The Norwegian Academy of Music is a music conservatory located in Oslo, Norway, in the neighbourhood of Majorstuen, Frogner. It is the largest music academy in Norway and offers the country's highest level of music education. As a university college, it offers both undergraduate and postgraduate courses. Throughout the years the Academy has educated many of Norway’s most renowned musicians.The Norwegian Academy of Music educates performers, composers and pedagogues, and attempts to lay the foundation for research within various fields of music. It educates musicians within folk music genres, church music, classical music and, quite notably in later years, a string of successful performers within the jazz realm. The Academy is also Oslo’s biggest concert organizer, presenting approximately 300 concerts a year. As is the case with all schools in the Norwegian educational system, the school is free of charge. Students can only be accepted by auditioning and/or other verifiable qualifications. Wikipedia.
Guettler K.,Norwegian Academy of Music |
Buen A.,Brekke and Strand Akustikk AS |
Askenfelt A.,KTH Royal Institute of Technology
20th International Congress on Acoustics 2010, ICA 2010 - Incorporating Proceedings of the 2010 Annual Conference of the Australian Acoustical Society | Year: 2010
It is well known that plate radiation below the critical frequency is very poor, and therefore many stage floors dissipate low-frequency energy transmitted from double-bass and cello end pins rather than providing a tuning-fork/tabletop effect. However, if the stage floor is well damped, so that the transverse amplitudes fade out quickly around the point of excitation, a significant net radiation can be experienced also for low frequencies, due to the piston/baffle effect. Measurements performed in the Lindeman Hall of the Norwegian Academy of Music, in Oslo, Norway, showed that vibrational amplitudes in the stage floor faded out at a nearly equal pace in all directions around the excitation points, leaving nearly circular, quasi isotropic patterns for most frequencies of interest. In the audience area no tendency of spectral roll off was seen in the low-frequency end down to 30 Hz, which may represent the lowest fundamental of modern double basses. Transfer functions from stage floor to audience (intensity vs. power, and sound pressure vs. transverse velocity) were calculated for a number of seats in the hall.
Trondalen G.,Norwegian Academy of Music
Nordic Journal of Music Therapy | Year: 2016
The purpose of this research study was to explore resource-oriented Bonny Method of Guided Imagery and Music (R-oGIM) as a creative health resource for professional musicians and music students. The research method was qualitative and explorative, inspired by an interpretive phenomenological procedure to analyse the data. The theory was informed by an intersubjective perspective, as well as context-sensitive theory related to identity and health. The data incorporated transcripts from the musical journey, drawings, verbal conversations and semi-structured interviews performed after the R-oGIM sessions were completed. The results suggested that R-oGIM could be experienced as a creative health resource in different ways for professional musicians and music students. The outcome arose first from R-oGIM as strengthening of professional identity underpinned by the relationship with the primary instrument, the job, music listening and the musician herself as a person. Second, the result showed nurturing of personal and professional resources emerging from the themes self-awareness, self-agency, the process of moving along and integration. On this basis, a resource-oriented GIM approach is suggested – individualized or in groups – in order to integrate and balance the physical/mental and existential dimensions of a musician’s life, while supporting excellence in teaching and performance and an enriched personal life. © 2014 The Grieg Academy Music Therapy Research Centre.
Jensenius A.R.,University of Oslo |
Bjerkestrand K.A.V.,BodyMindFlow |
Johnson V.,Norwegian Academy of Music
International Journal of Arts and Technology | Year: 2014
In this paper, we present the results of a series of observation studies of the three team members standing still for ten minutes at a time. The aim has been to understand more about people's ability to stand still, and to develop a heightened sensitivity for micromovements and how they might be used in music and dance performances. The quantity of motion, calculated from motion capture data using a head marker, was remarkably similar for each person who stood still. The 'best' results - that is, the least movement - were obtained when the subject set his/her feet at the width of the shoulders, locked the knees, and kept the eyes open. No correlation was found between quantity of motion and type of mental coping strategy, though we remain convinced that mental strategies influence the experience of standing still. These findings will be used to inform the development of a stage performance focused on micromovements. Copyright 2014 Inderscience Enterprises Ltd.
Guettler K.,Norwegian Academy of Music |
Askenfelt A.,KTH Royal Institute of Technology |
Buen A.,Brekke Strand Akustikk As
Journal of the Acoustical Society of America | Year: 2012
The question whether or not double basses can benefit from a compliant and radiating stage floor in the low end of their tonal register, similar to the well-known tuning fork-tabletop effect, was examined through field experiments in five concert halls. The topic comprises several aspects: (1) How well the mechanical impedances of double basses and the stage floor match, (2) amount of vibration velocity transmitted to the floor through the end pin of the bass, and (3) radiation efficiency of point-excited bending waves in the stage floor far below the coincidence frequency. Each aspect represents a prerequisite for the tuning fork-tabletop effect to take place. The input impedance at the end pin was measured for three representative double basses. The stage floors of five orchestra halls were measured with respect input impedance and damping, while sound radiation to the audience area was measured for two of them. In Lindeman Hall, Oslo, all conditions for the tuning fork-tabletop effect to take place were clearly met. The contribution from the stage-floor radiation to the sound pressure level in the audience area was found to be about 5 dB between 40 and 60 Hz, and even higher between 30 and 40 Hz. © 2012 Acoustical Society of America.
Stensaeth K.,Norwegian Academy of Music
International Journal of Qualitative Studies on Health and Well-being | Year: 2013
The point of departure in this text is the ongoing qualitative interdisciplinary research project RHYME (www.RHYME.no), which addresses the lack of health-promoting interactive and musical Information and Communications Technology (ICT) for families with children with severe disabilities. The project explores a new treatment paradigm based on collaborative, tangible, interactive net-based musical "smart things" with multimedia capabilities. The goal in RHYME is twofold: (1) to reduce isolation and passivity, and (2) to promote health and well-being. Co-creation is suggested as a possible path to achieving these goals, by evoking feelings, for example, or accommodating the needs to act and to create social relations; cocreation also motivates users to communicate and collaborate within (new) social relations. This article engages co-creation by incorporating aspects connected to interaction design and the field of music and health. Empirical observations will be referred to. The research question is as follows: What might co-creation imply for families of children with disabilities when musical and interactive tangibles are used as health-promoting implements? © 2013 K. StenÆsth.