| dc.description.abstract | This dissertation is an exploration of how to transfer traditional Norwegian folk music tunes/«slåttemusikk» (primarily dancetunes), to the ukulele in a way that preserves the authenticity of the music. The research that is both art-based and practice-led, revolves around a repertoire consisting of 14 tunes. Three different categories of playing styles emerge - each focusing on different characteristic traits from the Norwegian folk music genre. The categories were «chord-based», «overtone-based» and «phrasing-based» (ansatsbasert). A survey to determine the validity of the findings was conducted on a group of people deemed competent in the genre in question. The acquisition of implicit knowledge, the imitation of an ideal and reflection in practice are discussed as essential methods in the learning process. An introduction to the ukulele and its origins is also included in the dissertation. The authenticity term as it relates to the music genre is explored to provide deeper understanding regarding exactly what it is that can be preserved in the transfer of the music to the ukulele. The results of the work are presented in the form of examples that illustrate different ways to play traditional Norwegian folk tunes on the ukulele, including short transcriptions and audiofiles.The results from the survey reveals that a majority leans towards the «phrasing-based» playing style, as the style that best preservers the authenticity of the music. | en_US |
