a discussion of possible modern aspects of Hall’s work in relation to the different “roles” - as classical composer, theatre woman and leader of Ny Musikk - and a concert performance by Kvalbein and co-musicians documented in writing and on enclosed CDs. Chapter 3 presents Hall’s family background, her studies - partly in Paris - and her early career as a composer, from the debut in 1917 until the premiere of her major orchestral work, the Verlaine-suite, in 1929. The artistic exploration of Hall as a classical composer is a “reconstruction” of her debut concert, which included solo pieces for piano, a violin sonata and several songs. The final part of the chapter discusses the reception of Hall’s early works, focusing on how supposedly feminine and “modern” French-impressionstic features are commented on.
Chapter 4 briefly discusses some possible reasons for Hall’s “shift of roles” from classical composer to theatre woman and music critic. While some reasons for this may be economical, Kvalbein also suggests that Hall’s years as correspondent for the daily paper Dagbladet in Berlin in 1926-32 gave her artistic inspiration.
Chapter 5 explores Hall’s reports and reviews from the city’s theatres and opera houses, in which she clearly reveals interests in modern(ist) expressions other than the early French. She writes entusiastically about Piscator’s political theatre, Brecht and Weill’s “Zeitoper,” and new operas by e. g. Berg and Milhaud. In 1930 Hall translated, conducted, and directed The Threepenny Opera in its Oslo premiere, and her version was played seve ral times until 1955.
In the 1930s the direction of her own work as a composer also shifted toward the stage. From around 1935 to 1965 she completed between 30 and 40 scores for theatre, ballet and film. This work, as well as Hall’s statements about jazz and “exotic music”, are discussed as possible components of a vernacular modernism as well as what in Scandinavian countries is called “cultural radicalism”, a liberal, partly left-wing movement which had it champions less in the musical field than in the theatres and in Dagbladet. A concert consisting of Hall’s “Berlin songs” – in which inspiration from Weill is audible - as well as songs she wrote for cabarets and settings of American poetry, influenced by spirituals and ragtime, documented the performing investigation of Hall as a woman of the theatre.
In 1938 Hall founded the Norwegian Section of ISCM, where she held the position as chair until 1961. Chapter 6 explores her work in the organization from two main perspectives: establishing and running the operation in Norway - through many challenges - and her efforts in ISCM internationally, which culminated with the success of the world music days in Oslo in 1953. In 2011, Kvalbein sang and presented a few representative works from this era in Ny Musikk and ISCM - from Anton Webern through Fartein Valen and Matyas Seiber - at a lecture-performance, which also included her interpretation of Hall’s neoclassical-theatrical Fire tosserier for soprano and winds. Hall’s reports to Dagbladet from fifteen ISCM festivals between 1938 and 1959 are discussed in a separate section, in order to extract some characteristics of her views on the different modern(ist) music presented.
Theoretical and methodological outlines of Kvalbein’s research as biographical, artistic/performing and discourse oriented, are given in chapter 2, and chapters 1 and 7 respectively introduce and sum up the presentation of Hall’s modern life
A young woman's narrative on the role of mobile music in coping with everyday life
Get PDFThe use of MP3 players has expanded rapidly during the last decade.1 In 2010, nearly 70 percent of the young Norwegian population listened to MP3 players daily. While the MP3 player has always been small and easily fits into a pocket, its storage capacity keeps escalating—it is now possible to store up to forty thousand songs on an iPod, for example. Additionally, listeners now have the capability to stream music online using their smart phones via services such as Spotify or Wimp. The unprecedented availability of music offered by the MP3 player, and the high degree to which young people use these players as a result, compels us to explore this device’s impact upon it’s users. This text is based on a research project which took a positive, resource-oriented approach to the study of MP3-player use (Skånland, 2012). This use has already evoked relatively negative approaches, including scholarly interest in (and concern about) the potential for hearing damage when one listens to music on headsets or earbuds; about traffic safety when pedestrians bring music into the streets; and about the consequences of this individualised music listening for social interaction. The present study took a contrasting perspective and sought to explore whether and how the use of MP3 players might function as a medium of musical self-care, subjective wellbeing, and positive health maintenance. In the interests of examining the possible role of MP3 players in individuals’ selfcare, the study focused on self-regulation and coping mechanisms. I carried out the research via a qualitative, empirical study using interviews with twelve adult urban users of MP3 players that covered, in particular, their experiences with this device. In this article, I will focus on the story of the youngest informant, an eighteen-year-old young woman, and her use of her MP3 player as a coping and self-regulating resource, in order to explore the general healthful potential of everyday music listening. I will present the young woman’s narrative in parts while introducing theories on self-regulation, coping, wellbeing, and positive health to shed light on her experiences
It just makes you feel really good : a narrative and reflection on the affordances of musical fandom across a life course
