Gotowe bibliografie tematyczne / Folk music

Gotowa bibliografia na temat „Folk music”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Folk music"

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Hagstrom, Kristina, i Anna Frisk. "Musica Sveciae--Folk Music in Sweden". Ethnomusicology 41, nr 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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Hauser, Michael. "Folk Music Research and Folk Music Collecting in Greenland". Yearbook for Traditional Music 25 (1993): 136. http://dx.doi.org/10.2307/768690.

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Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music". International Journal of Social Science Studies 9, nr 1 (28.12.2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.

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This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.
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Vennum, Thomas. "Swiss Folk Music". Journal of American Folklore 101, nr 400 (kwiecień 1988): 233. http://dx.doi.org/10.2307/540112.

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Krader, Barbara, Tiberiu Alexandru i Constantin Stihi-Boos. "Romanian Folk Music". Yearbook for Traditional Music 19 (1987): 121. http://dx.doi.org/10.2307/767882.

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Harnish, David, Jacques Brunet i Hgac Him. "Bali: Folk Music". Ethnomusicology 34, nr 3 (1990): 496. http://dx.doi.org/10.2307/851645.

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Ógáin, Ríonach Uí. "Folk Music Journal". Béaloideas 54/55 (1986): 309. http://dx.doi.org/10.2307/20522304.

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Madagáin, Breandán Ó. "Folk Music Journal". Béaloideas 58 (1990): 236. http://dx.doi.org/10.2307/20522368.

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Schaub, Jacob. "Folk Music Index". Music Reference Services Quarterly 16, nr 2 (kwiecień 2013): 116–17. http://dx.doi.org/10.1080/10588167.2013.783364.

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Verma, Shalini. "Indian Folk Music". RESEARCH REVIEW International Journal of Multidisciplinary 8, nr 4 (14.04.2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य
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Rozprawy doktorskie na temat "Folk music"

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Tichai, Thomas. "Towards a digital folk music". Thesis, Liverpool John Moores University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505934.

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Burns, Robert, i n/a. "Transforming folk : innovation and tradition in English folk-rock music". University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Zhang, Yiming. "The Underlying Folk Music in Wang Lisan's Music". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/296184.

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Music Performance
D.M.A.
A prominent yet under-researched composer, Wang Lisan contributed many significant works to the Chinese piano music repertoire. The monograph is a subjective analysis of Wang's selective works and their origins based on the author's own understanding.
Temple University--Theses
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Ogier, Jarod M. "“Foundations of Folk: The Federal Music Project, The Joint Committee on Folk Arts, and the Archive of American Folk-Song”". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354588034.

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Keegan-Phipps, Simon. "Teaching folk : the educational institutionalization of folk music in contemporary England". Thesis, University of Newcastle Upon Tyne, 2008. http://hdl.handle.net/10443/263.

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This thesis offers an ethnomusicological account of a contemporary movement toward the formalization of education in England's folk music culture. The report considers, in particular, two case studies: Folkworks and the associated degree course in folk and traditional music at Newcastle University; and the folk festival subcontractor organization, Shooting Roots. These are located first within the socio-historical context of the English folk revivals, and then within the - largely disparate - contemporary musical-cultural contexts of the North East of England, and (southern) `England' respectively. Methodologies for the research draw predominantly on ethnographic techniques of participant-observation and interview, but these are combined with the less orthodox methods of internet and media-based fieldwork to offer the widest sociocultural contextualization of the movement. The discourses surrounding these cases are analysed in terms of pedagogy, education markets and a folk music industry, whilst the musical texts with which they deal are shown simultaneously to assert and repudiate regional and national identities. The thesis also offers key examples of the influences of such institutionalization beyond the boundaries of organizations themselves. It concludes that it is possible to regard the movement as a manifestation of an individualistconsumerist culture and goes on to propose some critical theories of the movement in relation to processes such as elitism, standardization and recontextualization.
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Aldred, Sarah. "Cultural identity and Galician folk music". Thesis, University of Strathclyde, 2005. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=23489.

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Bearman, Christopher James. "English folk music movement 1898-1914". Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:5448.

