Der æ so vent å vestoheio – Intonasjon i et gammelstev fra Setesdal

The intonation patterns in traditional Norwegian folk songs have been de-scribed and measured in various ways for more than a hundred years. This article provides a historical summary of research in this area and introduces a new software for measuring tone heights. This is exemplified through our analysis of an unaccompanied folk song, «Der æ so vent å vestoheio», recorded by the Norwegian Broadcasting Corporation (NRK) in 1951, performed by Gro Heddi Brokke (1910–1997) from the valley of Setesdal. The 5th and octave scale degrees stand out as the most stable throughout the tune, with a lot of variation in the thirds, sixths, and even the tonic. In spite of this vari-ation, the performance comes forward as both confident and stable; the vary-ing intonations appear controlled – they are not performer mistakes. Still, our findings suggest that tones of longer duration seem to vary less in into-nation than shorter notes. We show how our software can be used in combi-nation with manual analysis, and argue that automated pitch analysis may be useful also in the analysis of larger collections of Norwegian folk music

Der æ so vent å vestoheio. Intonasjon i et gammelstev fra Setesdal.

Der æ so vent å vestoheio. Intonation in a "gammelstev" from Setesdal

Entreprenørskap i høyere norsk musikkutdanning

Entrepreneurship in Higher Music Education in Norway. Recently, in Norway, entrepreneurship in higher education has received increased attention. Research projects in Norwegian universities and university colleges initiated by Norwegian authorities have mapped out the status of education in entrepreneurship. Higher music education has also been researched, but only under the umbrella of “humanities and aesthetics”. Thus, previous research has not shed light on whether music education institutions prioritize entrepreneurship. This article presents a small, focused survey on entrepreneurship in higher music education in Norway. 23 leaders of Norwegian institutions for higher music education were invited to respond to a questionnaire, 15 of whom accepted the invitation. The survey suggests that entrepreneurship is a higher priority in music education than what surveys from the Nordic Institute for Studies in Innovation, Research and Education (NIFU) seem to indicate for aesthetic disciplines. Close to all of the institutions answer that more than one of their employees have the required competence to teach entrepreneurship. Still, a plurality of the participants admit that there is a potential for strengthening entrepreneurship teaching at their institution. One reason given is the challenge of balancing entrepreneurship on one hand and “pure” music subjects on the other. One possible way forward could be to increase knowledge and awareness of entrepreneurship among teachers, and incorporate entrepreneurial thinking across a broader range of music subjects, rather than teaching music entrepreneurship as an isolated subject. Keywords: entrepreneurship, music education, socio-cultural learning Tilgjengeliggjort med tillatelse fra Norges musikkhøgskole. Årboken er tilgjengelig fra denne adressen: http://hdl.handle.net/11250/248454