Learning outcome

A candidate who has successfully completed Folk Music 1 has gained performing skills in instrumental or vocal Norwegian folk music and dance. He/she has acquired practical experience in the transference process of folk music in a learning situation, known as learning by imitation or see-hear-replicate method. The candidate has adapted and actively contributed to the overall ensemble in various types of ensemble playing. He/she has gained broad knowledge of Norwegian folk music traditions, both with regard to the scope of the traditions and the historical conditions that created them. The candidate understands how traditional music is created in the intersection between impulse and tradition, and between new and old. He/she can describe and analyse folk music forms using theoretical terms; replicate musical elements; read, interpret and analyse a score; and notate music. The candidate can plan, justify and assess the consequences of the dissemination of traditional music in various contexts.

Course Description

The course will examine the central topics based on a broad professional approach, where perspectives from music theory, cultural history and social-science will jointly form the basis of the course. The theoretical common component constitutes about 60% of this part of the course, while the practical, individual component makes up the other 40%.

The common component of the course covers the following topics:

• Knowledge of traditions
• Folk music and society
• Music theory
• Listening theory

Individual / practical part:

• Main instrument
• Ensembles/ secondary instrument
• Project work

• Dance

COMMON COMPONENT

Major course unit 1 – KNOWLEDGE OF TRADITIONS

Tradition Knowledge is the largest major course unit in the study plan.

Course units:

• Types

The course covers various types within traditional music. The review of each individual type will include a specific musical description and a description of its history.

• Instrument / organology

Introduction to classification (e.g. Hornbostel-Sachs’ system)

An account of the Norwegian traditional musical instruments (playing techniques, geographical distribution, history, etc. for each separate instrument).

• Types of ensemble playing

Combinations of instruments

Roles of various instruments

• Norwegian music history from the earliest times to the present

Historical epochs in art music and the “links” to folk music
The earliest sources of music in the Nordic countries
Music and dance in the Middle Ages
Psalm singing, Latin schools
Town Musicians Associations
Collection of folk music
The use of folk music in art music
Folk music research
Globalisation of folk music

• Vocal folk music

A practical-theoretical introduction to different types of vocal music.
Problems related to the classification of vocal music.
Review of various types (lullaby, cow calling (lokk), ballads, stave (stev), etc.)

• The various traditional areas

Summary of the variations (types, instruments, terminology, etc.).

The main traditional forms during the various periods.

Major course unit 2 – FOLK MUSIC AND SOCIETY

Key issues in the course are:

• What is folk music?
• Why study folk music?
• How to work in terms of performance and dissemination of folk music?
  

To be able to consider these questions -- what, why and how -- the student must acquire an understanding of how the concept “folk music” has evolved historically. Further, they must acquaint themselves with some basic social sciences concepts and theories in order to be able to better understand the relationship between folk culture and society and the performing (folk) musician’s place in society and in different historical epochs. The Norwegian and Nordic culture should be understood in a European / global context. On the basis of this, students will be able to independently discuss the content of the folk music study programme and the place the course and folk music have in modern society.

Students will be able to convey their experiences from practical work within the field of folk music by gaining knowledge about project work and the report writing related to this. They will also gain knowledge of elementary communication theory. Students will practice the practical dissemination of folk music by organising concerts / folk competitions (kappleik). Students will participate in a compulsory study trip during the course of the academic year, to take part in and experience a folk music event.

Course units

• Clarification of concepts and the delineation of the field

Folk and traditional music; popular and entertainment music; art music

Traditional concepts

• What is folk music?

Definitions of culture / society

Status / role / function

• Development of the artist’s role

Introduction to historical and current types of society
Policies, market and professionalisation

• The local, national and global

Identity, ethnicity and nation
The deep meaning of folk culture

• Folk culture and the building of the nation

Processes in the Norwegian nation-building from the end of the 1700s

• Communications theory

Communications theoretical concepts and models
How meaning is created
Text and context
Media and influence

• Project work

Development of the project question and completion of the project. Topics may be selected from a broad framework, but should be related to the main aims of the study programme. The project may be based on theoretical studies, but also on creative or practical-pedagogical work. The written part of the project, i.e. the project report, must meet the following requirements: the project report should comprise between 15 to 25 pages. The report should follow the guidelines for written work and using sources which is handed out at the start of the studies.

