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FOLK MUSIC AT KMHA 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
1torsdag, 2009 november 19
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
2torsdag, 2009 november 19
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
3torsdag, 2009 november 19
two musical profiles - two professional profiles - unlimited individual profiles
Music fromother cultures
Swedish FolkMusic
- 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
4torsdag, 2009 november 19
two musical profiles - two professional profiles - unlimited individual profiles
Swedish FolkMusic
Music fromother 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
5torsdag, 2009 november 19
two musical profiles - two professional profiles - unlimited individual profiles
Swedish FolkMusic
Music fromother cultures
PERFORMANCE PROFILE
PEDAGOGIC AND PERFORMANCEPROFILE
- 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.)
6torsdag, 2009 november 19
two musical profiles - two professional profiles - unlimited individual profiles
Swedish FolkMusic
Music fromother cultures
PERFORMANCE PROFILE
PEDAGOGIC AND PERFORMANCEPROFILE
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
7torsdag, 2009 november 19
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
8torsdag, 2009 november 19
Folk Music department at the Royal College of Music in Stockholm (KMH)
STUDENTS:11 fiddle, 1 viola, 2 cello,
10 voice5 nyckelharpa3 percussion2 accordion
2 flute, 1 clarinet, 1 sax.1 guitar, 1 lute, 1 kora, 1 mandolin
1 quanon
LECTURER/ teacherswithin 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 instrumentand subjects
regular visiting teachers
All regular lecturers are performers within folk musicand have degrees in higher music education
Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se
9torsdag, 2009 november 19
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
10torsdag, 2009 november 19
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
11torsdag, 2009 november 19
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
12torsdag, 2009 november 19
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
13torsdag, 2009 november 19
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%)
14torsdag, 2009 november 19
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
15torsdag, 2009 november 19
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