Inga Marie Nesmann-Aas

• Nesmann-Aas, Inga Marie (2024). ‘Dido’s Lament’, a Lament for our Dying Planet? An inquiry into a modern reconfiguration of ‘Dido’s Lament’, exemplified through Annie Lennox’ performance. The European Journal of Philosophy in Arts Education. 8(1), s. 56–84. doi: 10.5281/zenodo.13913104. Fulltekst i vitenarkiv Vis sammendrag

  ‘Dido’s Lament’ from the opera Dido and Aeneas (Henry Purcell, 1680s) has found its manifold ways through history. Still holding a massive popularity on the world’s opera stages, it is also realized through several performers in various musical styles. Do such performances pose a ‘threat’ to the historical perspectives, or do they offer new ways of experiencing this music? I look specifically into Annie Lennox’ performance of ‘Dido’s Lament’ with London City Voices. Recorded during the pandemic, it exemplifies an aspect of the crisis in music during the pandemic. Further, Annie Lennox herself relates the lament to our dying planet and thus to the global climate crisis. The objective is twofold, in that I seek show the value of understanding the culture where the text and music originates, and to open up for re-configuration and appropriation where we seek a meaningful performance and experience in our current context. This is done in light of central issues concerning performance of historic music. This approach is both applicable for performers and in and educational setting for students and teachers in music education. Founded in an embodied experiential approach, I will through historic references, textual analysis, and analysis of this realisation by Annie Lennox , address the various ‘crises’ mentioned. From centring around Dido’s tragic fate towards a beyond human tragedy concerning the planet’s survival, we shift from an anthropocentric view towards a wider and embodied approach to this piece of music, opening new for possibilities and experiences for performers and audiences, which is also highly relevant in an educational setting.

• Rolfhamre, Robin & Nesmann-Aas, Inga Marie (2022). Rethinking Music Practise–Sessions beyond Poiesis and Praxis-Towards Practising Democracy. The European Journal of Philosophy in Arts Education. 7(1), s. 63–114. doi: 10.5281/zenodo.6536193. Fulltekst i vitenarkiv Vis sammendrag

  How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills “that are needed to keep democracies alive’ (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end — i.e. defined learning outcomes — but to result in the student transcending the professional competence acquisition situation to gain wisdom for a broader perspective. What is more, in the present article we will focus on the more autonomous aspects of the every-day, informal practice session of developing musicians and bring in perspectives from philosophy, particularly focusing on the relation between state policies and the individual performer. First, we explore the practise session-case as an aesthetic event. Secondly, we address the individual within the situation in relation to the exterior world while proposing an approach to serve as a framework for further exploration. We apply interaction through social media as a case for this section of the article. Thirdly, we seek to further develop the practice-session as a potential activity for personal growth. Next, we make a note of the related context of ensemble practice. Finally, we propose a logbook exercise to strategically enable this growth-process in practice.

• Nesmann-Aas, Inga Marie (2022). "De tonende sekunder" Innsikt og muligheter i samhandling med Fire digte fra Fiskerjenten av Bjørnstjerne Bjørnson, komponert av Edvard Grieg. Studia Musicologica Norvegica. ISSN 0332-5024. 48(1), s. 3–17. doi: 10.18261/smn.48.1.2. Fulltekst i vitenarkiv Vis sammendrag

  Gjennom refleksjon og perspektiv på egen praksis undersøker artikkelen hva embodiment som metode og innfallsvinkel i samhandling med tekstlig og musikalsk materiale av Bjørnson og Grieg over tid kan gjøre med meg som utøver og min interaksjon med og formidling av Fire Digte fra Fiskerjenten. Gjennom samhandling med og analyse av et variert utvalg kildemateriale knyttet til Bjørnsons roman og Griegs komposisjoner beskrives innsikter og erfaringer som jeg som utøver bærer med meg, og som gjør noe med meg som igjen er til stede i og gjennom meg i formidlingen av materialet, i et embodiment-perspektiv. Den selvstendige, sensitive, empatiske og kroppslig funderte kunstneriske formidlingen står sentralt.

