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Surrounded by Sound. Experienced Orchestral Harpists' Professional Surrounded by Sound. Experienced Orchestral Harpists’ Professional Knowledge and Learning Lonnert, Lia 2015 Link to publication Citation for published version (APA): Lonnert, L. (2015). Surrounded by Sound. Experienced Orchestral Harpists’ Professional Knowledge and Learning. Lund University, Faculty of Fine and Performing Arts, Malmö Academy of Music, Department of Research in Music Education. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Surrounded by Sound Experienced Orchestral Harpists’ Professional Knowledge and Learning Lia Lonnert 3 © Lia Lonnert Malmö Faculty of Fine and Performing Arts Malmö Academy of Music ISBN 978-91-982297-1-4 ISSN 1404-6539 Printed in Sweden by Media-Tryck, Lund University Lund 2015 En del av Förpacknings- och Tidningsinsamlingen (FTI) 4 Contents Prelude ................................................................................................................ 1 Chapter 1. Introduction ...................................................................................... 3 1.1 Aim and research questions ......................................................................... 5 1.2 Previous research ........................................................................................ 6 1.2.1 Orchestral practice ............................................................................ 6 1.2.2 Learning orchestral playing ................................................................ 9 1.2.3 Research on practice by musicians and, specifically, harpists ............ 10 1.2.4 Summary ......................................................................................... 12 1.3 Terms and concepts .................................................................................. 12 1.3.1 Occupation – profession – vocation – craft ...................................... 12 1.3.2 Frames as a key to finding musical freedom ..................................... 13 1.3.3 Translations of terms and concepts .................................................. 14 1.3.4 Choices of terms and concepts ......................................................... 15 1.4 The structure of the thesis ........................................................................ 16 Chapter 2. The harp, the part and the orchestra ................................................ 17 2.1 The harp................................................................................................... 17 2.1.1 The pedal system ............................................................................. 18 2.1.2 Other kinds of harps used in orchestras ........................................... 20 2.1.3 Practical instrument-specific problems ............................................. 22 2.2 The orchestral part ................................................................................... 24 2.2.1 The harpist and the composer ......................................................... 24 2.2.2 Treatises on instrumentation ........................................................... 27 2.2.3 Editing harp parts ............................................................................ 31 2.3 The orchestra ............................................................................................ 36 2.3.1 The harpist and the harp ................................................................. 36 2.3.2 The harpist and the conductor ........................................................ 39 2.3.3 Working conditions ........................................................................ 42 2.3.4 Learning to play in an orchestra as a harpist ..................................... 45 2.4 Summary .................................................................................................. 47 5 Chapter 3. On knowledge and learning: a theoretical framework ...................... 49 3.1 On musicians’ knowledge ......................................................................... 50 3.1.1 Disputes about knowledge ............................................................... 50 3.1.2 Body and knowledge ....................................................................... 54 3.1.3 Reflection ........................................................................................ 56 3.1.4 Language and silence ....................................................................... 58 3.1.5 Johannessen’s model ........................................................................ 60 3.1.6 To express a different kind of knowledge ......................................... 62 3.2 On musicians’ learning ............................................................................. 65 3.2.1 Apprenticeship ................................................................................ 65 3.2.2 A model for learning ........................................................................ 67 3.2.3 Rules, practice and examples ............................................................ 70 3.2.4 The typical example and the unique case ......................................... 72 3.2.5 Selection, intuition and imagination ................................................ 73 3.2.6 To learn from and in the context ..................................................... 76 3.3 Individual and collective ........................................................................... 79 3.4 Orchestral musicians’ interpretive space .................................................... 82 3.5 Summary .................................................................................................. 86 Chapter 4. Method ............................................................................................ 87 4.1 Choosing methods .................................................................................... 87 4.2 The interviews .......................................................................................... 92 4.2.1 In Moscow ...................................................................................... 98 4.2.2 In London ....................................................................................... 99 4.2.3 In Paris ............................................................................................ 99 4.3 Analysis and interpretation ..................................................................... 100 4.4 Categorization ........................................................................................ 103 4.5 Presenting the findings in Chapter 5 ....................................................... 105 4.6 Gender issues .......................................................................................... 107 4.7 Ethical considerations ............................................................................. 108 4.8 Quality in a qualitative study .................................................................. 109 4.9 Research context ..................................................................................... 114 4.10 On sources in Chapter 2 and Chapter 3 ............................................... 117 4.11 Transformation: from henid to thesis ................................................... 120 Chapter 5. Findings from four interviews ........................................................ 125 5.1 Being a harpist in an orchestra ................................................................ 125 5.1.1 The orchestral part: preparation and interpretation ........................ 125 5.1.2 Playing in the orchestra ................................................................. 131 5.1.3 Learning as a student ..................................................................... 136 5.2 The space ............................................................................................... 140 5.2.1 Physical space ................................................................................ 140 5.2.2 Musical interpretive space .............................................................. 143 6 5.2.3 Orchestral position and musical interpretive space ......................... 145 5.3 The people in the orchestra..................................................................... 147 5.3.1 The conductor ............................................................................... 148 5.3.2 Sharing knowledge with colleagues ................................................ 151 5.3.3 The colleagues as an audience ........................................................ 154 5.4 Aspects of quality orchestral playing ....................................................... 156
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