I offer lectures and concert lectures over a wide variety of topics but where the focal point is listening, perception and the listening experience. When it comes to listening to music most of us have a default mode which applies to how we listen – a sort of personal filter of perception which affects and shapes our impression of the music we are listening to. A part of our listening experience depends on taste and musical preference but an equally large part is decided by the way we listen: one might say that we listen with different listening intentions and these intentions can be controlled and changed.
As a Timani teacher I also give lectures about the Timani method and topics concerning musicians´ health, performer psychology, and basic anatomical and neurological topics of significance to musicians, teachers and performers. Timani is a revolutionary new approach to vocal and instrumental performance developed by the Norwegian pianist Tina Margareta Nilssen. For more information concerning Timani click here.
Our way of listening to music can affect our listening experience and what we hear. Our way of relating to our body can affect our ability to use it in the way we wish.
EXAMPLES OF LECTURES THAT I OFFER
INSIDE THE GRAND PIANO
From the modest entertainer of the salons to the mother-ship of the great concert halls: the grand piano stands today as one of the world's most popular instruments but it's road of development has been long and varied.
This concert lecture follows the history of this amazing instrument and is filled with examples of how composers through the ages have emphasized different aspects of the instrument and given it many different roles to play, and how composers and pianists of today continue to explore and expand its unique world of sound.
Due to the repertoire this concert lecture is dependent on access to a grand piano with three pedals.
LISTENING - THE INVISIBLE ART FORM
What is the difference between listening and hearing?
What happens in our brain when we listen to music and why is one man's music another man's dental drill?
In this lecture you will experience how you consciously can change how you experience music by training your ability to change between different listening intentions. The lecture contains several listening examples which invites you to a richer and more conscious way of experiencing music.
Due to its use of music examples this lecture is dependent on access to playback equipment.
What is relevant physiological knowledge for someone who aims at performing music on a high, professional level?
Why do musicians need knowledge of how their body works?
Musicians are, as a workforce, subjected to extremely specialised physical demands when it comes to performing their art. The need for endurance, strength and stability needs to be coordinated with dexterity and detailed fine motor control on a level which few other needs or, indeed, are able to master.
No matter which instrument we play: the real instrument of a musician is his or her body; a biological organism completely unique and to a large extent shaped by the life experiences (physical as well as psychological) which it has accumulated in the timespan between birth and the present moment.
Our real instrument is something we can never put down and in order to learn how to use it at its optimum capacity we need knowledge.
This lecture is about that.
PERFORMANCE PSYCHOLOGY FOR MUSICIANS
-neurological and biomechanical principles for enhanced performance
Can increased knowledge concerning our neurology and biology make us into more present and confident musicians?
Musicians have their body as their work field; a complex and biological instrument which we, on top of its physical challenges, need to master in situations of great psychological pressure.
There are a few other vocations which demands the same kind of personal exposure while performing with technical mastery, artistic intention and personal expression in front of large groups of complete strangers.
Research has found increased symptoms of anxiety and depression among Norwegian musicians compared to the general workforce, and in several educational environments of music the level of tension and psychological stress, often coupled with physical strain and muscular tension, is accepted as "normal" and part of the deal when becomming a musician. This is also often linked to the popular myth of the struggling artist who is only able to create great art through the use of rigorous dicipline when faced with severe opposition, some of it in the form of a tough inner, psychological battle.
However, increased knowledge concerning our own physiology, our biological survival mechanisms and a general insight into this amazing organism we all walk around with might show that "suffering" can have many subtle meanings, some of which are not necessarily a pre-requsite in order to reach a level of excellence, and that knowledge is necessary in order to know how to make our body and mind work at its optimal capacity, even during situations of great tension and challenge.