Masterarbeit / Master's Thesis

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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Oralität bei der Vermittlung von instrumentaler Volksmusik in Norwegen“ verfasst von / submitted by Anna Lakowitsch, BA BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / A 066 836 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Musikwissenschaft degree programme as it appears on the student record sheet: Betreut von / Supervisor: Ass. -Prof. Dr. Michael Weber 1 Danksagung Ich möchte mich von Herzen bei meiner Familie bedanken, ohne die meine Studienzeit in Wien nicht möglich gewesen wäre. Ebenso wichtig waren in dieser Zeit alle meine lieben Freundinnen, Freunde, Studienkolle- ginnen und Studienkollegen, die mir mit Rat und Tat zur Seite gestanden sind, viele wert- volle Denkanstöße geliefert, aber auch vergnügliche Stunden bereitet haben. Ganz besonders möchte ich mich bei all den lieben Menschen bedanken, die sich die Mühe gemacht haben, diese Arbeit auf ihre inhaltliche wie formale Richtigkeit zu überprüfen, als ich die Arbeit schon nicht mehr sehen konnte. Ein herzliches Dankeschön geht auch an Herrn Ass.-Prof. Dr. Michael Weber, der sich be- reiterklärt hat, mir bei diesem Projekt fachlich zur Seite zu stehen und mir dabei immer wieder wichtige Inputs gegeben und Verbesserungsvorschläge gemacht hat. Ein ganz besonderer Dank geht auch an alle Studierenden, Lehrenden und anderen lieben Menschen, denen ich während meinem Auslandssemester in Norwegen begegnet bin und die mich durch ihre beeindruckende Musikkultur überhaupt zu diesem Thema inspiriert ha- ben. Viele haben durch ihre bereitwilligen Auskünfte in persönlichen Gesprächen, E-Mails und Chats über den gesamten Verlauf des Arbeitsprozesses hinweg einen entscheidenden Anteil an den vorliegenden Ergebnissen. Die Zeit in Rauland hat mich sehr geprägt und dafür bin ich zutiefst dankbar. 2 3 Vorwort Als eine aus Vorarlberg stammende, in Wien Musikwissenschaft studierende Bratschistin über die Besonderheiten der oralen Musikvermittlung in der norwegischen Volksmusiktra- dition zu schreiben, erscheint auf den ersten Blick vielleicht nicht ganz so naheliegend, wes- halb ich die Motivation für diese Themenwahl in einigen Worten kurz erklären möchte. Von der Blockflöte kam ich in meiner Jugend zur Bratsche, mit ihr ins klassische Sympho- nieorchester und schließlich zum Studium der Musikwissenschaft nach Wien. Fast gleich- zeitig keimte auch ein gesteigertes Interesse für Norwegen und im Besonderen eine Faszi- nation für das dortige Nationalinstrument, die Hardangerfiedel, auf. So begann ich parallel zur Musikwissenschaft Skandinavistik zu studieren und mich schwerpunktmäßig mit der norwegischen Sprache und Kultur auseinanderzusetzen; bereits zu diesem Zeitpunkt mit dem Hintergedanken, einmal ein Auslandssemester im Land der Fjorde und Wikinger absol- vieren zu können. Durch einen glücklichen Zufall wurde ich auf die Universitetet i Sørøst-Norge und deren Campus Rauland mit dem Schwerpunkt auf Volkskunst und -musik aufmerksam. Zwischen Januar und August 2018 konnte ich dann im tiefsten Telemark, einer der nach wie vor tradi- tionsreichsten Regionen Norwegens, in eine ganz eigene, für mich bis dahin fast völlig un- bekannte Volksmusikpraxis eintauchen und diese selbst praktisch in ihren Grundzügen er- lernen. Aus diesen Erfahrungen entwickelten sich unterschiedliche Fragestellungen, aus der sich schlussendlich die vorliegende am fruchtbarsten und nicht zuletzt für mich persönlich am interessantesten herauskristallisierte. So konnte ich noch während meinem regulären Auf- enthalt in Rauland zahlreiche Interviews mit Lehrenden sowie Studienkolleginnen und Stu- dienkollegen führen, Literatur sammeln und erste Interviews durchführen. Im Februar 2019 verbrachte ich noch einmal einige Wochen an diesem inspirierenden Ort, bevor ich mich dann in den folgenden Monaten voll und ganz an die Arbeit machen konnte. 1 „Når utgangspunktet er galest, blir resultatet originalest!“ 1 Peer Findeisen, Instrumentale Folklorestilisierung bei Edvard Grieg und Béla Bartók. Vergleichende Studie zur Typik der Volksmusikbearbeitung im 19. Versus 20. Jahrhundert, Frankfurt am Main: Peter Lang 1998 (Beiträge zur europäischen Musikgeschichte, Band 2), S. 260. ÜdV: „Umso verrückter der Ausgangspunkt ist, desto origineller wird das Endergebnis.“. 4 5 Inhaltsverzeichnis 1. Einleitung ....................................................................................................................... 12 1.1. Nationalromantik – Renaissance der Volksmusik in Norwegen .............................. 15 1.1.1. Träger der Volksmusiktradition: spelemannen ................................................. 