Rolf Lislevand

• Øvrebø, Daniel Henry; Eidsaa, Randi Margrethe & Lislevand, Rolf (2022). Rolf Lislevand in Conversation with Randi Margrethe Eidsaa and Daniel Henry Øvrebø. In Rolfhamre, Robin & Angelo, Elin (Ed.), Views on Early Music as Representation - Invitations, Congruity, Performance. Cappelen Damm Akademisk. ISSN 978-82-02-75619-2. p. 139–148. doi: https:/doi.org/10.23865/noasp.157.ch5.

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• Bonnár Stjernø, Lisa; Lislevand, Rolf; Bang, Jan; Nystrøm, Rolf-Erik & Hargreaves, David J. (2016). Exploraria - intimacy in music. Show summary

  Intimacy in Music A dialogue between singer Lisa Bonnár and musician and music psychologist David Hargreaves How can classical musical performers who play a repertoire from the distant past create musical intimacy with an audience today? This is the main topic of this paper, which will be explored through an open dialogue between the singer and artist Lisa Bonnár and music psychologist David Hargreaves. The latter has explored this field over the years, through practice as well as theory-oriented research, and he will draw upon new and old insights from the highly interdisciplinary field of music psychology, in close conversation with Lisa Bonnár. When we hear a musical performance, our different responses to it include emotions (positive or negative, powerful or weak); preferences (likes or dislikes), and judgements (high or low quality). How are these responses related to each other? And are they based mostly on the music itself, on the performer, or on the situation in which the performance takes place (eg in a concert hall, by a busker in the street, or playing as background music in a restaurant?) Music psychology can throw light not only on our responses to music, but also on the ways in which the composer, the improviser and the performer communicate with their audiences. It also investigates the nature of musical creativity and musical identity, as well as the many positive benefits that music can bring – to our thinking, to our social lives, to our emotional expressiveness, and to our physical and mental well-being. In addition, how can these psychological insights about how we experience and perceive music be used in a conscious way by the performers themselves? Or can theoretical or experimental complexity from the music psychology field only be explored in books and articles and not be manifested through a live performance? Intimacy in musical communication refers to the emotional connection that is established between the musician and the listener during the performance. It involves a sense of closeness, vulnerability, and connection that is created through the sharing of musical expression. Musicians can create intimacy through a variety of means, including their tone, phrasing, dynamics, and overall musical expression. By conveying emotion through their playing or singing, they can create a sense of connection and shared experience with their audience. Listeners can also contribute to the sense of intimacy by actively engaging with the music and allowing themselves to be moved by it. This can involve focusing on the details of the performance, responding emotionally to the music, and being present in the moment. Intimacy in musical communication is not limited to live performances. Recorded music can also create a sense of intimacy, as listeners can feel a personal connection to the musicians even in the absence of a live performance. This is especially true when the music reflects personal experiences or emotions that resonate with the listener. Overall, intimacy in musical communication is an important aspect of the art form, as it allows musicians and listeners to connect emotionally and share a meaningful experience through music.

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