Get PDFThe study of how music may be important to health and well-being can be seen as an increasingly broad and interdisciplinary field. As issues of health and well-being are routinely understood within the wider context of life style and cultural engagement, musical experiences far outside the professional practices of music therapy and music medicine are now seen to offer “potent and preventative measures to enhance psychophysiological well-being reaching into almost every aspect of life”. Such shifts grow in part from the integration of more expansive definitions of health that underlay the field. Here health is a concept emphasised variously as a “quality of human interaction and engagement”, or “a quality of human co-existence”, a ‘performance’ of processes by which ‘self’ is realised into the world—mentally, physically and socially; whilst musical experiences have been suggested as an ‘immunogen behavior’, that is a health performing practice. This in turn has widened the scope of music and health studies to include any mode of musical participation that holds the potential to promote well-being. Consequently there is a growing interest in how ‘ordinary’ people in ‘everyday’ settings use music to facilitate health, and how self-made musical experiences are used “to regulate emotional or relational states or to promote well-being”, this “lay-therapeutic musicking in everyday life” being considered an important area alongside more specific professional practices. This paper seeks to contribute to this discourse through an exploration of the experiences of being a music fan, a particular form of musical participation that may hold a variety of implications for an individual’s health, well-being and quality of life
Musical performance as health promotion : a musician's narrative
Get PDFI will present an interview with an internationally renowned musician whom I address via the pseudonym Rose. Our discussion revolved around one main question: How has your musical life story evolved throughout your career as a musician? The present article uses this dialogue to engage with aspects of musical practice that, despite their demands, increase a sense of personal wellbeing and fight depression and disease. I will begin by introducing some theoretical aspects related to musicians and the art and craft of playing music. I will then present excerpts from the interview related to the general proposal that the love of music mobilizes one’s will power to perform live for an audience, because musical performance itself promotes personal wellbeing and offers an aesthetic experience to the listener The basic assumption in this text is that the relating experience is the driving force of human development and growth. Using music as a relating experience (to oneself and to others) is also understood here as a way of ‘being-in-the-world’ (Trondalen, 2008). In other words, music serves as a means of performing personal identity. As we have seen, a humanistic and resource-oriented perspective (as presented here) can still take the person’s illness (the biomedical perspective) into consideration but in a specifically dialogical way that focuses positive creative resources on the process of coping with a variety of limitations. Such a humanistic-existential perspective can in turn be interpreted as self-caring or self-actualisation. From a philosophical point of view, the human being can be understood as homo communicans and defined by her inherent ability to share experiences and actions. Such an exchange allows us to recognise one another on a fundamental level, and to partake in others’ lives. The human being is self reflexive—the only species, in fact, that appears to reflect upon its own peculiar nature. Connections based upon the deepest experiences and existential longings in life comprise a universal human phenomenon, and musicians, whose lives are so closely linked to existential dimension, are no exception to this rule. Existential longing is linked to something life giving, vitalising and unifying—something that transcends the limited/controlled self and touches the human being’s deepest value as a human creation (Engedal, 2003). Sharing dreams and values, both during the interview, and in the reflective process afterwards, reminds me that all human being are always more than—semper major— any given personal narrative or observation. What we perform in life, whether musically, biologically, socially or spiritually, will never fully disclose the depths of our existenc
Healing singing
Get PDFThis study confirms the hypothesis that healing singing leads to positive emotional experiences in relation to other people through social resonance and a strong shared bond. People who have had negative interpersonal relationship experiences that have led to depression and fear respond favourably to healing singing, because it makes a positive encounter possible. Even if their resonance ability is limited by their illness, they can be reached through music, which allows them to slowly start perceiving the feeling of togetherness in the group and to oscillate again. Patients suffering from an acute severe depressive episode are the exception. The group relationship that ensues can be thought of as a therapeutic relationship. It fulfils the basic human needs of attachment, appreciation, understanding and self-determination, which are the prerequisites for a therapeutic process. It also quite noticeably facilitates pleasure, which influences the participant’s commitment. Addressing the patients’ individual sense of responsibility while focusing on their abilities and potential engages and exploits their resources, so that their growing self-confidence helps them to begin to change their daily lives and relationships. The observed transfer is evidence of successful learning effects and points to how profound the therapeutic effect of healing singing is
Opplevelsen av flyt sett i et helseperspektiv. En kvalitativ intervjuundersøkelse med deltagere på Taketina-rytmekurs
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThis thesis focus attention to the phenomenon of flow, examining wether the experience of flow may have health benefits for participants at a Taketina rhythm course.