21 1.1.2. Zentrum der Aktivität und Qualitätssicherung: kappleiken und spelemannslaga . 24 1.2. Tradition der Oralität in der norwegischen Volksmusikvermittlung ....................... 28 1.2.1. Verständnis der Akteure heute .......................................................................... 31 2. Konzepte des Instrumentalunterrichts ........................................................................ 33 2.1. Die Lehre bei einem Meister .................................................................................... 37 2.2. Das spelemannslag ................................................................................................... 42 2.3. Musikschule & Universität ....................................................................................... 47 2.4. Das Lernen im Selbststudium nach Noten, Ton- und Videoaufnahmen .................. 51 3. Ursachen für die Präferenz der Oralität als primäre Lehr- und Lernmethode ...... 55 3.1. Der persönliche Kontakt zu einer lebenden Quelle .................................................. 57 3.2. Das lokale Traditionsbewusstsein und dessen Bewahrung ...................................... 60 3.3. Das Ideal der Variation und das Streben nach einem persönlichen Stil ................... 66 3.4. Weitere Argumente für die Präferenz einer oralen Musikvermittlung .................... 75 3.4.1. Festigung der Musik im Gedächtnis .................................................................. 75 3.4.2. dansespelet - das Spielen zum Tanz .................................................................. 76 3.4.3. Schlechte bis keine Erfahrungen mit Noten ...................................................... 78 3.4.4. Flexibilität in Bezug auf andere Genres und Traditionen ................................. 80 4. Aktuelle Entwicklungen und Medialisierung ............................................................. 82 4.1. Stellenwert und Nutze von Ton- und Videoaufnahmen ........................................... 86 4.2. Der Gebrauch von Noten in der norwegischen Volksmusik .................................... 91 4.2.1. Vorbehalte gegenüber dem Gebrauch von Noten und ihre Gründe .................. 96 4.2.2. Noten als Erinnerungsstütze ............................................................................ 100 6 4.2.3. Verschriftlichung und Stellenwert der Volksmusiksammlungen .................... 102 5. Resümee ........................................................................................................................ 108 6. Anhang .......................................................................................................................... 116 6.1. Eigene Erfahrungen ................................................................................................ 116 6.1.1. Aktive Teilnahme ............................................................................................ 116 6.1.2. Teilnehmende Beobachtungen ........................................................................ 123 6.2. Transkriptionen der Interviews .............................................................................. 125 6.2.1. Interviews mit norwegischen Studierenden, die Hardangerfiedel oder Violine als ihre Hauptinstrumente angeben ................................................................................. 126 6.2.2. Interviews mit norwegischen Studierenden, die andere Volksmusikinstrumente als Hardangerfiedel oder Violine als ihr Hauptinstrumente angeben ........................ 143 6.2.3. Interviews mit Lehrenden an der Universität in Rauland ................................ 152 6.2.4. Interviews mit internationalen Studierenden, die in Rauland Volksmusik studieren .................................................................................................................... 164 6.3. Abstract ................................................................................................................... 170 7. Quellenverzeichnis ....................................................................................................... 172 7.1. Selbstständige Schriften ......................................................................................... 172 7.2. Artikel in wissenschaftlichen Zeitschriften und Sammelbänden ........................... 174 7.3. Online Ressourcen .................................................................................................. 175 7.4. Interviews ............................................................................................................... 176 7 Abbildungsverzeichnis Abb. 1: Die acht Campusse der Universitetet i Sørøst-Norge, Stand Juli 2019 (aus: Offizielle Homepage der USN: <https://www.usn.no/>,
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