http://hdl.handle.net/1956/876 Search the Channel search http://bora.uib.no/simple-search http://hdl.handle.net/1956/2374 Title: Equilibrium: koret som sosialt felt <br/> <br/>Authors: Myrmel, Kristin <br/> <br/>Abstract: There are a number of different relations between the members in a choir, and between the members and their conductor. Each member has their own reason (or reasons) for being in the choir, and these reasons influence their choises and their attitudes. This paritcular choir is a chamber choir affiliated with a church in Norway. The church provides a rehersal room, and in return expects the choir to support the singing at Sunday services, and to give concerts. The choir also receives some financial support from the local church. For some members, the affialiation with the church is very important. It is part of their religious service. For others, the consequences of being connected with a church are not desirable, but accepted because they appreciate the conductor, the repertoire and the singing itself. Some members read music, others do not. Some members seem to be more valuable then others, as a result of gender and other values that are formed in the social field that this choir represents. The average age of both the women and the men in this chior is 55,16 years. This is representative of their homogeny, with regards to both age and in fact social class. In this Thesis, i study the different practises in the choir, and discuss how these practises are influenced both by the church-affiliation, the homogeny of the members, and the role of the conductor. I analyse the different findings with main focus on the theories provided by Pierre Bordieu regarding social fields, different forms of capital, and the concept of habitus as form of social upbringing, thus shaping individual cognitive patterns of thought. I also use Michel Foucault´s theories on discourse and power to look at the values int the choir, and how hidden power shapes behaviour. Occasionally, i also refer to Michael Polany´s thoughts on tacit knowledge to point out how the choir and/or conductor incorporates knowledge. http://hdl.handle.net/1956/1564 Title: Signifyin' Vigdal : aspects of the Ragnar Vigdal tradition and the revival of Norwegian vocal <br/> <br/>Authors: Wickström, David-Emil http://hdl.handle.net/1956/656 Title: Kyrkjemusikkdiskursen: Musikklivet i Den norske kyrkja som diskursiv praksis <br/> <br/>Authors: Apeland, Sigbjørn <br/> <br/>Abstract: Summary of Sigbjørn Apeland´s dissertation for the dr.art.-degree: The Church Music Discourse. Musical Life in the Church of Norway as Cultural Practice. Church music as contemporary culture Debates about contemporary musical life in the Church of Norway are characterized by tensions between ”tradition” and ”renewal”, ”entertainment” and ”contemplation” and between ”the popular” and ”the elite”. There is common agreement that music is valuable and necessary in the church, but at the same time, there are contradictory and competing notions about what kind of music (and liturgy) is appropriate, and various actors (individuals, groups and institutions) are struggling over the premises for discussion. ”Diversity” has become a highly valued concept both within the church and within the cultural bureaucracy. This implies that traditional musical and liturgical forms have lost their former privileged position and now must compete for attention at the same level as actors of contradictory interests. The dissertation includes a mapping of musical practice within the Church of Norway, the relation between church music and the general cultural field, and its place within musical and theological educational institutions. Further, the following examples from the debate are presented and analyzed: notions about ”youth”, the position of ”modern” music within the church, discussions about church musicians` theological status, and various aestethic and theological arguments for the use of music in the church. All these issues are interpreted in relation to sociologist Pierre Bourdieu´s concept of ”social fields” and the the concept of ”discourse” as it is put by otherwise different philosophers such as Michel Foucault and Paul Ricoeur. Music is thus analysed as ”cultural practice”, instead of being reified as ”work of art”, ”sound object” or ”religious medium”. Rather, music is being interpreted as interhuman action in a social context. Talk and Writing about music thus becomes important sources for the interpretation of how the making of musical meaning happens. The dissertation is based on the following sources: Different kinds of public statements about liturgy and church music, f.ex. as they appear in books, journals, newspapers, church-laws and liturgical documents. Interviews with several actors within the church (basically priests and organists) have been carried out, and the researcher´s own experiences as a performing musician (”participatory observation”) have also been an important source.