vokal identitet

273 Pages·2007·0.88 MB·Norwegian

VOKAL IDENTITET
En diskursteoretisk analyse av
profesjonelle sangeres
identitetsdannelse

Tiri Bergesen Schei

Avhandling for graden dr. art.
Griegakademiet, Institutt for musikk
Universitetet i Bergen
2007
ISBN 978-82-308-0471-1
Bergen, Norway 2007

Printed by Allkopi Ph: [phone]
Abstract
The main focus of the dissertation is identity formation. Three Norwegian professional singers
within classical, pop, and jazz music, respectively, have been interviewed about their thoughts
on becoming and being singers. What challenges does the stage pose? What are the demands
of perfection that mould singers’ practices? How are they governed by cultural norms
embedded in vocal ideals, voice genres, educational concerns, conceptions of normality and
common sense? What possibilities and limitations for independent vocal expression and
creation exist within classical, pop and jazz singing?
The design of the dissertation lies within a Foucault-oriented discourse theoretical
perspective. Concepts like “discursive space”, “governmentality”, “self-technologies” and
“subject positions” are among the tools used for analysing vocal identity. The main concept is
self-technology which can be understood as a disciplinary technique that the individual
applies to him/herself in order to be more competent. Self-technologies are practices that are
constituted when an individual submits to the discursive logic that constructs an individual’s
perceptions of what is normal, true and correct. When the informants describe their
professions, they talk about self-technologies, the practices through which they identitate. The
neologism identitation designates the ongoing, unfinished and complex processes that create,
confirm and renew a person’s identities. Identitaton is to be, to have and to seek identity(ies).
The study shows that genre is critical for vocal identitation by structuring the discursive
rooms where singers’ professionalism is confirmed and corrected. Even though discursive
spaces change over time, they structure the conventions that delimit the range of possibilities
within which a subject has to position him/herself, and hence to identitate. Singers are offered
subject positions through the circulating discourses of the vocal cultural room, the cultural
field where singers develop, interact and perform their art.
The singer can actively influence his/her life as a professional singer if s/he acknowledges the
normative pressure from institutions, curricula, media, colleagues and audiences. Through
reflecting on his/her own practice and identitation processes, s/he may actively choose goals,
strategies and self-technologies within the vocal cultural room. Such awareness of choice may
lead to playful, critical and bold identitation, and thereby contribute to the development and
change of dominant vocal discourses.
The study shows that the singers, despite classifying themselves in different genres,
experience the same demands, practice common self-technologies, and are regulated in part
by the same discourses. The three singers are all influenced by the central ideals of the
classical vocal discourse. The analysis indicates that classical singing maintains a hegemonic
position among professional singers. When singers, through identitation, come to embody
cultural norms, this represents an important canalization of power.
Forord

Etter mange år som sanger, sangpedagog, lærer og kordirigent, var det et privilegium å få
anledning til å fordype meg i faglitteratur, vitenskapsteori og forskning. Griegakademiet ved
Høgskolen i Bergen, avdeling for lærerutdanning, har vært min arbeidsgiver. Som stipendiat i
musikkpedagogikk har jeg hatt min tilknytning til Dr. art. - programmet gjennom
Griegakademiet, Institutt for musikk, HF-fakultetet, Universitetet i Bergen.
En stor takk rettes til min veileder Thorolf Krüger, for stø, solid og nøyaktig veiledning. Takk
til mine tre informanter, ”Trond”, ”Gry” og ”Liv”, tre flotte sangere. Materialet fra
informantene har utgjort drivkraften i prosjektet.
Jeg tilbrakte studieåret 2004-2005 som gjesteforsker på Harvard University, Department of
Music. Jeg vil rette en takk til Høgskolen i Bergen, avdeling for lærerutdanning, som la
forholdene til rette for at jeg kunne tilbringe et år ved et amerikansk universitet. Takk også til
“US-Norway Fulbright Foundation for Educational Exchange”, og HF-fakultetet ved
Universitetet i Bergen, som økonomisk støttet mitt forskningsopphold ved Harvard. Takk til
Kay Kaufman Shelemay, Ingrid Monson, Sarah Weiss og Lara Pellegrinelli, som i særlig grad
bidro til å gjøre forskningsoppholdet innholdsrikt.
Takk til Rasmus Slaattelid og Otto Christensen ved Senter for vitenskapsteori, UiB. Takk til
Catharina Christophersen, Eiliv Olsen og Aslaug Nyrnes for inspirasjon gjennom mange
gode, faglige samtaler. Takk til Marianne Trøen for god hjelp med layout, og Pål Augestad
for kritisk gjennomlesning og verdifull kritikk.
Min gode og kloke mann Edvin; takk for at du har støttet meg og bidratt med verdifulle
innspill og kritisk lesning. Amanda, Victoria og Odin; takk for julegaven i fjor, sirlig
innpakket. Tid, stod det. Tid til innspurt. Takk!