Theoretical aspects emphasized are related to Csikszentmihalyi's theory of flow, the salutogenic health perspective, positive psychology, Taketina and rhythm, as well as theories around here-and-now and mindfulness in a therapeutic context. The data also includes research studies and texts related to music therapy, especially where the terms flow and here-and-now are central. Four interviews were conducted with participants on a Taketina rhythm course through a hermeneutic phenomenological approach . The method used was semistructured interview. As a result of the analysis process the data was systematized into three parts: 1. Before the flow experience, 2. During the flow experience, 3. After the flow experience.
The study discusses and concludes with seven points that are central in relation to the experience of flow. Some of which turned out to be different from those of Csikszentmihalyi’s theory of flow. Thoughts regarding acceptance and being mindful, thus Eastern philosophy, were central to this task. One question that emerged being: Will the client achieve increased benefit when the therapist is able to focus
attention to the here-and-now?
When in the state of flow, you master one or another form of challenge. This sense of achievement along with acceptance, can provide positive experiences, commitment and quality of life, which in turn may affect the participants state of health.
Keywords: Flow, Taketina, rhythm, salutogenesis, positive psychology, acceptance, body, mindfulness, here-and-now, mastering, music therap
Musical leadership : the choral conductor as sensemaker and liberator
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2013The conductor role is a complex and multi-faceted role. Yet, it has been researched only to a limited degree. The research tradition has a pedagogic bias, leaving less room for the conductor as artist, co-musician, and team builder. Conductors´ own writing is more practice based than research based and naturally has an intentional view. Little attention has been given to the singer viewpoint and the impact view: how do choral singers perceive the conductor role and how is musical leadership experienced by those who actually produce the sounding music? This study investigates these questions, applying a hermeneutic-phenomenological method, aiming at capturing choral leadership as lived experience. The study is based on in-depth interviews with 22 singers in Norway with college and university degrees in music.
The dissertation includes extensive and detailed interpreation of the interviews. Based on the themes that emerge from the interviews, three conceptualisations of choral leadership are proposed: (1) the legitimacy model, (2) the enactment model, and (3) the notion of elusive perfection. The legitimacy model deals with why singers want a conductor. The enactment model deals with the encounter between conductor and singers, and how the musical leadership is experienced. The notion of elusive perfection captures the series of balancing acts conductors are continuously faced with and the observation that no stable solutions exist. The holistic approach of the study, taken from the singer viewpoint, sheds new light on several ideals and conceptions about choral conducting that are often taken for granted
Music and talk in tandem. The production of micro-narratives in real time
Get PDFIn this text I explore the interrelationship between musical encounters and the selfperception, and self-report, of health-status and self-identity.1 I describe how music can be seen to interact and offer a basis for the type of action with which sociologists are most familiar—verbal action as a means of narrating, telling and consolidating social realities. For this task, I present two ‘worked examples’, the first illustrating how musical activity can prime, cue, or trigger forms of self-report, the second illustrating how wellness identities and wellness orientations can be built from the ways in which musical activity and self-reporting about that activity (for example in the form of narratives) make mutual reference. Overall, my aim will be to consider how music offers resources for making a change in wellness situations. As I will describe in the conclusion, the topic of musically-linked micro-narrative connects with a growing body of theoretical work devoted to the question of where and how music can ‘help’ as a medium of relational health (DeNora, 2007; Aasgaard, 2001; Ruud, 2010; Stige, Ansdell, Elefant & Pavlicevic, 2010; Ansdell & DeNora, 2012). In particular, the focus on micro-narratives and music can tell us about practical consciousness and its formation