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A New Destiny for Folk Music?: Icelandic Composer Leads Nordic Network for Ethnomusicology

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A New Destiny for Folk Music?: Icelandic Composer Leads Nordic Network for Ethnomusicology núm. 003 Revista de pensament musical any2009 A New Destiny for Folk Music?: Icelandic Composer Leads Nordic Network for Ethnomusicology > JANET STURMAN , UNIVERSITY OF ARIZON A Guðrún Ingimundardóttir (Rúna) Four years ago Icelandic-born composer Guðrún Ingimundardóttir (Rúna) did not picture herself directing a consortium linking JOURNEY HOME .M P 3 nine nations in the North Sea region. Today, Runa works as project director of the North Folk Database Project, to advance BY GU ÐRÚN IN G IM U ND A RDÓTTIR the research, preservation and dissemination of folk music and It is programmatic and this section describes dance on the northern margins of Europe. This effort at regional the sun coming up over the ocean - the rays integration is more than a practical response to modern ways of of the sun dance across the water, rush over the land, desolve a fog in the distance and life and the demands of a global economy. It also promotes an reveal a magestic mountain range, and ends ideology linking musical resources to the work of sustaining the with a song praising the warmth and light of environment and local culture and offers models for initiating the sun. projects towards this end. Furthermore, this composer-led project reminds us of the influence composers can exert on society and academia. Finally, it underscores the value of integrating ethnographic music study into the training of composers and performing musicians. PROFILE OF AN ICELANDIC COM P O S ER www.webdemusica.org 1 núm. Sonograma 003 Revista de pensament musical any2009 As a classically-trained composer and a student of ethnomusicology Runa displays a sophisticated sensitivity in her encounters with contrasting landscapes and worlds of music. Born in the small fishing village of Húsavík in 1963 she earned her bachelor of music in composition from the Reykjavik College of Music (Tónlistarskólinn í Reykjavík) in her icy and starkly beautiful home country. Afterwards she moved to the sunny desert southwest of the United States where she completed a masters degree and then earned a doctorate in composition and a minor in ethnomusicology at the University of Arizona. When asked which composers, apart from her teachers, have influenced her music, Runa replies that Shostakovitch has always inspired her and in recent years so also has the music of Morton Feldman and the ideas of R. Murray Schafer. During the author’s interview with Runa in November of 2008 (Ingimundardóttir 2008b), we listened to sections of her symphonic composition Heimferdin - The Journey Home and indeed a debt to Shostakovitch can be clearly heard within Runa’s strong, individual voice. Runa describes her compositions as “atmospheric…and rooted in an appreciation of the sound as it is.” She explains: “I love the idea of focusing on the moment.” She notes that moment, time and silence fascinate her and that environment also makes a difference: “I believe that my sense of timing is influenced by my sense of moment and place. If you come from a place where everything is slow, basically silent and quiet, then you need very little to make the listener exclaim ‘ah hah’ “ (Ingimundardóttir 2008b). A connection between Runa’s sophisticated musical compositions and folk music may seem somewhat remote, but Runa sees it differently. “There is definitely a relationship between my composition and Icelandic tradition,” Runa observes. “In the United States listeners typically describe my music as dark… [Her mentor, composer] Dan Asia used to say, ‘whenever I listen to your music, it begins to rain’…I began to ask myself what I was doing to have that effect on people.” These experiences helped her to recognize distinctive differences between her own musical sensibilities and those of her American colleagues. Runa describes her melodic conception as rooted in her solid acquaintance with Icelandic folksong, which her American colleagues often describe as gloomy. She hears those dark tunes as “just normal melodies.” Runa explained that recognizing such contrasting perspectives helped her to realize that “we cannot lose what we are doing in Iceland” (Ingimundardóttir 2008b). When asked what Icelandic music had the most impact on her, Runa replies: 2 www.webdemusica.org núm. Sonograma 003 Revista de pensament musical any2009 “Chanting and folksongs.” When I was growing up there was no Icelandic national instrument, so for me it was the songs. I learned them from my grandparents. It was the way of taking care of a child; I would sit on my grandfather’s knee and he would rock me and chant or recite, so would my grandmother. I learned folksongs from all around me. My parents sant to me too and we sang in school during class periods just called “song.” Later, I would sing all the time for my sons. They had their favorite songs that they would ask me to sing. So, for me, music is vocal, melody is central. With that background I