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  • 1.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    A Dissertation within Artistic Research: "Kurbits-ReBoot" by Susanne Rosenberg2018Conference paper (Other academic)
  • 2.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    FOLK SONG LAB Deconstructing folk song as a tool for improvisation2016Conference paper (Other academic)
    Abstract [en]

    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

  • 3.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Folk Song Lab: improvising folk songs2018Conference paper (Other academic)
    Abstract [en]

    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.

  • 4.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Is it better to learn from Näcken?: Keynote speech by Susanne Rosenberg, professor in folk singing at Royal College of Music in Stockholm2018In: / [ed] Joshua Dickson, 2018Conference paper (Other academic)
    Abstract [en]

    This Keynote-presentation is concentrated on the question of folk music in higher education. The Keynote is divided into five different parts; The student, The teacher, The context, The qualities, The tradition, and describes what they mean and the relations between them. The presentation argues that learning folk music takes place where there is possible to meet and communicate and that this might as well be within a higher music education.

  • 5.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls2014In: Voice and Speech Review, Vol. 8, no 1, p. 100-105Article in journal (Refereed)
    Abstract [en]

    It is hard to describe in words both how kulning sounds and how you do it. The starting point for the vocal technique is that you want to be heard and to communicate outdoors with the help of the voice. As it has mainly been women who have traditionally worked on the fäbod (summer grazing pasture with small buildings for people, pets, dairy products, and animal feed), the use of the voice has also evolved according to the strengths and limitations of the female voice.

  • 6.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Kulning nu2019In: Fäbodlandskap och vallmusik: Dalarnas hembygdsbok årgång 89 / [ed] Jennie Tiderman-Österberg, Falun: Dalarnas Fornminnes- och Hembygdsförbund , 2019, p. 161-169Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln belyser kulnings plats i en nutida kontext, där den numera kan höras i många fler sammanhang än på den ursprungliga fäboden. Artikeln beskriver kulning idag som en folkrörelse, där både amatörer och professionella utövare möts, och där kulning som uttryck har en stark dragningskraft på alla som får höra eller prova och där nutida kursdeltagares ord som urkraft, frihet, natur mm.  speglar detta. Kulning finns idag inte bara på fäboden eller konsertscenen utan också i TV, radio, teater, kyrkor, klubbar etc. Kulning tillhör alla. 

  • 7.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    LISA BOUDRÉS SÅNGLIGA OCH MELODISKA GESTALTNING I TRE VISOR: en analys av ett folkligt sångsätt1986Independent thesis Basic level (degree of Bachelor), 20 HE creditsStudent thesis
    Abstract [sv]

     Syftet med uppsatsen har varit att försöka beskriva Lisa Boudrés (1866-1952) utförande av tre inspelade visor, både vad gäller sånglig och melodisk gestaltning. Ett annat syfte har varit att försöka beskriva det karaktäristiska för svensk vokal folkmusik av den äldre typ som dessa tre visor representerar. Jag har velat göra en djupanalys av en vissångerska, utan att göra anspråk på att säga något generellt om folklig sång i Sverige. Jag hoppas dock vid ett senare tillfälle kunna göra en jämförande studie av flera vissångare.

    Min avsikt med uppsatsen har inte varit att närmare beskriva de etnologiska, historiska, funktionella eller sociologiska aspekterna på folklig vissång eller i förhållande till Lisa Boudrés sång, utan dessa aspekter beskriver jag bara kort och i den mån jag har ansett att de har betydelse för förståelsen av det ämne uppsatsen behandlar.

  • 8.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Med rösten, traditionen och mp3-spelaren: Om att utbilda folksångare på musikhögskola2009In: 1976-2006, 30 år med folkmusik på KMH / [ed] Sven Ahlbäck, Petter Berndalen, Jonas Hjalmarsson, Bridget Marsden, Olof Misgeld, Susanne Rosenberg, Pernilla Willman, Linköping: Kungl. Musikhögskolan , 2009, p. 62-84Chapter in book (Other academic)
    Abstract [sv]

    Artikeln beskriver utvecklingen av folksångsmetodik och undervisning i folksång vid Kungl. Musikhögskolan i Stockholm. 

  • 9.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    POLYPHONIC STRATEGIES IN SWEDISH TRADITIONAL SINGING2018Conference paper (Refereed)
    Abstract [en]

    Recordings and transcriptions of polyphonic singing is rare to find in the Swedish-speaking areas of the Nordic countries. The dominating tradition is a solo tradition. This paper present and discuss strategies in polyphonic singing in some rare recordings from the Swedish-speaking areas and sets them in relation to descriptions of older communal collective singing from the 19th century and back.

