| Forfatter: | Robin Rolfhamre og Elin Angelo |
| Innbinding: | Heftet |
| Utgivelsesår: | 2022 |
| Antall sider: | 262 |
| Forlag: | Cappelen Damm Akademisk |
| Språk/målform: | Bokmål |
| Serie: | MusPed:Research |
| Serienummer: | 4 |
| ISBN: | 9788202756192 |
| Kategori: | Estetiske fag |
| Fag: | Estetiske fag |
| Nivå: | Akademisk |
Early music performance in its broadest capacity presents a compelling case of being something in the present that is representing, presenting, enacting, re-enacting, living and re-living, concretising and fantasizing a historical past. It is both what it is and something entirely other. Inspiring countless efforts to come to terms with its nature, one way of approaching the act of conveying or “doing” history is through pedagogy. Pedagogy, here, is multifaceted, as it is placed and displaced in learning, acting, mediating, communicating, perceiving, conveying and persuading historically remote, cultural practices. As such, this anthology includes both explicitly pedagogical chapters and more implicit approaches situated within pedagogical settings. The driving force behind the project is: When maintaining and sustaining a certain European cultural heritage, how do we do so as artists and pedagogues and to what effect? To cast a fresh gaze on traditional Early music performance studies, the authors of this volume argue for the pedagogical potential of such a project. Not only as something functioning as an artefact used within an educational setting, but as something primarily pedagogical also in its formation and re-formation. The way Early music is construed and portrayed just to fulfil the official boundary of its terminology is also a pedagogical act performed in multiple ways. It is not a question of regarding Early music scholarship and artistry as binary presentism versus historicism, but rather as historicism in presentism and presentism in historicism – which is precisely what this volume is all about and to which it seeks to contribute. The anthology’s chapters highlight spectatorship, experience, theory, rhetoric, philosophy, representation, performance, performativity, literature, visual arts, pedagogy, education, pragmatism and also newmaterialism. They examine music that is readily categorised as Early music, as well as music that borders on, or is becoming, something else entirely, but with evident roots in the Early music repertoire.
| Views on Early Music as Representation | |||
| Engelsk | Open Access | 2022 | |
Robin Rolfhamre (MMus, PhD) is a professor at the University of Agder, Norway. He studies Early Modern music (c. 1400–1700) from an inter-human and social perspective focusing particularly on self-expressive acts, communication (particularly through rhetoric and social psychology) and performance practice. As a scholar and active performing artist, Rolfhamre has received several scholarships and awards, including the Agder Academy of Sciences and Letters’ Research Prize for Young Researchers. Get to know him at www.rolfhamre.com.
Elin Angelo (PhD) is professor of music education at Norwegian University of Science and Technology (NTNU), Department of Teacher Education/Department of Music, and visiting professor at Nord University,Faculty of Education and Arts. Her research interests include music teacher education, higher music educationand music and art school-related research. Further information: https://www.ntnu.edu/employees/elin.angelo
Jorge Salgado Correia (PhD) is an associate professor at the University of Aveiro, Portugal. Correia has a background in philosophy and music, and has studied in Portugal, Holland and England. His specialist performance area is contemporary music. Correia has published articles and book chapters on performance and artistic research, and he is coordinator of the research group Creation, Performance and Artistic Research at INET-md (the Instituto de Etnomusicologia – Centro de Estudos em Música e Dança) and president of the Portuguese Flute Association. Jorge is also founder and editor of ÍMPAR-Online Journal for Artistic Research. Further information: http://www.inetmd.pt/index.php/en/people/doutoradosen/242-jorge-manuel-salgado-de-castro-correia-en
Randi Margrethe Eidsaa (PhD) is a professor of music education at the Faculty of Fine Arts, University of Agder, Norway. She teaches musicology, concert production and music didactics. Eidsaa holds a PhD in music pedagogy from Danish School of Education in Copenhagen. Further information: https://www.uia.no/kk/profil/randie
Frida Forsgren (PhD) is an associate professor of art history at the University of Agder, Norway. Her PhD is in Renaissance studies, but she works predominantly with American and Nordic Modernism. Forsgren’s publications include San Francisco Beat Art in Norway (2008), Beat Lives (2013), Out of the Shadows (2015), and Beatgenerasjonen og kjønnsroller (2017). Further information: https://www.uia.no/kk/profil/ingvilff
Rolf Lislevand (Dr phil h c) is a professor at the University of Agder, Norway; a professor of lute, improvisation and historically informed performance practice at the Staatliche Hochschule für Musik, Trossingen, Germany; and a professor of lute, improvisation and chamber music at the Lyon Conservatoire National Supérieur Musique et Danse, France. Lislevand was granted an honorary doctorate by the Royal Swedish Academy of Music in 2018, and he is considered one of the foremost early music performers of our time. Further information: https://www.uia.no/om-uia/fakultet/fakultet-for-kunstfag/institutter/institutt-for-klassisk-musikk-og-musikkpedagogikk/utoevende-klassisk-musikk/rolf-lislevand
Inga Marie Nesmann-Aas (MMus, MA) is a research fellow at the University of Agder, Norway. She holds an MA in English literature and MMus in classical singing. Her PhD project ‘Reconfiguring Dido’ investigates new approaches towards textual and musical analysis, post-HIP, interpretation, embodied musical performance and realisations of text and music. Further information: https://www.uia.no/kk/profil/ingamn
Daniel Henry Øvrebø (PhD), a research fellow at the University of Agder at the time the chapters were written, is currently working as research adviser at Oslo Metropolitan University, Norway. He has studied music performance at the University of Agder and the University of Music Wuerzburg, Germany. He also studied art history, German language and culture, and musicology at the University of Bergen, Norway. His PhD project ‘Performative Arts Based Audience Research’ investigates audience reception through his own performances of high modernist flute music. Further information: https://www.oslomet.no/om/ansatt/danielhe/
