Course Description

Although the theoretical introduction to Norwegian folk music comprises the largest part of the foundation course, we have tried to present the course as a living heritage by using practising tradition-bearers as teachers. 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 – TRADITIONAL KNOWLEDGE

Aims

Traditional knowledge is the largest topic in the course curriculum. It will provide students with an overview of Norwegian folk music traditions, both with regard to the scope of the living tradition and with regard to understanding the historical conditions that have created it. Understanding how traditional music is created in the intersection between impulse and tradition and between new and old will be emphasised.

Content

Traditional knowledge is conveyed 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. The course will provide an introduction to practical skills such as traditional vocal music and traditional dance, which will provide a common foundation for the development of the student’s knowledge and skills in the subject.

Course units

• Clarification of concepts and the delineation of the field

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

Traditional concepts

• 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

• 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.

• 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. In the major course unit, Traditional Knowledge, it is important that the material is presented by skilled performers; if a teacher is unable cover the area, then a guest teacher should be used.

Major course unit 2 – FOLK MUSIC AND SOCIETY

Aims

The aim is to provide students with skills in planning, justifying and assessing the consequences of the dissemination of traditional music in various contexts.

To achieve this goal the following will be discussed:

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

Content

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

• 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

Aims

The study programme will provide the theoretical basis for discussion and analysis of folk music forms.

Content

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 - AURAL TRAINING

Aims

Students will develop musical awareness and an understanding of musical relationships. The course will build a bridge between theoretical concepts and practical performance activities. They will develop the ability to actively listen to music, to understand and replicate musical elements, and to interpret notation.

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. Students will be able to read and analyse a score and notate music.

Content

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

Aims

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. The student will build and develop a repertoire of traditional songs under the supervision of the subject teacher. 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.

It is intended that students will develop an understanding of what is the core in the transference process of folk music in a learning situation, “learning by imitation” or “see-hear-replicate method”.

Content

Students will receive practical instruction and guidance in song and the various instruments which form the basis of the Norwegian folk music traditions; which instruments are available will depend to some extent on what teachers are available.

Course units

• Main instrument

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.

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.

Assessment Methods

EXAMINATION

Assessment includes written and an oral examinations, as well as a student portfolio.

6-hour written examination on subject theory

• Traditional knowledge
• 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.

Portfolio assessment:
Each student has a portfolio in which work, tests, assignments, the subject teacher’s evaluations etc. 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 Traditional Knowledge, 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 examination 3
• Oral examination 2
• 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
• Obtain approval for participation in the organization and implementation of the Winter Folk Competition (kappleik)/ festival
• 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.

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