The Academisation of a Musical Tradition

Swedish folk music – the
Academization of a
tradition
From kitchen to curriculum –
acceptance and resistance
> 1500 – pre-history, early forms
History
1600-> 1800 – ”Golden age”
1900-1968 – preservation,
conservatism, nationalism
1968-1980 – Youth Folk wave, left
wing switch, ”back to the
roots”/experimentation
1980-> Professionalisation,
academisation,
”world music”
Sample – Hoven droven, ”Turbo”
Academisation &
Professionalisation of Folk Music
in Sweden
Original setting – learning mainly by ear,
informal learning environment, masterapprentice, very few professional fulltime folk
musicians.
Today – learning often in a more formal
context (Music schools, courses, camps, high
schools, Academies), many (semi-)professional
musicians and pedagogues
Adaption of Folk music to formal education –
adaption of formal education to folk music?
Almost all Swedish municipalities has a music/culture
school.
1976 – first academical education of folk violinists to
become music teachers in Sthlm.
1990-s: First ”real” program for Swedish folk music in
Sthlm, 1993 Folk music teacher program in Malmö
Now in 4 of 6 academies, 3 musician programs, 4
teacher programs. In Sthlm Swedish/other separate, in
Malmö/Gbg together.
Quite widely available in music schools nationwide, more
or less. Several educations available at ”intermediate”
level.
Still a lot to wish for concerning the teaching about folk
music in the public schools.
What can a traditional, non-formal
education gain by getting access
to the formal educational
structures?
- wider reach outside the ”initiated” circle
- resources
- acceptance within cultural bureaucracy
- access to jobs and funding only available to ”educated”
musicians
What risks are there with the
academisation of traditional music?
Does the differences in learning environment affect vital
parameters in the music?
Do academically trained musicians want to bring in
influences in the music that destroy it’s original
character and intrinsic values? (the ”mandola carpet”
effect)
How does the growth of a professional corps of
traditional musicians affect the amateur music
environment?
Are there some things about traditional music that you
cannot learn in a formal educational environment?
Sweden today
A high level of formal education within traditional music.
Despite this a quite vital amateur environment as well,
many young amateurs. But often in ”semi-formal”
manner, through courses, camps etc. ”Oral family
tradition” is a very weak source of traditional
preservation today.
”Kitchen jamming”, informal social playing is quite
limited.
Still great connection between amateurs and pros, but
slightly dwindling – pros want to play with pros.
What’s the situation in your
country?
What could you learn and adapt from Sweden?
What could Sweden learn and adapt from you?