Artist Initiative

1) I researched traditional Norwegian folk music through recordings and the existing body of documentation, and consulted with ethnomusicologists and performers throughout Minnesota who studied folk music in Norway. I took lessons on the Hardanger fiddle, seljefloyte (willow flute), and studied the Kvedar style of singing and attained a basic knowledge and performance skill level. I composed chamber pieces (15.45 min.) incorporating these folk instruments and techniques into my music. 2) I greatly increased my understanding of Norwegian folk music from months of research and lessons; I became reasonably proficient in playing the fiddle and seljefloyte (enough to perform at the Workshop/Performance), and developed a basic comprehension of the intricate ornamentation style of Kvedar singing. My chamber music compositions using the Hardanger fiddle and seljefloyte were performed at the Workshop/Performance in addition to a teaching/educational summary of my activities and what I learned. 2: 1. I studied and learned from Minnesota teachers/experts in Hardanger fiddle, seljefloyte, and Kvedar singing. They were very supportive of my project, and helpful with research resources, books and recordings. They watched and participated in the process as did the additional performing artists. The Workshop/Performance allowed the audience to hear both traditional folk music, and the chamber works I composed using Norwegian tunes and instruments, along with a description of my process. 2. The audience was extremely enthusiastic with the introduction of Norwegian folk instruments, the description of my compositional process, and the newly composed works. Most of the audience was either classically trained or purely folk musicians. Each had been introduced to the genre of the other. I heard many positive comments following the Workshop/Performance about how much individuals had learned, and how beautiful, unusual, and accessible the music was. I had provided a bridge between the two traditions!