“PÄRIMUSMUUSIKA LÖÖKPILLIDE ÕPETAMISE VÕIMALUSED STOCKHOLMI KUNINGLIKU MUUSIKAKOLLEDŽI NÄITEL” (juhendaja Celia Roose, MA).
LÜHIÜLEVAADE: Edukaks õpetamiseks ja ainekava täiustamiseks TÜ Viljandi Kultuuriakadeemias otsustas autor kui pärimusmuusika erialal löökpillide suunaga tegelev õppejõud analüüsida juba toimivat eeskuju mõnes välisriigi kõrgkoolis. Teadaolevalt meie kultuurile lähedasim oma maa muusikat löökpillidel õpetav kõrgkool on Stockholmi Kuninglik Muusikakolledž, kus õpetab rootsi pärimusmuusikat trummidel Petter Berndalen – ainuke selle ala õpetaja Rootsi kõrgkoolides. Näide on unikaalne ning seega kombineeritakse magistritöös juhtumi- ja etnograafilist uuringut. Andmed kogumiseks kasutati vaatlust (kolme erineva tasemega õpilase õppetunnid 31. oktoobrist 9. novembrini 2011) ning intervjuud Petter Berndaleniga.
Selgus, et Stockholmi Kuningliku Muusikakolledži rootsi pärimusmuusika trummide erialal on põhilise tähelepanu all kaks komponenti – meloodia ja instrument. Hea ansambliliige on esmalt hea sooloartist. Trummar peab oma esitusse suhtuma samuti kui meloodiapillimees meloodiasse, olles väljaspool trummari tavapärast saatepillimehe rollimudelit, kuid võib mängida ka viisiga kokku sobivat mustrit. Trummide õpetamine rootsi pärimusmuusikas koosneb kolmest põhilisest etapist: instrumendi valikust, tehnikast ning meloodia ülekandmisest trummidele. Tavaliselt kujuneb instrumendiks statiivile asetatud häälestatava nahaga tamburiin, kuid võib valida ka teistest kultuuridest pärinevaid pille. Tähtis koht on meloodia järgi laulmisel, mis aitab viisi rütmi fikseerida ning vastavalt liikumise suundadele trummidele kanda. Trummar peab olema samaväärne pärimusmuusikatundja nagu teiste pillide mängijad. Samuti peab ta välja arendama isikupära ning võime esineda sooloartistina.
Kirjeldatud mudelit saab kõrgkoolis eesti pärimusmuusika õpetamisel suurepäraselt rakendada. Tulemuste ja järelduste peatükis avaldatud meetodite ja ideede taustsüsteemi paigutatud kirjeldusi ning uurija interpretatsiooni saab kasutada õppematerjalina.
Kristjan Priks
Lõputöö autor
TÜ Viljandi Kultuuriakadeemia
LÄBITUD ÕPPEKAVA: muusikaõpetaja MA õppekava.
SUMMARY: The University of Tartu Viljandi Culture Academy educates drummers in Estonian Traditional Music curriculum since 2010. The author of the present MA thesis was asked to be the teacher of that specialty. There is no living tradition of drumming in Estonia. For better teaching and improvement of the curriculum was necessary to analyze the functional model of similar speciality in some appropriate university. Both culturally and by the distance, the closest choice was the Stockholm Royal College of Music. The aim of the thesis was to find out how the drums are taught in Swedish Folk Music programme at the Stockholm Royal College of Music. The main questions were as follows: what is the main focus of the training, what are the general steps of individual teaching and what skills are taught for playing together in ensemble? The one and only folk music teacher on drums at the universities in Sweden is Petter Berndalen. The case study and ethnographic study was used for the qualitative methods of the analysis. Data was collected by non-participating observations during two weeks, from October 31st to November 9th in 2011 in Stockholm and by interviewing the subject after the lessons. The MA thesis of Petter Berndalen, the results of the observations and the data of the interview was compared by the data analysis. The analysis pays attention whether the model can be used in teaching of Estonian Traditional music on drums at the University of Tartu Viljandi Culture Academy.
The research shows that the main focus of Swedish Folk Music drummers at the Stockholm Royal College of Music consist of two components – the melody and the instrument. To be good at playing in ensemble, the drummer needs to be good at playing as solo artist at first. The drummer has to have as much responsibility for the melody as all the other melody players, but can also play patterns that fit in the music, as well. Teaching drums in Swedish Folk Music programme consists of three main phases: selection of the instrument, technique and melody playing on drums. Usually, students choose tunable tambourine on a stand, but they could also choose an instrument from other cultures. The tambourine is played with the bamboo stick in the right hand and with the fingers of the left hand. Singing the melody and the rhythm of the melody is the first step of playing the rhythm of the melody on drums. The drummer must be as 38 much the expert of folk music as the performers of other instruments. He also needs to develop a personality and the ability to be a solo artist.
The conclusion is that by the results of the research and personal pedagogical experience of the researcher, the model can be perfectly used in teaching drums in Estonian Traditional Music curriculum. Described methods, ideas and interpretation of the researcher can be used as the material for studies. According to researcher’s personal view, drummers must pay very close attention to the relationship of the rhythm and traditional dance steps. Surprisingly, the orientation to the dance did not come out from the results of teaching folk music drums at the Stockholm Royal Collage of Music. Consequently, how would different rhythms impact the traditional dance culture could be the subject of the future research works.