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The folk music movement was an important influence on English cultural life in the years immediately before the First World War. From remote origins in the 1830s and 1840s and small beginnings in the 1880s and 1890s, it suddenly caught the public mood between 1904 and 1914 and for a brief moment it seemed as though a genuinely indigenous and unifying cultural force might have been found. This proved to be a false hope, but nevertheless the movement has survived and has a continuing place in English cultural historiography. This movement, however, has never been provided with a general history, still less one which has tried to analyse what actually happened. Instead, over the past thirty years since 1970 an interpretation has developed based on Marxist political thought and cultural theory. Coming as it does from a political position based on class conflict and hostility towards nationalism, this interpretation is profoundly antipathetic to the phenomenon it has sought to analyse and has been more concerned to condemn than to understand. It has seen folk song and dance in terms of material expropriated from the working class, misrepresented and transformed in order to reflect 'bourgeois' ideology, and then fed back to the working class via their children in the state education system. Its weakness is that it has never been able to prove these propositions. This thesis attempts to undermine the Marxist interpretation and to provide a firm foundation of research for future analysis. Chapter One is a historiographical survey of the literature showing how it has developed and exposing its lack of a research base. Chapter Two is a narrative intended to provide a connecting thread for the analytical material which follows. Chapter Three examines the folk music organisations. Chapters Four and Five challenge the central assumptions of the Marxist interpretation by showing that the material was not exclusively 'working class', that folk music collection and publication was careful and scrupulous, and that the movement never succeeded in penetrating the state education system to any significant extent before 1914.
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Ferlaino, Christian. "Confluences : folk wisdom in contemporary music". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.

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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.
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Gillan, Matthew Alexander. "Multiple identities in Yaeyaman folk music". Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573492.

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This thesis investigates the importance of local identity in the performance and transmission of traditional music in the Yaeyama archipelago, Okinawa prefecture, Japan. Several local repertories are considered, and the thesis examines their connection to different cultural and political units: individual villages, individual islands, Yaeyama as a region, Yaeyama as a part of Okinawa prefecture, Japan and the world. Chapter one introduces the issue of identity and regionalism in music and the concept of 'multiple identities' with specific reference to the case of Yaeyama. The use of the concept of 'tradition' is also examined, with reference to both Western and local cultural theories. Chapter two introduces historical and cultural aspects of the region in more detail, and gives an overview of Yaeyaman music, and a review of previous studies on this subject. Chapters three to six examine four different traditional music genres, examining historical elements of their formation, current cultural attitudes affecting their teaching and performance, and aspects of the music itself: chapter three deals with the kayo work song repertory with particular reference to local variant forms; chapter four looks at the fushiuta repertory and the move towards a pan-Yaeyaman singing style; chapter five outlines the role of village festivals in the preservation of local ritual repertories; chapter six examines one song, Tubarama, in depth, with reference to issues of preservation. Chapter seven describes the use of traditional musical elements and local identity in the context of Yaeyaman popular music styles which have blossomed since the early 1990s, and have found an audience both throughout Okinawa prefecture and mainland Japan. This musical genre is examined with reference to the commonly held image of Okinawa as a fundamental part of Japan, while also providing a link to both Asia and the rest of the world.
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Marjenin, Peter A. "The Metal Folk: The Impact of Music and Culture on Folk Metal and the Music of Korpiklaani". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1412632625.

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Książki na temat "Folk music"

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Pugh, Sheenagh. Folk music. Bridgend, Wales: Seren, 1999.

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1923-1991, Smith Harry Everett, red. American folk music. [Washington, DC: Smithsonian Folkways Recordings, 1997.

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Litova-Nikolova, Lidii︠a︡. Bulgarian folk music. Sofia: Marin Drinov Academic Pub. House, 2004.

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Ledgin, Stephanie P. Discovering folk music. Santa Barbara, Calif: Praeger, 2010.

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Carlin, Richard. Folk. Wyd. 2. New York, NY: Facts On File, 2011.

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Pande, Alka. Folk music & music instruments of Punjab. Ahmedabad: Mapin Publishing, 1999.

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Prasad, Onkar. Folk music and folk dances of Banaras. Calcutta: Anthropological Survey of India, 1987.

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Zoltán, Kodály. Folk music of Hungary. New York: Da Capo Press, 1987.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi, Kenya: Uzima Press, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi: Uzima, 1986.

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Części książek na temat "Folk music"

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Grills, Scott. "Folk Music". W Encyclopedia of Quality of Life and Well-Being Research, 2314–17. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-0753-5_4041.

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Spunt, Barry. "Folk Music". W Heroin and Music in New York City, 127–50. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137314291_5.

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Grills, Scott. "Folk Music". W Encyclopedia of Quality of Life and Well-Being Research, 2546–50. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17299-1_4041.

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Wierzbicki, James. "Folk". W When Music Mattered, 1–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96694-2_1.

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Wiseman-Trowse, Nathan. "Folk Revival and Folk Rock". W Performing Class in British Popular Music, 106–24. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594975_6.

