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Bevegelse I Det Tradisjonelle G Innholdsfortegnelse Innholdsfortegnelse .......................................................................................................................................... 2 Bakgrunn og innledning. ................................................................................................................................ 5 Sangstemmen ...................................................................................................................................................... 7 Primallyder. ................................................................................................................................................ 7 Sangerens instrument. ........................................................................................................................................ 8 Sangfunksjonens tre hoveddeler. ...................................................................................................... 8 Strupehodet. ............................................................................................................................................... 9 Stemmens registre. ............................................................................................................................... 10 Resonansrommene ............................................................................................................................... 13 Formanter ................................................................................................................................................ 14 Talenær sang. .......................................................................................................................................... 15 Klassisk sangtradisjon ...................................................................................................................................... 15 Folkemusikalsk sangtradisjon. ..................................................................................................................... 19 Talenærhet og tekstnærhet. ............................................................................................................. 21 Ornamentering og melismatisk sang ............................................................................................ 22 Rytmiske elementer. ............................................................................................................................ 22 Tonalitet. ................................................................................................................................................... 23 Variasjon og geografiske trekk ........................................................................................................ 24 ”Stemmeklang og tungeform”. ..................................................................................................................... 25 En auditiv sammenligning av ”Eg aktar inkje”. ................................................................................... 28 Tiriltungas versjon: .............................................................................................................................. 29 Trio Mediævals versjon: ..................................................................................................................... 29 Kort oppsummering: ........................................................................................................................... 30 Tradisjon, autentisitet og stilfølelse i den vokale folkemusikken. ............................................. 31 2 Stilfølelelse. ............................................................................................................................................................ 33 Tradisjon og autentisitet i folkemusikken. .............................................................................................. 34 Individualitet ......................................................................................................................................................... 36 Å lære seg den folkemusikalske tradisjonen....................................................................................... 37 Min egen tilnærmelsesprosess. ...................................................................................................................... 39 Jeg har følgende notert ned et kortfattet sammendrag av erfaringer fra undervisningstimer med Berit Opheim Versto, høsten 2009 og vinteren 2010. ....... 41 Hva forteller notene? .................................................................................................................................... 42 Sammenhengende og skrittvise variabler. ................................................................................. 44 Når lyd blir til noter ............................................................................................................................. 45 Når noter blir til lyd ............................................................................................................................. 45 Å være en fortolker. ............................................................................................................................................ 46 Utøvende del..................................................................................................................................................... 48 Hvorfor regi? ........................................................................................................................................... 49 Hvorfor monolog? ................................................................................................................................. 50 Hvorfor innslag av folkesang? ......................................................................................................... 50 Haugtussa ............................................................................................................................................................... 51 Utvelgelsen. ............................................................................................................................................. 51 Et lite dykk ned i diktsamlinga ”Haugtussa” av Arne Garborg. .......................................... 53 Folkediktningen og Garborg. ........................................................................................................... 54 ”Haugtussa” av Edvard Grieg. ....................................................................................................................... 55 Hvordan finner jeg inspirasjon til folkemusikalsk klangbehandling i opus 67, ”Haugtussa”? ......................................................................................................................................................... 56 Utgivelser av Edvard Griegs opus 67: ”Haugtussa”. ............................................................... 57 Tekst og musikk som utgjør opus 67: ”Haugtussa”. ............................................................................ 57 1. ”Det syng”. ........................................................................................................................................... 57 2. ”Veslemøy”. ......................................................................................................................................... 59 3. ”Blåbær-Li”. ........................................................................................................................................ 61 4. ”Møte”. .................................................................................................................................................. 62 6. ”Killingdans”. ...................................................................................................................................... 64 5. ”Elsk” ..................................................................................................................................................... 66 ”Ku-Lok” ................................................................................................................................................... 69 7. ”Vond dag”. ......................................................................................................................................... 70 3 8. ”Ved Gjætle-bekken” ....................................................................................................................... 71 Historiens fortsettelse......................................................................................................................... 72 Avsluttende kommentar. ............................................................................................................................. 73 Referanser. ........................................................................................................................................................ 74 4 Bakgrunn og innledning. ”..nei..det handler mye om klang, da..”, svarte min sangkollega. Petter Nome hadde akkurat stilt et spørsmål på direktesendt Frokost-TV på NRK, og svaret min kollega ga, var på ingen måte et svar på hva Petter Nome spurte om. ”Men det var ikke det jeg spurte om!”, repliserte han. Vi andre sangerne fniste i bakgrunnen. Og min sangkollega rodde seg fint i havn. Klang, ja. God klang, mørk klang, pressa klang, rund klang, naturlig klang, klangbunn, klangfarge, sprikende klang, felles klang, vakker klang, ingen klang, uferdig klang, lys klang, mørk klang, tett klang, fast klang,
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