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  • 51.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    A Dissertation within Artistic Research: "Kurbits-ReBoot" by Susanne Rosenberg2018Konferensbidrag (Övrigt vetenskapligt)
  • 52.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Cognitive strategies in rhyming new ballads: an improvisatory approach2019Konferensbidrag (Refereegranskat)
    Abstract [en]

    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).

  • 53.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    FOG: Folkmusikens gehörsmetod2019Övrigt (Övrigt vetenskapligt)
    Abstract [sv]

    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.

  • 54.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    FOLK SONG LAB Deconstructing folk song as a tool for improvisation2016Konferensbidrag (Övrigt vetenskapligt)
    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

  • 55.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Folk Song Lab: Deconstruction, Improvisation and Flow2019Konferensbidrag (Övrigt vetenskapligt)
  • 56.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Folk Song Lab: improvising folk songs2018Konferensbidrag (Övrigt vetenskapligt)
    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.

  • 57.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Folk Song Lab: improvising folk songs2019Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    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.

  • 58.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    improvising folk songs: flow creating methods for singing2019Konferensbidrag (Övrigt vetenskapligt)
  • 59.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Improvising Folk Songs: improvisation and collective composition2019Konferensbidrag (Refereegranskat)
    Abstract [en]

    This paper discusses and presents some preliminary results from an ongoing artistic research project by the author called “Folk Song Lab” based on artistic performance concepts found in Swedish traditional folk singing. The project is collective and interactive. The two interlinked explorative research questions concern the potential of traditional folk song as a source for creativity today as well as the potential of creating folk song based on new concepts with improvisation as a foundation, hence stimulating using the folk song musical “language” freely.

    The project explores different ways to by improvisation stimulate the attitude towards the song as a cognitive framework which is recreated by the singer in the performance moment, by interactive group sessions. This takes its point of origin from certain conceptual qualities found in traditional folk song, connected to the ethnological concept “performance” (e.g. Kvideland 1981). A creative, non-analytic and open attitude is stimulated using flow-inducing concepts (Csikszentmihalyi 1992), such as risk, mimicry, play and reorientation, interpreted in musical terms and without written instructions.

    The project raise question regarding the influence of time for the creativity and flow to appear during improvising sessions. Some of the methods explored in the project, such as "mirror-singing" might be related to neuro-scientific findings regarding the function of mirror-neurons, hence reflecting the possibilities in human creativity in a collective way.

  • 60.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Is it better to learn from Näcken?: Keynote speech by Susanne Rosenberg, professor in folk singing at Royal College of Music in Stockholm2018Ingår i: / [ed] Joshua Dickson, 2018Konferensbidrag (Övrigt vetenskapligt)
    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.

  • 61.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls2014Ingår i: Voice and Speech Review, Vol. 8, nr 1, s. 100-105Artikel i tidskrift (Refereegranskat)
    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.

  • 62.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Kulning nu2019Ingår i: Fäbodlandskap och vallmusik: Dalarnas hembygdsbok årgång 89 / [ed] Jennie Tiderman-Österberg, Falun: Dalarnas Fornminnes- och Hembygdsförbund , 2019, s. 161-169Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
    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. 

  • 63.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Kurbits-ReBoot: svensk folksång i ny scenisk gestaltning2013Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.

  • 64.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    LISA BOUDRÉS SÅNGLIGA OCH MELODISKA GESTALTNING I TRE VISOR: en analys av ett folkligt sångsätt1986Självständigt arbete på grundnivå (kandidatexamen), 20hpStudentuppsats (Examensarbete)
    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.

  • 65.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Med rösten, traditionen och mp3-spelaren: Om att utbilda folksångare på musikhögskola2009Ingår i: 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, s. 62-84Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [sv]

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

  • 66.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    POLYPHONIC STRATEGIES IN SWEDISH TRADITIONAL SINGING2018Konferensbidrag (Refereegranskat)
    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/

  • 67.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Sångarens avtryck: IRL, inspelning, transkription2019Konferensbidrag (Övrigt vetenskapligt)
    Abstract [sv]

    “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?

  • 68.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    The "Folk Trad Orality Method" in Higher Education and elsewhere?: New Curriculum Design2019Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

          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.

  • 69.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    The Fragile Thread of an Artistic Process or Artistic Process moves continuously and by leaps2018Konferensbidrag (Övrigt vetenskapligt)
    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.

  • 70.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Variation – ett sätt att tänka?: Om några sångares variation och analysmetoder för att undersöka denna2009Ingår i: 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, s. 157-180Kapitel i bok, del av antologi (Refereegranskat)
    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.

