Conclusion

The CD Ferd provides a 56 minute window into a massive collection of data that may, in turn, generate other projects in the future, since there are also large amounts of unused data. Even so, every response giver in the project can be heard at some point on the phonogram. The method of immediate and creative responses to the source was a dogmatic approach, and perhaps we should have experimented more with responses to responses. However, in this case we would have started arranging and locking a tune in a specific musical direction, which we tried to avoid. In the end we had to make choices that influenced the specific CD-production, but as mentioned this is only a small part of a huge data collection that hopefully will generate further projects.

One successful session was the Nystev with Ouch Savy and Theara, which needed no arrangement at all – everything simply fell into place. These rare occasions were something we sought after in all the sessions. Locking the dominant keys and tuning from the traditional music of Setesdal led to some of the other traditions finding it demanding to adapt or find a link, as these scales did not fit their music. One example involves the instruments of Thailand, which have a microtone pentatonic scale in B flat, and this did not correspond to any of the keys from the source material. This challenged the musicians to a creative use of the five-tone scale, carefully selecting the tones to play. Even so, there were moments where the music connected, as can be heard on the final phonogram. The microtonality of each music tradition is different, and we kept most of the original material used unedited, with a flexible approach regarding diverting pitches. However, minor adjustments had to be made in some cases since the dissonance sometimes diverted too much from the source material. If left unedited it would have been unusable. In each case, we discussed the ethical implications, and there were times when we had to accept that the edits would alter the identity and phrasing too much. As a result, those specific bars or the whole take from the instrument would not be used.

When the material was presented to the sources in Setesdal the responses was not so much audio responses but rather conversations and discussions about the process and the fonogram production. One objection was about the balance between songs with vocals and the fiddle tunes. But the balance reflected the amount of responses given to the source material. Although the fiddle tradition was valued by the world musicians as great tunes, they found it hard to respond since in many cases the scales and rhythms was too far apart. Nevertheless, great interactions can be heard on several tunes, like Den 4.Gorrlausen.

In this project, we have worked with highly skilled and established artists and musicians who are well-respected in their traditions, often with a large following. We have invited them into closed sessions in which they have tried out ideas - and naturally made mistakes. This is part of the process of responding to new material and in studio in general. Out of respect for all the artists involved, it is not possible for us to make the database publicly available. This would be ethically problematic since none of the artists have agreed to let their sound and outtakes (“mistakes”) be used in other productions, and making a collage of “errors” would showcase the artists in a bad light. They trust us to handle this with care. If any researchers wish to, they can access the files on site in order to have a closer look at the data, but online libraries are easily hacked and copied, so we cannot release these. We are now looking into future projects and possible involvement from colleagues and master’s students looking at the data from new perspectives.

The 70 minute film documentary by video artist Jeremy Welsh, will be released in spring 2018 and offer another insight into the field work from the project.

References

Dybo, T. (2017a). Fairport Convention: Gender and Voicing Strategies in a Sound Signature. In S. Hawkins (Ed.), The Routledge Research Companion of Popular Music & Gender. Abingdon & New York: Routledge. 

Feld, S. (1994). From Schiziphonia to Scismogenesis: On the Discourses and Commodification of "World Music" and "Word Beat" Music Grooves (p 254-279) Music Grooves: Essays and Dialogues, by Keil, C. & Steven,F. Chicago: University of Chicago Press.

Haaland, I. (2016-2019) Ongoing PhD project How to develop a Signature Sound – A Performers Perspective. Department of Popular Music, Faculty of Fine Arts, University of Agder, Kristiansand.

Robertson, R. (1992) Globalization - Social Theory and Global Culture. London: SAGE Publications.

Taylor, T. D. (1997) Global pop – World Music, World Markets New York: Routledge.

List of participant artists and musicians

Norway (sources)

Kirsten Bråten Berg - vocal

Hallvard Bjørgum - Harding fiddle

Gunnar Stubseid - Harding fiddle

Sigurd Brokke - Jews Harp

Norway (Responses)

Annbjørg Lien - Harding fiddle

Rolf Christensen - Electric and Acoustic Guitars

Bjørn Ole Rasch - Harmonium, keyboards

Ingolv Haaland - Grand Piano

Nepal

Achyut Ram Bhandari - Tabla

Durga Khatiwada - Traditional flutes

Prabhu Raj - vocal

Iran

Mahsa Vadat - vocal

Cambodia

Ouch Savy - vocal

Yun Theara -Tro 

Thailand

 Boonchung Dandung - vocal

Tontrakul Kaewyong - Ponglang, khean

Nithitorn Hiranhankla - Saw duang

Pongsapon Upani - Khean

India

Sraboni Chaudhuri - vocal

Anubrata Chatterjee - Tabla

Ravi Chary - Sitar

Sandeep Mishra - Sarangi

Armania

Rasho Dlovani - Dodouk

Sami County

Sara Marielle Gaup Beska - vocal

Per Tor Turi - vocal

Roger Ludviksen - Electric guitar

Sweden

Jonas Simonson - Flute and traditional flutes

Fredrik Salander - Acoustic Bass

Palestine

John Robert Handal - Tar, arabic percussion

Tareq Abboushi - Buzuq

Lebanon

Rony Barrak - Darbouka, arabic and western percussion

Elie Khoury - Oud

Syria

Feras Charestan - Qanun

Jordan

Ahmad Al Khatib - Oud, Çumbus

Indonesian Gamelan Orchestra

Ismet Ruchimat 

Endang Ramdan

Budi Sofyan

Atang Suryawan

Rudi Mukhram

Asep Yana Karyana

China

Zhou Nan - traditional flute

Lin Fu - Pipa

Mei Ru Zhang - Erhu

Lan Jing Ya - Guzheng

Tibet

Janko Shuma - vocal

Mongolia

Zhao Luomeng - Morin Khoor, throat vocal

Zany Yezhuoma - Throat vocal

Irland

Pat Broaders - vocal, mandolin, guitars