• Mediation assignments

Folk competitions (kappleik) / festivals

Concert at the end of the academic year

House concerts

Major course unit 3 – MUSIC THEORY

The course deals with general music theory and more specific areas where it is necessary to go more in depth, for example, regarding tonality, form and meter in folk music and the relationship between music and dance. General music theory concepts form the foundation for a more in-depth examination of the material. This part must be considered in the context of aural training.

The course analyses in detail the theoretical aspects of our folk music forms and the instruments that are used. The programme will discuss whether or not common musical concepts are sufficient when describing and understanding folk music forms.

Course units

• General music theory

Elementary note learning
Intervals
Conventional tone and meter
Learning basic chords

• Notation

Specific problems concerning notation of folk music
Grip notation for fiddle

• Form analysis

Form and motif types
Different models

• Tonality

Overtones and re-tuning
Different scale types
Modality and interval

• Beat and rhythm

Meter types in folk music
The relationship between music and dance

Major course unit 4 - AURAL TRAINING

The course will build a bridge between theoretical concepts and practical performance activities. In building subject knowledge, it is important for students to develop the inner ability to remember melodies, keynotes and metrical structures. This must be developed through melodic and rhythmic exercises and is a precondition for the development of tools with regard to notation and the interpretation of notation.

Exercise material will mainly be based on traditional Norwegian folk music, but the universal, the general and the more particular aspects of folk music will be considered. Various topics will be discussed and worked on simultaneously.

Students will work with different listening exercises, interval training, and various exercises in identification and rendering of melodies and rhythms. Reading exercises and practice in notation through melodic and rhythmic dictation will also constitute typical activities in the course.

Course units

• Notation and sight reading

Notation training
Music booklets from various sources

• Listening and then performing

Intervals
Different scales and modes
Chords
Different rhythms and beats

INDIVIDUAL/PRACTICAL PART

The practical part of the course will enable students to gain insight into, and understanding of, different aspects of folk music’s many forms of expression. Students will receive practical instruction and guidance in song and the various instruments which form the basis of the Norwegian folk music traditions. On this basis, it will and could be a challenge to take this further through experimentation and innovation, e.g. through various forms of ensemble playing.

The options available will depend on the teaching resources.

Course units

• Main instrument

The student will build and develop a repertoire of traditional songs and/or playing material. In consultation with the subject teacher each student will choose a main instrument within the Norwegian vocal and instrument traditions. In consultation with the teacher the students will specialise in one or more traditions, but during the course of the academic year all students will gain knowledge of different types and genres as played on the instrument they have chosen. Students will gain experience in using different sources for learning, learning by imitation, phonogram and notes. As part of the guidance the student will perform material / do exercises for the teaching staff throughout the year.

• Secondary instrument

Students will have an option of learning to use a secondary instrument. The instruction for this is usually organised in groups, and is limited by access to instruments and teachers.

• Ensemble playing

Students will gain experience in ensemble playing in different combinations, through concerts, various forms of dissemination assignments and work in the recording studio; ensemble playing requires participation from all the students and is therefore mandatory.

• Dance

Students will acquire a common body of knowledge experiencing dance as a social activity. Through the approach to the various genres of folk dance, students will gain insight into these and gain a deeper understanding of the relationship between dance and music. Dance is an important part of the course; being a social activity it requires participation from the whole group and attendance is therefore mandatory. This part of the course starts with a selection of the usual forms of national “dance in the round” (runddans). During the course of the year students will be given the opportunity to experience some of the common national repertoire such as, figure dancing, song games and singing dance, but the main focus will be on country dancing, which will include various local and regional forms. This approach will be considered together with subject theory.

