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Experiencing Lockrop : A phenomenological approach to contemporary practice of Swedish herding callsCarlyon, Elizabeth January 2023 (has links)
The purpose of this master’s thesis is to gain knowledge and understand of contemporary lockrop(Swedish herding calls) practices from the perspectives of those who engage with it. It aims to dothis by paying close attention to the nuanced phenomenological aspects that may shape experiencewithin the moment in which practice occurs. Main research questions include: how do practitionersdescribe their experience of lockrop practice? How do they shape the practice aesthetically? Whattypes of benefits do they claim arise from engaging with lockrop, and what limitations do they face?Which factors hold the potential to alter and shape their practice experience? In order to achieve this,I have conducted multi-sited fieldwork in Sweden in the form of auto-ethnography, interview andparticipant observation with a strong focus on turning attention toward embodied perception of themoment. Eight participants were interviewed in a one-on-one setting, with a further fourinterviewed in a group setting. Participants ranged from established, performing practitioners tocomplete beginners. As a practitioner myself, I also kept a log of my own experiences of lockropunder the course of fieldwork in order to help build an empathetic understanding with participantanswers and bring the reader closer to the moment of experience. A cross analysis of qualitativefieldwork data revealed a nuanced and multi-layered range of participant experience that istransformative depending upon the individual, setting and circumstance. Despite this, severalidentifiable themes emerged. These include how lockrop practice is shaped aesthetically andexperientially when performed for an audience, how embodied perception of the practice shiftswhen it is engaged with for personal, recreational and/or enjoyment, how communicational aspectsof lockrop practice have been transformed when practice occurs outside of the pastoral andtraditional environment, the use of lockrop as a tool for individual well-being, and the impact thatperformance anxiety can have on practitioners. This study broadens current dialogues held aroundcontemporary lockrop practice in previous research. It emphasises the importance of turning to themoment of practice itself. Such discussions may prove fruitful in considering future potentialitiesand considerations connected to the teaching and usage of lockrop.
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Kurbits-ReBoot : svensk folksång i ny scenisk gestaltningRosenberg, Susanne January 2013 (has links)
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.
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