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• Nesmann-Aas, Inga Marie (2022). Contextual In-Depth Knowledge as a Liberating Force in Artistic and Pedagogical Communication of Early Modern Material. Fulltekst i vitenarkiv
• Nesmann-Aas, Inga Marie (2022). Contextual In-Depth Knowledge as a Liberating Force in Artistic and Pedagogical Communication of Early Modern Material. I Rolfhamre, Robin & Angelo, Elin (Red.), Views on Early Music as Representation - Invitations, Congruity, Performance. Cappelen Damm Akademisk. ISSN 9788202756192. doi: 10.23865/noasp.157.ch3. Fulltekst i vitenarkiv Vis sammendrag

  Early music performance in its broadest capacity presents a compelling case of being something in the present that is representing, presenting, enacting, re-enacting, living and re-living, concretising and fantasizing a historical past. It is both what it is and something entirely other. Inspiring countless efforts to come to terms with its nature, one way of approaching the act of conveying or “doing” history is through pedagogy. Pedagogy, here, is multifaceted, as it is placed and displaced in learning, acting, mediating, communicating, perceiving, conveying and persuading historically remote, cultural practices. As such, this anthology includes both explicitly pedagogical chapters and more implicit approaches situated within pedagogical settings. The driving force behind the project is: When maintaining and sustaining a certain European cultural heritage, how do we do so as artists and pedagogues and to what effect? To cast a fresh gaze on traditional Early music performance studies, the authors of this volume argue for the pedagogical potential of such a project. Not only as something functioning as an artefact used within an educational setting, but as something primarily pedagogical also in its formation and re-formation. The way Early music is construed and portrayed just to fulfil the official boundary of its terminology is also a pedagogical act performed in multiple ways. It is not a question of regarding Early music scholarship and artistry as binary presentism versus historicism, but rather as historicism in presentism and presentism in historicism – which is precisely what this volume is all about and to which it seeks to contribute. The anthology’s chapters highlight spectatorship, experience, theory, rhetoric, philosophy, representation, performance, performativity, literature, visual arts, pedagogy, education, pragmatism and also newmaterialism. They examine music that is readily categorised as Early music, as well as music that borders on, or is becoming, something else entirely, but with evident roots in the Early music repertoire.

• Nesmann-Aas, Inga Marie (2021). 'Dido's Lament' as a Lament for Our Dying Planet. Fulltekst i vitenarkiv
• Nesmann-Aas, Inga Marie (2021). Reconfiguring Dido -A Topomorphic Analysis in an Embodiment Perspective. Fulltekst i vitenarkiv
• Nesmann, Inga Marie (2018). "Didos klage" Kontekstualisering og rekonfigurasjoner. Fulltekst i vitenarkiv
• Nesmann, Inga Marie (2015). The Enactment of Words, Music and Voice. A practical approach for singers, exemplified through an interpretation and analysis of Shakespeare's "Take, O Take Those Lips Away" by Amy Beach. I Markussen, Bjarne (Red.), Lydspor : når musikk møter tekst og bilder. Portal forlag. ISSN 9788283140323. s. 252–272. Fulltekst i vitenarkiv
• Nesmann, Inga Marie & Rolfhamre, Robin (2014). Konsert i Tarquinia, Italia. Barokkgitar og sang. Fremføring av renessanse- og barokkmusikk, samt norsk folketone. Fulltekst i vitenarkiv
• Nesmann, Inga Marie (2014). Sangerens utfordringer i innstuderingen og fremføringen av "Fire digte fra Fiskerjenten" av Bjørnstjerne Bjørnson, komponert av Edvard Grieg. Fulltekst i vitenarkiv
• Nesmann, Inga Marie (2014). Performing in Style. A female Voice of Today Approaching English Music of the Early Baroque. Fulltekst i vitenarkiv
• Nesmann, Inga Marie & Farstad, Per Kjetil (2012). Text and Performance -An Approach to Textual Analysis and Musical Performance for Classical Singers. Universitetet i Agder. Fulltekst i vitenarkiv
• Nesmann, Inga Marie & Eriksen, Roy Tommy (2011). Character interpretation through music : character interpretation of Shakespeare's fairies in "A midsummer night's dream" as exemplified in the compositions of Mendelssohn and Britten. Universitetet i Agder. Fulltekst i vitenarkiv

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