Intercultural Musical Collaboration – Towards a Global Sound
The years spent working with these cultures are internalized in my compositorial process insofar as adapting elements of traditional music. Arranging then becomes an extension of this process instead of trying to adapt or rearrange the music to fit in. In my view, this is an example of a global sound.
Ingolv Haaland
PhD Candidate
Disputasen foregår digitalt på internett fordi UiA er stengt på grunn av Corona covid-19-situasjonen. Se nederst på siden for hvordan publikum kan overvære disputasen.
Ingolv Haaland of the Faculty of Fine Arts at the University of Agder has submitted his thesis «Intercultural Musical Collaboration – Towards a Global Sound,” and will defend the thesis for the PhD-degree Tuesday 23 June 2020.
He has followed the PhD Programme at the Faculty of Fine Arts with Specialization in Popular Music Performance, at the University of Agder.
The Thesis is filed as a public webpage at the Library at the University of Agder.
Summary of the thesis by Ingolv Haaland:
Intercultural Musical Collaboration – Towards a Global Sound
This dissertation aims to be a concrete example of compositional processes investigating the development of a global sound collaborating with highly sought-after musicians and artists from Thailand, Cambodia, Lebanon, Palestine and Norway in music studios and live concerts.
This is a combined artistic-scientific dissertation, combining popular musicology and artistic research, in my case four released albums:
Asian Flow feat. Ouch Savy (2014), Asian Flow feat. Synth (2015), Live in concert (2015) and Dawara (2018).
The intertwined written and artistic part are published as a webpage (globalsoundphd.uia.no): A new approach aiming to bridge the knowledge gap between artistic research and popular musicology.
I alternate between the roles as artist-researcher, composer, pianist, arranger, musical director, sound engineer and producer.
The research questions are:
(1) How does my sound signature evolve, develop, and adjust to working in other cultures?
(2) What challenges and processes emerge during recording and performing my music?
(3) When conducting this form of artistic research, what kind of cultural and ethical issues emerge?
The vocalists performing on my albums write the lyrics and sing in their native language, connecting my compositions more deeply into each culture, beyond the confines of superficial exoticism. Learning the languages has provided me with additional tools when collaborating and obtaining new cultural and musical knowledge.
Applying complex harmonies, in line with the philosophy from Egil Kapstad and Bill Evans, has been crucial for me when combining different genres and microtonalities. For example, reharmonization applied in connection with Arabic maqams.
The years spent working with these cultures are internalized in my compositorial process insofar as adapting elements of traditional music. Arranging then becomes an extension of this process instead of trying to adapt or rearrange the music to fit in. In my view, this is an example of a global sound.
Dispution facts:
The Candidate: Ingolv Haaland (1973) Masters degree in popular music performance, University of Agder (2010) Haaland has worked with different musical projects in Southeast Asia (2006) and The Middle East (2012) and released 6 albums with own compositions. Furthermore, he was one of the project leaders in the artistic research project Music Without Borders – Traditional music from Setesdal meets world musicians (2014-2017). In 2019 Haaland received The Norwegian Government Grant (Statens kunstnerstipend) as a composer. He is currently working as an Assistant Professor at the Department of Popular Music, Faculty of Fine Arts, UiA.
The trial lecture and the public defence will take place at internett, via the Zoom conferencing app (link below) Tuesday 23 June 2020.
Dean of the Faculty of Fine Arts at the University of Agder, Marit Wergeland, will chair the disputation.
Trial lecture at 09:00
Public defence at 10:30
Given topic for trial lecture: “Transmedia as interface between artistic and scientific research”
Thesis Title: «Intercultural Musical Collaboration – Towards a Global Sound”
Search for the thesis in AURA - Agder University Research Archive, a digital archive of scientific papers, theses and dissertations from the academic staff and students at the University of Agder.
Opponents:
First opponent: Universitair Docent, dr Kristin McGee, Faculty of Arts, Jazz and Popular Music, University of Groningen, Nederland
Second opponent: Professor Frank Lyons, Associate Dean of Research and Impact, Ulster University, Nord-Irland
Associate Professor Per Elias Drabløs, Department of Popular Music, University of Agder, is appointed as the administrator for the assessment commitee.
Supervisors were Professor Tor Dybo UiA (main supervisor) and Professor II Stan Hawkins, UiA (co-supervisor)
What to do as an audience member:
The disputation is open to the public. We ask audience members to join the virtual trial lecture at 08:55 at the earliest and the public defense at 10:25 at the earliest. After these times, you can leave and rejoin the meeting at any time. Further, we ask audience members to turn off their microphone and camera and keep them turned off throughout the event. You do this at the bottom left of the image when in Zoom. We recommend you use ‘Speaker view’. You select that at the top right corner of the video window when in Zoom.
Opponent ex auditorio:
The chair invites members of the public to pose questions ex auditorio in the introduction to the public defense, with deadlines. Questions can be submitted to the chair Marit Wergeland on e-mail marit.wergeland@uia.no