  • 71.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    With the voice, the tradition and the mp3-player: About educating folk singers at university level2009Ingår i: 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 , 2009Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    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.

  • 72.
    Rosenberg, Susanne
    et al.
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Ahlbäck, Sven
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Misgeld, Olof
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Marin, Mikael
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Spelmansboken som en ”hub” för musikaliskt skapande idag: Hur spelmansbokens skrivna material kan tjäna som en källa till inspiration för dagens folkmusiker och sångare2017Konferensbidrag (Övrigt vetenskapligt)
    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?

  • 73.
    Rosenberg, Susanne
    et al.
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Ilmonen, Kristiina
    Dickson, Joshua
    Tradition Meets Innovation: The case of folk music and higher education in the North2019Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    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.

  • 74.
    Rosenberg, Susanne
    et al.
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Rune, Eva
    Sandén, Sofia
    Meandering, riddle & story-board: improvising folk songs2019Konferensbidrag (Övrigt vetenskapligt)
  • 75.
    Rosenberg, Susanne
    et al.
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Sundberg, Johan
    ”En utsmyckning av oändligheten runt omkring”: på jakt efter kulningens dragläge2008Ingår i: Noterat, ISSN 1400-7339, Vol. 16, s. 100--108Artikel i tidskrift (Övrigt vetenskapligt)
    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. 

  • 76.
    Roussel, Anna
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Examenskonsert - traversflöjt: reflektion över examenskonsert. Ewert Åhs - spilåpipa och fiolspelman : stilanalysarbete2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 77.
    Rubinsztein, Anna
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Examensarbete Violin: reflektion Examenskonsert & Stilanalysarbete Stämspel-en analys av Johan Hedins spel2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 78.
    Sillamaa, Sandra
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Me. Sweden: reflektion över examenskonsert. Anders Norudde och säckpipa : stilanalysarbete2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 79.
    Skough Åborn, Vilja-Louise
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Examensarbete röst: Vilja-Louise Examenskonsert & Stilanalys Æ - Vokal duo2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 80.
    Ståbi, Kersti
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Att gestalta Vǫluspá ur poetiska Eddan: som folksångare och muntlig berättare2017Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Kersti Ståbi

    Performing poems from the Poetic Edda

    I am a folk singer and oral storyteller. In my Masters project I have made a series of concerts performing the poem Vǫluspá from the Poetic Edda in its original Old Norse.

    Building on the musical elements in the Eddic poems, I’ve been searching the borderlands between speech and singing, using melodic material in the modern Swedish and Norwegian languages. As a method I have imitated singers in different living epic singing traditions from around the world, basing the creative process on mimicry and improvisation. This was a fast route to performances of great diversity: the Manas singer from Kyrgyzstan gradually enters a trancelike state, while Pansori from Korea made me think "unmelodic folk opera" and the Indian Pandvani is all-or-nothing storytelling with music serving as an engine. One specific perspective I have researched is the concept of a ”First Listener” - a representative of the audience on stage that can, but doesn’t necessarily have to, contribute musically. Traditionally the First Listener in Pandvani is very active; singing, shouting and challenging the teller, while the Pansori First Listener is a supporting commenting percussionist. As a storyteller and lead singer I found the presence of a First Listener highly fruitful in the process leading up to the performances. As a stage concept it offers forceful dynamics between the singer, the listeners and the poem.

    The poems of the Poetic Edda were created and performed in an oral tradition, but survived to modern times only via written text. I regard myself a performer formed in a literate culture but in an oral music tradition. With that in mind I have explored performance of this epic material and its metres. Translation has become a keyword with many facets. 

  • 81.
    Söderlund, Katarina
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Examensarbete röst. Examenskonsert ”Liten fågel sjunger väl ändå” & Stilanalys Æ – Vokal Duo2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 82.
    Zethelius, Einar
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Einar Zethelius Examenskonsert & Stilanalys2017Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 83.
    Rosenberg, Susanne
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Folk Song Lab - Antennfestival: improvisationskonsert med Susanne Rosenberg, Eva Rune, Maria Misgeld, Sofia Sandén och Karin Lindström Kolterud.2019Konstnärlig output (Granskad)
  • 84.
    Misgeld, Olof (Musiker, Upphovsman)
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Ahlbäck, Sven (Musiker, Upphovsman)
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Berndalen, Petter (Upphovsman, Musiker)
    Kungl. Musikhögskolan, Institutionen för folkmusik.
    Fri Form Folk: Sven Ahlbäck, Petter Berndalen och Olof Misgeld spelar låtar efter Gustaf Jernberg2019Konstnärlig output (Granskad)
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