FOLK MUSIC AT KMH A presentation of the Folk Music Department at the - - PowerPoint PPT Presentation

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FOLK MUSIC AT KMH A presentation of the Folk Music Department at the - - PowerPoint PPT Presentation

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FOLK MUSIC AT KMH A presentation of the Folk Music Department at the Royal College of Music, Stockholm (KMH) Sven Ahlbck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 1

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FOLK MUSIC AT KMH

A presentation of the Folk Music Department at the Royal College of Music, Stockholm (KMH)

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 1 torsdag, 2009 november 19

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SLIDE 2

Kungliga Musikhögskolan (Royal College of Music, Stockholm)

  • Founded 1771
  • The largest music university college in

Sweden (600 full-time students)

  • Departments:

Performance: Classical (including early music), Jazz, Folk, Composition & Conducting, Music and Media technology Music teaching: Music teaching (including Music Therapy, Music History, Music pedagogical research, instrumental and general music teaching)

  • Degrees: Bachelor, Master, PhD (in

cooperation with Stockholm university),

DMus (in cooperation with Sib Academy)

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 2 torsdag, 2009 november 19

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Folk Music department at Royal College of Music in Stockholm (KMH)

  • Folk Music education at KMH since 1976, separate department since 1994
  • Highest level of Folk Music education in Sweden (bachelor, master/diploma

and doctoral degrees)

  • 1 professor, 1 senior lecturer, 8 adjunct lecturers, more than 30 part-time

teachers on more regular basis + guest lecturers

  • 1976 = 4 students, 1993 = 6 students 2008 = 41 students
  • 36 BA students within performance programs (9 with pedagogical profile)

+ 2 associated students from other departments

  • 3 MA students within performance program, 1 DMA/PhD student (in

collaboration with the Sibelius-Academy)

  • 2 MA Nordic Master in Folk music (KMH, Odense, Sib Ak)
  • External courses

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 3 torsdag, 2009 november 19

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SLIDE 4

two musical profiles - two professional profiles - unlimited individual profiles

Music from

  • ther cultures

Swedish Folk Music

  • Swedish tradition (60-70%)

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se

  • Norwegian
  • Estonian
  • Finnish
  • Iranian
  • West

africa: Senegal, Gambia

  • Klezmer
  • Balkan
  • Iraqi

Kurdish

  • Arabic
  • Chilean/

Bolivian

  • French
  • Brittany
  • Congolese
  • Mozambique
  • Tango

4 torsdag, 2009 november 19

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SLIDE 5

two musical profiles - two professional profiles - unlimited individual profiles

Swedish Folk Music Music from

  • ther cultures
  • It’s all right to specialize in your own repertoire and style - but

you have to learn how to make music over cultural boundaries

  • You have to have some knowledge of a folk music tradition - and

individual artistic expression - to be accepted. Shallow but broad is not enough!

  • We don’t teach “world music” - but are happy when it happens!
  • We accept students with a profile in music from other

cultures if we can arrange teaching on the appropriate level

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se

  • two categories: those who are experienced musicians without formal

music education and those who need to develop within their own style

5 torsdag, 2009 november 19

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SLIDE 6

two musical profiles - two professional profiles - unlimited individual profiles

Swedish Folk Music Music from

  • ther cultures

PERFORMANCE PROFILE PEDAGOGIC AND PERFORMANCE PROFILE

  • Both categories work after studies usually at least to some

degree both pedagogically and artistically

  • Some come back for the other profile!
  • Very high rate of professional activity after

examination (> 80 %)

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se

  • free-lance (few positions as music ped.)

6 torsdag, 2009 november 19

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SLIDE 7

two musical profiles - two professional profiles - unlimited individual profiles

Swedish Folk Music Music from

  • ther cultures

PERFORMANCE PROFILE PEDAGOGIC AND PERFORMANCE PROFILE

Individual profile

  • Students are encouraged to develop their own artistic and

professional profile

  • Broad or specialized? World/trad-

folk/classical- pop or jazz crossover

  • Many possible extensions and combinations, e.g. archive

work, music production, theatre, story-telling, research, dance...

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 7 torsdag, 2009 november 19

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the aim

give deep knowledge of the tradition to be able to do “your own thing”

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se

promote individual musicianship

8 torsdag, 2009 november 19

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Folk Music department at the Royal College of Music in Stockholm (KMH)

STUDENTS: 11 fiddle, 1 viola, 2 cello, 10 voice 5 nyckelharpa 3 percussion 2 accordion 2 flute, 1 clarinet, 1 sax. 1 guitar, 1 lute, 1 kora, 1 mandolin 1 quanon

LECTURER/ teachers within the following subjects: fiddle/viola (4) voice (2) theory (2) arranging/composition (3) ensemble (3) piano (1) voice method (1) fiddle method (2) all other instrument and subjects regular visiting teachers

All regular lecturers are performers within folk music and have degrees in higher music education

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 9 torsdag, 2009 november 19

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General pedagogical ideas:

  • Folk music as the starting-point
  • Stimulate deep enough learning
  • Stimulate a creative relationship to

music performance

  • Stimulate broadening of musical

perspectives and competence

  • Stimulate the development of musical

consciousness

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 10 torsdag, 2009 november 19

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Folk music as the pedagogical foundation

LEARNING BY EAR FOLK MUSIC EXISTS AS PERFORMANCE THERE IS NO ORIGINAL- ONLY VARIANTS TRADITION IMPLIES CHANGE AND CONTINUITY

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 11 torsdag, 2009 november 19

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A conceptual ground

LEARNING BY EAR FOLK MUSIC EXISTS AS PERFORMANCE THERE IS NO ORIGINAL- ONLY VARIANTS TRADITION IMPLIES CHANGE AND CONTINUITY TRADITION REQUIRES COMPETENCE NO BOUNDARIES BETWEEN FUNCTION AND ART

Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se 12 torsdag, 2009 november 19

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Pedagogical consequences

  • A folk musical profile in all courses/subjects
  • “Learning by ear”
  • The instrumental training focuses on musical competence rather than instrumental

skill in a limited sense

  • Studying style and instrumental skill is intimately linked.
  • Copying, listening, interpreting and recreating teachers performances, recordings

and notations

  • A common supporting educational material - field recordings, films, notation -

digitized archive which can be accessed through the network

  • A common folk music style-specific music theoretical toolbox for all subjects/

courses

  • Close connection between folk music theory - ensemble/arranging - main

instrument studies - dance and dance music - improvisation

  • Common methods of working with ensemble/arranging and composition based on

arranging-by-ear principle

13 torsdag, 2009 november 19

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Typical curriculum BA program

Main instrument Ensemble Arranging Concert training/Practice Examination work (incl. Concert and thesis) Folk music theory Piano Voice/folk singing Folk dance / ergonomy Music technology Music in society (musicology) Eligible courses (12,5% tot. 25%) Main subject courses (67%) Supportive courses (20%)

14 torsdag, 2009 november 19

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Our idea - a folk music department as place for a living folk music tradition

  • Musical development comes from

music making

  • Music does not develop in isolation
  • An arena for musical development

within folk music

  • Musical development needs to be

recognized

  • International cooperation is the future:

Folk music is both local and global

15 torsdag, 2009 november 19

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WHY NOT IN BELGIUM?

16 torsdag, 2009 november 19