    The phonograph recordings were made in 1908 in the Swedish speaking parts of southern Finland. These are the oldest recordings of singing in Swedish language and present polyphonic singing with two singers, at the time well-known (Ahlbäck, 2003; Häggman, 1992).

    The singing style shows features much alike traditional solo singing from the Nordic countries: relatively high register for male voice, singing on nasal consonants etc. (Gjertsen, 1985; Ramsten & Jersild, 1988; Rosenberg, 1986, 1993, 2009). The tonality is modal in “herding-call mode” (Ahlbäck, 1986), with strong focus on tonal center, fifth and fourth. The singers change roles during their singing and present independent melodic lines including ornamentation and microtonality in the polyphonic setting, with phrases often ending on same pitch.

     

    What are the strategies of the two singers? This paper presents a view that both singers hold in their memory a kind of framework of the melodic idea of “the song” rather than a melodic line with an accompaniment. Suggesting that the singers have a perception of the mode, lyrics and melodic framework, but that the interpretation, the exact version of the song never comes out the same. This concept has been pointed out and described by e.g. Bronson (Bronson, 1969)

     

    Susanne Rosenberg is a professor in folk singing and Doctor of Music (DocMus) at the Royal College of Music, Sweden. She is also a well-known singer and has been a pioneer in rediscovering old singing styles and polyphonic singing in an innovative way, using traits from old tradition both Swedish and elsewhere to form music of today as presented both on CD and articles. Read more https://heartbeatbreathe.com/

  • 10.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    The Fragile Thread of an Artistic Process or Artistic Process moves continuously and by leaps2018Conference paper (Other academic)
    Abstract [sv]

    I doktorandprojekt ”Kurbits ReBoot, svensk folksång i ny scenisk kontext” (Rosenberg, 2013) undersöktes om koncept flow (Csikszentmihaly, 1990) kunde användas ”omvänt” i en konstnärlig process. Kan de begrepp som kännetecknar en person som upplever flow, också användas som konstnärliga verktyg, gestaltande metoder, för att uppnå detsamma. Begreppen reorientering, mimicry, play och risk kompletterades med verktygen skarpt läge, feedback, längtan och långtråkigt, för att testa denna möjlighet. Ur det konstnärliga experimentet trädde en processmässig tidslinje fram där verktygen hade olika användbarhet i olika delar av den konstnärliga process som sker både kontinuerligt och språngvis. Detta ger en kompletterande modell till t.ex. koncept som Kolbs learningcircle (1984).  I denna presentation presenteras också en ny undersökning kring modellens användbarhet i att förstå och beskriva en konstnärlig process med utgångspunkt från andra konstnärers beskrivning av hur deras konstnärliga process fungerar och startar. 

    Csikszentmihaly, M. (1990). Flow, Den optimala upplevelsens psykologi. Stockholm: Natur och kultur.

    Kolb, D. A. (1984). Experiential Learning, Experience as The Source of Learning and Development. New Jersey: Prentice-Hall.

    Rosenberg, S. (2013). Kurbits-ReBoot, svensk folksång i ny scenisk gestaltning. (Doctor of Music), KMH and Sibeliusacademy, Stockholm.

     

    Rosenberg är sångerska och professor i folksång vid Kungl Musikhögskolan och disputerade 2013 med den konstnärliga avhandlingen ”Kurbits ReBoot, svensk folksång i ny scenisk kontext”. Fokus i forskning ligger just nu på improvisation i folksång.

  • 11.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    Variation – ett sätt att tänka?: Om några sångares variation och analysmetoder för att undersöka denna2009In: Tradisjonell sang som levenede prosess: Nordiske studier i stabilitet og forandring, gjentagelse og variasjon. / [ed] L. Halskov Hansen, A. N. Ressem, & I. E. Åkesson, Oslo: Novus Forlag, 2009, p. 157-180Chapter in book (Refereed)
    Abstract [en]

    Many scholars (Kvideland, Ond, Lönnroth, Parry and others) have observed that variation is a given constituent of oral tradition – a way of thinking. Applied to traditional vocal music, this conception entails that there is no such thing as an original or correct version of a song. The essence of the notion is that the “work of art” comes into being the moment it is sung, which means that the existence of the song depends on our singing it. But if we create a song anew every time we sing it, and this is its only existence, where then does this thing we call the song begin and end – what is constant and what is variable?