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Hofman, Ana. "Folk Music as a Folk Enemy: Music Censorship in Socialist Yugoslavia". W Popular Music in Eastern Europe, 129–47. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59273-6_7.

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Bozarth, George S. "Folk Music". W Brahms in Context, 164–74. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316681374.017.

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"FOLK MUSIC". W Music in the 20th Century (3 Vol Set), 217–22. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-154.

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"Folk Music:". W Rousseau Among the Moderns, 115–46. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctt32b9mk.9.

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Cohen, Ronald D. "Folk Music". W The World of Bob Dylan, 61–71. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108583398.006.

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Streszczenia konferencji na temat "Folk music"

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Olărescu, Dumitru. "Folk music in cinematographic formulas". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.11.

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Th e folk music, being a complete sociocultural phenomenon, expresses over the centuries the most diverse emotional-psychic states about the inner wealth of man, his emotional relationships with other people, with society, with his native lands. Th e local documentary fi lm managed to record the images and voices of several popular music performers in order to preserve and capitalize on this art, which contains priceless samples of our spiritual culture, of our identity valences. Several fi lmmakers devoted their fi lms to the creation of popular music performers: Emil Loteanu, Anatol Codru, Andrei Buruiană, Petre Ungureanu, Iacob Burghiu, Vlad Druc, Ion Mija, Ștefan Bulicanu et al. Th e director Vlad Druc got interested in the universe of folk music and through the creation of several professional and amateur singers in the fi lm Ploi de dor (Rain of Longing) (1975) manages to prove to us that our people created songs for all the events of human life: from birth to death. Director Andrei Buruiana’s fi lm about the distinguished performer Nicolae Sulac, whose creation constituted an era in our folk music, is also of interest.
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"Inheritance of Folk Music Culture and School Music Education". W 2018 9th International Symposium on Advanced Education and Management. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/isaem.2018.001.

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Kumar, Neha, Gopal Chouhan i Tapan Parikh. "Folk music goes digital in India". W the 2011 annual conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1978942.1979151.

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Phan, Anh-Thu G., i Thanh-Nhan Ngo. "Towards an Educational Music Processor for Folk and Popular Musics". W 2018 5th NAFOSTED Conference on Information and Computer Science (NICS). IEEE, 2018. http://dx.doi.org/10.1109/nics.2018.8606832.

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Bashirovna, Abdullaeva Elmira. "MODERN PRODUCTION PRACTICES TRADITIONAL MUSIC INSTRUMENTS IN DAGESTAN". W Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-77-83.

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Dalamba, Lindelwa. "Popular music, folk music, African music: King Kong in South Africa and London". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.

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Marolt, Matija, Janez Franc Vratanar i Gregor Strle. "Ethnomuse: Archiving folk music and dance culture". W IEEE EUROCON 2009 (EUROCON). IEEE, 2009. http://dx.doi.org/10.1109/eurcon.2009.5167650.

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Zhou, ZhengChang. "The Effect of Multicultural Music Education on Folk Music Culture Delivery". W 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.52.

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Nie, Jun. "Analysis on the Element Integration of Pop Music and Folk Music". W 3rd International Conference on Science and Social Research (ICSSR 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icssr-14.2014.107.

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Carvalho, Nádia, Sara Gonzalez-Gutierrez, Javier Merchan Sanchez-Jara, Gilberto Bernardes i Maria Navarro-Cáceres. "Encoding, Analysing and Modeling I-Folk: A New Database of Iberian Folk Music". W DLfM '21: 8th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3469013.3469023.

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Raporty organizacyjne na temat "Folk music"

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
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Karki, Shanta, Marina Apgar, Mieke Snijder i Ranjana Sharma. Learning from Life Story Collection and Analysis With Children Who Work in the Worst Forms of Child Labour in Nepal. Institute of Development Studies, październik 2022. http://dx.doi.org/10.19088/clarissa.2022.007.

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The CLARISSA Nepal team collected and analysed 400 life stories of children and young people engaged in or affected by the worst forms of child labour (WFCL), particularly in the “Adult Entertainment” sector in Nepal, which includes children working in Dohoris (restaurants playing folk music), dance bars, spa-massage parlours, khaja ghars (tea/snack shop) and guest houses. Stories were also collected from children in CLARISSA’s focus neighbourhoods, children in this category include street connected children and those working in transportation, party palaces, domestic labour and construction sites. Of the 400 stories collected, 350 were collected by adult researchers and 50 were collected by children themselves.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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