picked up on pitch class construction “like that” [she clicks her fingers]. Usually Icelandic melodies are a mixture of Phrygian and Lydian scales. I loved having a small area that I could then play with; set construction comes naturally to me; you have a small collection and then you fiddle around with it (Ingimundardóttir 2008b). During her graduate study in the United States, Runa took courses in ethnomusicology (her teachers included the author) and acquired new interests in musical traditions from around the globe. In the summer of 2007 she traveled to Ghana where she studied African drumming and dance. “It was fascinating to see a way of approaching music totally different from the way I do,” Runa recalled: “I thought, I would like to bring this music to Iceland [and teach it there], but I realized that I could not do that without [there being] a strong tradition of Icelandic music… But there is nothing being done in Iceland, from the top down, to promote the study of Icelandic traditional music, despite the efforts of performing musicians outside the academy who have in the last couple of years been working to generate new interest in folk and traditional music” (Ingimundardóttir 2008b). LEGACIE S OF COM P O S ER LEADER sh I P It is easy to think of the Hungarian composer Béla Bartók (1881-1945) as the exemplar of the composer-as-ethnomusicologist. Along with his countryman, friend and fellow composer Zoltán Kodály (1882-1967), Bartók traveled around the Hungarian countryside recording peasant folk songs. In addition, and in contrast to Kodaly, Bartók also traveled to other countries seeking roots of Hungarian practices and looking to compare folk traditions. He collected and studied folk music from Romanians, Slovakians, Serbs, 3 www.webdemusica.org núm. Sonograma 003 Revista de pensament musical any2009 Croatians, Bulgarians, Turks, and North Africans, including Algerians. Many musicians may not realize that Bartók also loved nature. This passion is linked to his search for those basic forces that should govern composition. In his essays Bartók compared folk music to natural phenomena (Bartók 1976: 321). He believed that the compositional principles of folk music derived from nature and therefore merited scientific study to understand the complex and subtle modes of its expression. In her discussion of Bartók’s organicist philosophy of composition, Judit Friyesi concludes that Bartók conceived the study of folk music “as part of a continuous preoccupation with reality. Such preoccupation was not part of artistic creation per se… rather it was similar to the study of a language in which an author plans to write poems” (Frigyesi 1998: 104). Bartók’s attitudes towards folk music as tied to place and fundamentally natural continues to exert profound influence in ethnomusicology, folklore and composition, even as composers and scholars subject such conceptions to renewed evaluation. Ethnomusicological research has, for example, disproved Bartók’s view that folkmusic derives only from spontaneous and communal creation. When Runa was asked if Bartók ‘s work inspired her, it is his compositions that first came to her mind: “Yes, we studied Bartók in music conservatory, particularly his string quartets, but his work as an ethnomusicologist did not come to our mind. [For the study of Icelandic folk music] we have the example of Jón Leifs (1899-1968), an Icelandic composer who studied in Germany and later traveled around the country [from 1925-28] making recordings” (Ingimundardóttir 2008b). Leifs is best known for his efforts to integrate Icelandic folk musical forms with European concert music. His 1922 Four Pieces for Piano, op. 2, represent early work in this vein and feature the parallel fifths of the Icelandic tvísöngur and the metric shifts of rímur (a monophonic genre of secular vocal music). Leifs was also inspired by a deep bond with the natural landscape of his native country, including geysers (Geysir, op. 51), volcanoes (Hekla, op. 52), waterfalls (Dettifoss, op. 57), and icebergs (Hetfís, op. 63). Leifs’s nationalistic perspective, received little encouragement from his countrymen during his lifetime (Ingólfsson 1999) however, his commitment to national and ecological resources is attracting renewed attention today. Composers of new music working in Iceland today cultivate an international performance network. Among them is Snorri Sigfus Birgisson who, in addition to his composition for instrumental ensembles and electronica, has set Iceland folksongs and songs from Old Icelandic manuscripts for voice and chorus (notendur.centrum.is). He performs 4 www.webdemusica.org núm. Sonograma 003 Revista de pensament musical any2009 as pianist with the celebrated CAPUT ensemble, an Icelandic chamber group known since 1987 for its exciting premieres of Nordic and contemporary music from around the world. Activities such as those nurtured by CAPUT and other promoters of new music in Iceland offer a solid model for exchange that could serve the projects envisioned by the North Folk Database project for addressing folkloric practices and traditional music.
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