FOLK MUSIC AT KMH A 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 torsdag, 2009 november 19 1
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 torsdag, 2009 november 19 2
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 torsdag, 2009 november 19 3
two musical profiles - two professional profiles - unlimited individual profiles - Mozambique - Swedish tradition (60-70%) - Arabic - Chilean/ Bolivian - Norwegian - West Swedish Folk Music from africa: Music other cultures Senegal, - Estonian Gambia - Tango - French - Iraqi - Finnish Kurdish - Congolese - Klezmer - Balkan - Iranian - Brittany Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 4
two musical profiles - two professional profiles - unlimited individual profiles - We accept students with a profile in music from other cultures if we can arrange teaching on the appropriate level - two categories: those who are experienced musicians without formal music education and those who need to develop within their own style Swedish Folk Music from - It’s all right to specialize in your own repertoire and style - but you have to learn how to make music over cultural boundaries Music other cultures - 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! Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 5
two musical profiles - two professional profiles - unlimited individual profiles PERFORMANCE PROFILE - Both categories work after studies usually at least to some degree both pedagogically and artistically - free-lance (few positions as music ped.) Swedish Folk Music from Music other cultures - Very high rate of professional activity after examination (> 80 %) - Some come back for the other profile! PEDAGOGIC AND PERFORMANCE PROFILE Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 6
two musical profiles - two professional profiles - unlimited individual profiles PERFORMANCE PROFILE Individual profile - Students are encouraged to develop their own artistic and Swedish Folk Music from professional profile Music other cultures - Broad or specialized? World/trad- folk/classical- pop or jazz crossover - Many possible extensions and combinations, e.g. archive PEDAGOGIC AND PERFORMANCE work, music production, theatre, story-telling, research, PROFILE dance... Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 7
the aim promote individual musicianship 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 torsdag, 2009 november 19 8
Folk Music department at the Royal College of Music in Stockholm (KMH) LECTURER/ teachers STUDENTS: within the following subjects: 11 fiddle, 1 viola, 2 cello, 10 voice fiddle/viola (4) 5 nyckelharpa voice (2) 3 percussion theory (2) 2 accordion arranging/composition (3) 2 flute, 1 clarinet, 1 sax. 1 guitar, 1 lute, 1 kora, 1 mandolin ensemble (3) 1 quanon piano (1) voice method (1) All regular lecturers fiddle method (2) are performers within folk music all other instrument and have degrees in and subjects higher music education regular visiting teachers Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 9
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 torsdag, 2009 november 19 10
Folk music as the pedagogical foundation FOLK MUSIC EXISTS THERE IS NO AS PERFORMANCE ORIGINAL- ONLY VARIANTS LEARNING BY EAR TRADITION IMPLIES CHANGE AND CONTINUITY Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 11
A conceptual ground FOLK MUSIC EXISTS THERE IS NO AS PERFORMANCE ORIGINAL- ONLY VARIANTS LEARNING BY EAR TRADITION IMPLIES CHANGE AND NO CONTINUITY BOUNDARIES BETWEEN FUNCTION TRADITION REQUIRES AND ART COMPETENCE Sven Ahlbäck/ Folk Music Department/ Royal College of Music /Stockholm/Sweden/ sven.ahlback@kmh.se torsdag, 2009 november 19 12
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 torsdag, 2009 november 19 13
Typical curriculum BA program Main subject courses (67%) Main instrument Ensemble Arranging Concert training/Practice Examination work (incl. Concert and thesis) Supportive courses (20%) Folk music theory Music technology Music in society (musicology) Folk dance / ergonomy Piano Voice/folk singing Eligible courses (12,5% tot. 25% ) torsdag, 2009 november 19 14
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 torsdag, 2009 november 19 15
WHY NOT IN BELGIUM? torsdag, 2009 november 19 16
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