Bergen, 22. mai 2007
Tiri Bergesen Schei

Innhold:

ABSTRACT
KAPITTEL 1: PROBLEMSTILLING, DESIGN OG FORSKNINGSKONTEKST ..................................... 1
1.1 TEMATIKK ............................................................................................................................................ 1
1.2 AVHANDLINGENS STRUKTUR ................................................................................................................ 2
1.3 IDENTITET SOM FORSKNINGSTEMA ....................................................................................................... 2
1.3.1 Avhandlinger med diskursperspektiv .............................................................................................. 3
1.3.2 Etnografier....................................................................................................................................... 6
1.3.3 Andre vesentlige arbeider .............................................................................................................. 11
1.4 PRESENTASJON AV INFORMANTENE .................................................................................................... 14
1.5 KORT OM FELTARBEIDET .................................................................................................................... 15
1.6 PRESISERING OG AVGRENSNING AV FORSKNINGSPROSJEKTET ............................................................ 17
KAPITTEL 2: FORSTÅELSE OG ANVENDELSE AV DISKURSTEORI I DENNE STUDIEN ............. 19
2.1 INNLEDNING ....................................................................................................................................... 19
2.2 DISKURSTENKNING ............................................................................................................................. 19
2.3 DISKURSTEORIEN – MAKT/KUNNSKAP OG IDENTITET .......................................................................... 23
2.3.1 Governmentality ............................................................................................................................ 25
2.3.2 Diskursive rombegreper ................................................................................................................ 27
2.3.3 Disiplinerende mekanismer ........................................................................................................... 30
2.3.4 Selvteknologi ................................................................................................................................. 33
2.3.5 Subjektposisjon ............................................................................................................................. 35
2.3.6 ”Indre” og ”ytre” krav ................................................................................................................... 37
2.4 DISKUSJON AV DISKURSPERSPEKTIVET ............................................................................................... 38
2.4.1 Konsekvenser for forskeren som diskursiv agent .......................................................................... 42
2.5 HVORDAN LESE VOKAL IDENTITET UT AV VERBALE DATA? ................................................................ 42
2.5.1 Utsagn, materialitet, referensialitet................................................................................................ 43
2.5.2 Hva sier utsagn noe om? ............................................................................................................... 45
2.5.3 Relasjonell kraft ............................................................................................................................ 46
2.6 HVA ER DEN DISKURSIVE LOGIKK? ..................................................................................................... 49
2.7 ANVENDT DISKURSTEORI – NOEN PRINSIPPER ..................................................................................... 50
2.7.1 Klargjøring av diskursbegrepets anvendelse i avhandlingen ......................................................... 51
2.7.2 Motstand og motdiskurser ............................................................................................................. 52
KAPITTEL 3: INTERVJU, CASESTUDIER OG ANALYSE – NOEN OVERORDNEDE
PERSPEKTIVER................................................................................................................................................ 55
3.1 INNLEDNING ....................................................................................................................................... 55
3.2 HVA ER ET FORSKNINGSINTERVJU? ..................................................................................................... 56
3.2.1 Bruk av minner som datakilde ....................................................................................................... 59
3.3 BETRAKTNINGER RUNDT INTERVJUSITUASJON OG SPØRSMÅL ............................................................. 61
3.3.1 Refleksjon rundt intervjuguiden .................................................................................................... 63
3.4 DE TRE CASENE ................................................................................................................................... 65
3.5 MINE FORSKNINGSINTERVJUER ........................................................................................................... 66
3.5.1 Behovet for underveisjusteringer .................................................................................................. 69
3.6 VALG AV PRESENTASJONSFORM FOR CASE-FREMLEGG OG ANALYSE .................................................. 70
KAPITTEL 4: ”TROND” - EN KLASSISKSANGER .................................................................................... 73
4.1 INNLEDNING ....................................................................................................................................... 73
4.2 TRONDS LIVSLØP ................................................................................................................................ 73
4.2.1 Diskurser og motdiskurser ............................................................................................................ 75
4.2.2 Identitetsforhandlinger .................................................................................................................. 78
4.2.3 Hvem er ”jeg” – konservatoriestudenten? ..................................................................................... 79
