Kristin Kjølberg

Adresse: Slemdalsveien 11, P.b. 5190 Majorstua, 0302 OSLO

Besøksadresse: Dælenenggt. 26, 0567 OSLO

Rom:

Treffetid:

Telefon: +47 23 36 72 77

Fax:

E-post: kristin.kjolberg@nmh.no

Bakgrunn/utdanning

Tidligere verv/arbeid

Undervisnings- og veiledningsområder

Doktorgradsprosjekt

“PERFORMANCE COMMUNICATION SKILLS FOR CLASSICAL SINGERS

 Hvilke formidlingsmuligheter kan en sanger ta i bruk i fremføring av romanser generelt og i repertoar fra 1890-1940 spesielt? Vil en større bevissthet om formidlingmuligheter av romanser kunne vitalisere romansekonserten?

Jeg syns at det over tid har vært en utvikling i retning av færre romansekonserter og en mindre publikumsinteresse for denne konsertsjangeren. Mulighetene for å være aktiv som romansesanger er i dag liten, de økonomiske støtteordningene er dårlige, og de ulike konsertarenaene er få. Kan det hende at sangeres arbeid med å bevisstgjøre seg sine formidlingsmuligheter har vært for tilfeldig og lite systematisk? Kan en tydeligere bevissthet om repertoarvalg, ulike formidlingsalternativer og om egen rolle som sanger kan føre til endringer i sangeres formidling?

Prosjektet består av to konsertprosjekter med en undersøkelse i midten av disse. Jeg vil bruke aksjonsforskning som metode og vil ta retorikkens begreper i bruk i studiet av og for bedre å forstå de ulike musikkformidlingsmulighetene.

“PERFORMANCE COMMUNICATION SKILLS FOR CLASSICAL SINGERS

Recitals with classical songs, hence called Lieder, seem to be rare occasions nowadays. There might be different reasons for this and many of them are beyond the singers´ control and can therefore not be solved by singers alone. What they can do is to make sure that the concept of the recital is intentional and interesting prepared and performed. My claim is that singers today need to develop their performance and communication skills further to be able to maintain interest in Lieder.

In my PhD research, I study classical singers’ performance communication skills. Performance communication skills can be understood as the different choices to be made in the preparation to- and in performing a concert. It includes creativity concerning repertoire, interpretation possibilities, verbal and non-verbal communication and contextual choices like where to perform or the use of other artistic expressions during a concert.

I hope my research will contribute to give singers a further understanding of the importance of experiencing with both creativity and their communication ability. I am aiming to how a deeper awareness of the different skills can make the singer, to some extend, control what otherwise might be looked upon as natural talent or charisma.

The approach to my research is rooted in the hermeneutic paradigm, and rhetoric and communication theory forms the framework of my theories. Knowledge about performance and interpretation among singers are to a large extent tacit and un-systemized. It is important for me to try to get a clearer understanding of these issues. This is why I have chosen my data collection to be based on a multi stage “focus group” consisting of five professional singers. The focus group has had five sessions last year and has studied different aspects of performance. The singers have all shown a high level of reflection and the results from these sessions I now use for a better understanding of different concepts of classical singer’s performances and communication.

In my own concert activity, I continually develop and experiment with different skills experienced from both theories and the focus group. I want to present some of these approaches in my lecture-recital. Performance communication awareness and skills will be discussed theoretically through ideas from Edward T. Cone, Hans George Gadamer, Dag Solhjell and rhetoric. Based on ideas from communication theory listed under, I will demonstrate different concepts by performing Lieder by Alma Mahler and Alban Berg.
Verbal communication, which here means my primary expression, the song
Intonation, understood as interpretation, such as tempo, dynamics, pitch, line, diction, tone colour, emotion and meanings
Nonverbal communications, such as kinesics (posture, facial motion, gestures) and occulesics (eyes and eyebrows)

This presentation aims to demonstrate different angles to presenting a song and how the performers change in awareness can alter a presentation and lead to different perceptions for the listener.

Ref:
Cone, Edvard T. (1974): The Composer’s Voice. University California Press, Berkeley, Los Angeles, London
Barthes, Roland (1977)) Image, Music-Text. Hill and Wang, New York
Gadamer, Hans-Georg (1960/1977) Sanning och meotd I utval. Daidalos, Göteborg

Utvalgte publikasjoner

• Publikasjon 1
• Publikasjon 2

Utøvende virksomhet

• Gruppe 1
• Gruppe 2