Teaching and Learning Methods

Teaching and learning methods will include practical work with music and dance, lectures, seminars, excursions, independent study, written home assignments, projects (dissemination exercises) and group work involving presentations. Participation in and presentation of group work is mandatory. The instruction is usually on fixed weekdays throughout the year. In some cases, the teaching may be organized into intensive periods that will be obligatory. The subject material will be imparted to the students first and foremost by the course teachers, but also by performers/guest teachers from different traditional backgrounds who have specialised knowledge not found in books. This teaching will be obligatory.

The lectures will, to some degree, use audio-visual aids and discuss various themes. The study programme requires active participation on the part of the students. Group work is especially useful in the different types of dissemination assignments, and students should form study groups.

All students will receive 20 hours of individual instruction on their main instrument, and there will be an opportunity to qualify for further instruction. This will take place during the auditions in the first semester. Instruction (if any) on a secondary instrument will be organised into groups. Ensemble groups may in some cases be organised by the students themselves. It is hoped that students take the initiative to hold in-house concerts. Students will receive continuous assessment on their main instrument and feedback on their progress from the subject teacher.

At the start of the programme, an intensive course in basic music theory will be arranged for those students who feel they need it. The subject, aural training, will be organised as practical group teaching. After the first semester, a test will be held in music theory and aural proficiency. A student’s performance in this must be approved before the student will be allowed to take the examination.

Topics related to the formulation of the problem and the completion of the individual project assignment will constitute topics in the joint teaching of theory. Students will receive 3 hours of individual supervision in relation to the project.

At the end of the academic year, the department opens its doors to the public. Students present the work they have completed throughout the academic year in the form of exhibitions, concerts and events. Folk Music 1, one-year study programme, arranges a large end-of-term concert.

Winter Folk festival is an annual event that takes place at the beginning of the spring semester. All Folk Music 1 students will participate in the planning and implementation of this event. The event is organized and conducted as a project. A teacher from the folk music team will be responsible for following up this work.

Assessment Methods

EXAMINATION

The assessment includes a student portfolio, a written home examination and an oral examination/exercise.

Written, individual home examination

• Knowledge of traditions
• Folk music and society
• Music theory

Oral examination
Instrumental and vocal performance (the main instrument). Students will be assessed on a repertoire of approx. 15 min. on their main instrument.

The secondary instrument may, on application, be included as part of the assessment.

Students may choose not to include performance as part of their oral examination. Those who choose this option may instead give a 30-minute oral presentation of a topic related to performance. The topic will be selected by the Department.

Portfolio assessment:
Each student has a portfolio in which work, tests, assignments and teacher evaluations will be systematically included. This material will provide an overall impression of the student’s academic level.

The portfolio should include:

• One written assignment per semester related to the courses Knowledge of Traditions, Folk Music and Society, and Music Theory (total of 6)
• Individual project assignment

WEIGHTING

The various parts of the assessment will be weighted as follows:

• Written home examination - 2 (5)
• Oral examination/performance - 3
• Portfolio - 5 (where the individual project assignment counts for 1.5)

OBLIGATORY ATTENDANCE/COURSE REQUIREMENTS
In order to be permitted to sit the examination, the student must:

• Participate in mandatory training in dance and ensemble playing
• Attend mandatory guest lectures
• Participate in mandatory group work and presentations
• Attend and participate in intensive teaching periods
• Obtain approval for participation in the organization and implementation of the Winter Folk Competition (kappleik)
• Submit an individual project assignment before the deadline
• Receive a passing mark in music theory and ear training
• Participate in the mandatory study trip

In courses which require compulsory attendance, students must apply to the department to be awarded a diploma if absence in the respective course exceeds 20%. The application will be processed at our discretion.

A single grade will be entered on the diploma; the study programme will be graded A to F, where A is the highest grade, and E the lowest passing grade. Each course unit must receive a passing grade in order for the course to receive a passing grade.

For more information, please refer to Telemark University College examination regulations.

The study plan may be subject to minor adjustments.

Minor adjustments may occur during the academic year, subject to the decision of the Dean