    In an attempt to shed some light on the phenomenon of variability, the present author has chosen to examine a set of songs as performed by seven different singers (born between 1860 and 1970). The study of variation is carried out by means of different methods of analysis, some of which are well proven and some are new in relation to the twin objective of both looking at variation in itself and assessing the applicability of the different methods. The article examines how the method of analysis influences the result. Methods such as western notation system, note-site analysis, melodic graph analysis, melodic skeleton analysis, syllable analysis, music-metric syllable raster, and sound analysis/acoustic analysis produce a degree of discrepant results or emphasise different parameters: tonal variation can be detected by using the western system of note writing, variation of form or variation of the melody-lines between different stanzas is best detected using melodic graphs, music metric syllable raster reveals variation in the number and placing of syllables in the phrases, sound analysis based on layered sound files yields information about tempo, phrasing and dynamics.

  • 12.
    Rosenberg, Susanne
    Royal College of Music in Stockholm, Department of Folk Music.
    With the voice, the tradition and the mp3-player: About educating folk singers at university level2009In: 1976-2006, 30 år med folkmusik på KMH / [ed] Sven Ahlbäck, Petter Berndalen, Jonas Hjalmarsson, Bridget Marsden, Olof Misgeld, Susanne Rosenberg, Pernilla Willman, Kungl. Musikhögskolan , 2009Chapter in book (Other academic)
    Abstract [en]

    This Article describes the development of teaching folk singing within higher education. It describes the ideas of the voice pedagogy, how to use singing style parameters, and also gives an overview of the introduction of folk singing into KMH (Royal College of Music), in Stockholm on a more general level. The article was originally written in Swedish.

  • 13.
    Rosenberg, Susanne
    et al.
    Royal College of Music in Stockholm, Department of Folk Music.
    Ahlbäck, Sven
    Royal College of Music in Stockholm, Department of Folk Music.
    Misgeld, Olof
    Royal College of Music in Stockholm, Department of Folk Music.
    Marin, Mikael
    Royal College of Music in Stockholm, Department of Folk Music.
    Spelmansboken som en ”hub” för musikaliskt skapande idag: Hur spelmansbokens skrivna material kan tjäna som en källa till inspiration för dagens folkmusiker och sångare2017Conference paper (Other academic)
    Abstract [sv]

    Dagens folkmusiker har mycket gemensamt med äldre tiders ”Stads-musikant” och byspelman, de som tillskrivs ”Spelmansböckerna” (Gustafsson, 2016). Precis som dessa har dagens folkmusiker (och folksångare) ofta en central, mångfacetterad roll i sitt lokalsamhälle, de är ”skapande interpreter” (Rosenberg, 2013), vilket betyder att de som musiker rör sig sömlöst mellan rollerna som musiker, arrangör, kompositör, pedagog, artist, dansspelman – allt i en och samma person. De är ofta viktiga inspiratörer och drivkrafter i sitt lokalsamhälle och fungerar som centralgestalter för musikaliska aktiviteter. För den historiska stadsmusikanten och byspelmannen, likväl som folkmusikern/ sångaren idag, verkar den nedskrivna notationen främst fungera som inspiration för praktiskt bruk, för att spela och improvisera musik utifrån, snarare än att betrakta som komponerande verk eller original utifrån 1800–1900 talets västerländska konstmusikideal.

    Vid institutionen för folkmusik vid Kungl. Musikhögskolan arbetar vi pedagogiskt och konstnärligt i utbildningarna med olika aspekter på rollen som folkmusiker idag; hur kan man undervisa, utveckla och använda denna breda roll som skapande interpret i dagens moderna musikliv? Hur kan man använda de metoder för analys som vi utvecklat på KMH t.ex. stil-analys, folkmusikteori, stavelseskelettanalys, folkmusikimprovisation, interaktion mellan musik och dans etc. som verktyg i dagens folkmusik för att skapa musik idag?

    Vilka kunskaper och verktyg behöver man för att bli en skicklig folkmusiker/ folksångare idag, i en roll där man befinna sig både i en muntlig och skriftlig tradition och behöver kunna använda sig av skriftligt noterat material som en källa för musikskapande och samtidigt bibehålla sin gehörsmässiga ingång till en repertoar; länka samman den gehörsmässiga traditionen med noterat material. Hur kan man närma sig enkelt noterade melodier som de i ”spelmansböckerna” för att använda dem som utgångspunkt för improvisation, arrangemang och komposition, helt enkelt låta ”spelmansböckerna” fungera som en ”hub” för musikaliskt skapande idag?

  • 14.
    Rosenberg, Susanne
    et al.
    Royal College of Music in Stockholm, Department of Folk Music.
    Sundberg, Johan
    ”En utsmyckning av oändligheten runt omkring”: på jakt efter kulningens dragläge2008In: Noterat, ISSN 1400-7339, Vol. 16, p. 100--108Article in journal (Other academic)
    Abstract [sv]

    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. 

1 - 14 of 14
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