4.3 SELVTEKNOLOGIER ............................................................................................................................. 81
4.3.1 Konsentrasjonsrom ........................................................................................................................ 82
4.3.2 Meningsrom .................................................................................................................................. 84
4.3.3 Klangrom ...................................................................................................................................... 86
4.3.4 Temporalitetsrom .......................................................................................................................... 88
4.3.5 Kvalitetsrom .................................................................................................................................. 90
4.3.6 Formidlingsrom ............................................................................................................................. 91
4.3.7 Toleranserom ................................................................................................................................. 93
4.4 KLASSISKSANGDISKURSEN ................................................................................................................. 95
4.4.1 Diskurs om pragmatisk grunninnstilling ....................................................................................... 97
4.4.2 Diskurs om kvalitet ....................................................................................................................... 98
4.4.3 Diskurs om prosess i egenarbeid ................................................................................................... 99
4.4.4 Diskurs om idealisme .................................................................................................................. 100
4.5 OPPSUMMERENDE KOMMENTAR ....................................................................................................... 101
KAPITTEL 5: ”GRY” - EN POPSANGER .................................................................................................... 103
5.1 INNLEDNING ..................................................................................................................................... 103
5.2 GRYS LIVSLØP .................................................................................................................................. 104
5.2.1 Diskurser og motdiskurser .......................................................................................................... 108
5.2.2 Identitetsforhandlinger ................................................................................................................ 111
5.2.3 Sjangerkrav og konflikter ............................................................................................................ 112
5.2.4 Popformatet blir for stramt .......................................................................................................... 116
5.3 SELVTEKNOLOGIER ........................................................................................................................... 122
5.3.1 Øvingsrom ................................................................................................................................... 122
5.3.2 Kroppsrom................................................................................................................................... 125
5.3.3 Språkrom ..................................................................................................................................... 129
5.3.4 Scenerom ..................................................................................................................................... 132
5.3.5 Fornuftsrom ................................................................................................................................. 134
5.4 POPSANGDISKURSEN? ....................................................................................................................... 136
5.4.1 Diskurs om ”feeling og groove” .................................................................................................. 139
5.4.2 Diskurs om egenart...................................................................................................................... 141
5.4.3 Diskurs om kvalitet ..................................................................................................................... 142
5.4.4 Diskurs om selvstendighet .......................................................................................................... 142
5.5 OPPSUMMERENDE KOMMENTAR ....................................................................................................... 143
KAPITTEL 6: ”LIV” - EN JAZZSANGER ................................................................................................... 147
6.1 INNLEDNING ..................................................................................................................................... 147
6.2 LIVS LIVSLØP .................................................................................................................................... 148
6.2.1 Diskurser og motdiskurser .......................................................................................................... 150
6.2.2 Ulike ”sannheter” å forholde seg til ............................................................................................ 150
6.2.3 Frihet versus krav ........................................................................................................................ 153
6.2.4 Identitetsforhandlinger ................................................................................................................ 156
6.2.5 Institusjonsmakt .......................................................................................................................... 156
6.2.6 Rangering av sang ....................................................................................................................... 157
6.2.7 Jazzsang i forhold til klassisk og pop .......................................................................................... 159
6.3 SELVTEKNOLOGIER ........................................................................................................................... 165
6.3.1 Improvisasjonsrom ...................................................................................................................... 166
