0000000000331743
AUTHOR
Robin Rolfhamre
Informed Play: Approaching a Concept and Biology of Tone Production on Early Modern Lute Instruments
Informed Play presents a conceptual understanding of tone production based on extensive historical research on primary sources, modern literature and handbook reviews, physical and psychological perspectives as well as on technology. As the first volume in English to discuss and contextualise the topic of tone production on Early Modern lute instruments from a broad, interdisciplinary approach, it represents a unique and significant contribution to research on Early Music performance, particularly performance on lute instruments. At a lute-centred level, this book challenges many preconceptions about tone production by addressing the motivations behind certain choices made in and embraced b…
Through the Eyes of an Entangled Teacher: When Classical Musical Instrument Performance Tuition in Higher Education is Subject to Quality Assurance
What happens when a classical music instrument performance course at a Norwegian state university study programme is assessed for quality following a standardized procedure? The article explores frictions and negotiations between managerial quality assurance and classical music performance education in a contextual sense, focusing particularly on the teacher-student relation. I employ my own experience as an instrument performance teacher in a Western Classical Music performance study programme while drawing on state acts, regulations, managerial processes, educational politics, funding, and classical music performance education’s habitus and heritage. I begin by addressing the institution …
French baroque lute music from 1650-1700
Masteroppgave i utøvende musikk- Universitetet i Agder 2010 This master’s thesis aims to shed light on the performance of French baroque lute music from the period 1650 to 1700. Little research has been done in this area within the lute world. As an introduction I start with an overview of the music in general in France, and then I will discuss performance and performance praxis according to historical sources. Finally, a presentation of possible interpretation of selected pieces by the main lutenists and lute composers of the time: Charles Mouton, Jacques Gallot, Ennemond and Denis Gaultier and Phillip Franz LeSage de Richée. All are presented, both in the thesis and on the CD enclosed. Fr…
Rethinking Music Practise-Sessions beyond Poiesis and Praxis - Towards Practising Democracy
How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills “that are needed to keep democracies alive’ (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end — i.e. defined learning outcomes — but to result in the student transcending the professional competence acquisition situation to gai…
Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate
Recent world developments have put a strain on the humanities in general, and higher education music performance study degree-programmes in particular. In an educational system currently promoting consumer-product relationships where the music performance teacher is very much accountable for the students’ development into professional musicians and, recently, also sustainable world citizens, we must give more attention to what, whom and why we educate? This chapter is an armchair analytical philosophical continuation of a paper published elsewhere (Rolfhamre, 2020). Taking the lead from Julia Annas’ (2011) virtue-as-skill, I will, here, elaborate on what implications the Norwegian state hig…