6.3.2 Effektrom .................................................................................................................................... 170
6.3.3 Meningsrom ................................................................................................................................ 172
6.3.4 Formrom ...................................................................................................................................... 173
6.4 JAZZSANGDISKURSEN ....................................................................................................................... 174
6.4.1 Diskurs om jazz som kunst .......................................................................................................... 174
6.4.2 Diskurs om klassisk sang ............................................................................................................ 176
6.4.3 Diskurs om profesjonalitet .......................................................................................................... 177
6.4.4 Diskurs om kvalitet ..................................................................................................................... 178
6.5 OPPSUMMERENDE KOMMENTAR ....................................................................................................... 179
KAPITTEL 7: VOKAL IDENTITET ............................................................................................................. 181
7.1 INNLEDNING ..................................................................................................................................... 181
7.2 IDENTITERING ................................................................................................................................... 182
7.2.1 Å være identitet ........................................................................................................................... 183
7.2.2 Å ha identitet ............................................................................................................................... 184
7.2.3 Å søke identitet ........................................................................................................................... 186
7.3 HVORDAN ER VOKAL IDENTITET? ..................................................................................................... 187
7.3.1 Kropp og alder ............................................................................................................................. 190
7.3.2 Sjanger, mening og tilhørighet .................................................................................................... 191
7.3.3 Stil og klang ................................................................................................................................ 194
7.3.4 Identitetsforhandling i praksis ..................................................................................................... 197
7.3.5 Selvteknologi - grep om eget handlingsrom ................................................................................ 201
7.4 FORHOLDET MELLOM MAKT OG KUNNSKAP ...................................................................................... 204
7.4.1 Autoritetssystemer ....................................................................................................................... 205
7.5 UTFORDRINGENE PÅ PODIET ............................................................................................................. 209
7.6 KONKLUSJON .................................................................................................................................... 212
KAPITTEL 8: IMPLIKASJONER FOR FORSKNING OG FAGUTVIKLING ....................................... 215
8.1 INNLEDNING ..................................................................................................................................... 215
8.2 KUNNSKAPSUTVIKLING FOR VOKALPEDAGOGIKKEN ........................................................................ 216
8.2.1 Det tatt-for-gitte .......................................................................................................................... 217
8.2.2 Språkets logikk ............................................................................................................................ 219
8.2.3 Nytten av å bli intervjuet ............................................................................................................. 223
8.2.4 Utvikle redskap til egenvurdering ............................................................................................... 225
8.2.5 Håndtering av sjangerproblematikk ............................................................................................ 226
8.3 PROFESJONELL, UNG, NORSK SANGER ............................................................................................... 227
8.3.1 Hvem er en ekte klassisksanger? ................................................................................................. 229
8.3.2 Hvem er en ekte popsanger? ........................................................................................................ 231
8.3.3 Hvem er en ekte jazzsanger? ....................................................................................................... 233
8.4 SELVREALISERING GJENNOM SELVTEKNOLOGIER ............................................................................. 235
8.4.1 Selvteknologiene - en frigjøringspraksis ..................................................................................... 237
8.5 MULIGE VEIER VIDERE ...................................................................................................................... 239
8.6 AVSLUTTENDE KOMMENTAR ............................................................................................................ 240
SAMMENDRAG .................................................................................................................................................... I
LITTERATURLISTE ......................................................................................................................................... II
VEDLEGG 1: KONTRAKT MED INFORMANTER ................................................................................. XIII
VEDLEGG 2: INTERVJUGUIDE - ET UTGANGSPUNKT FOR SAMTALE ........................................ XIV
STIKKORD ..................................................................................................................................................... XVII