Because every part of us is constantely being affected by innner and outer influences we are all in a constant state of flux. When we are in pain we often, consiously or unconsiously work against this notion : The search for a path out of the pain can become a desperate search for a static state where everything is just right; where we imagine that we will be in control. But what if this is not the way to navigate? What if the one thing we need to master in our work with pain is instead the capacity for state change, as supposed to holding a fixed state? And what is the one pre-requisite for being able to do this? Continue reading
Towards a more embodied way of life
Most of us far too often take our miraculous bodies for granted, and by doing so ignore the fact that were it not for our bodies every joyfull life event we have ever experienced would be nulled out.
It´s definitely not every day that one gets to be on iTunes!!
This is the podcast of the founder of Timani, Tina Margareta Nilssen, about embodied musicianship and explorations into the vast landscape of music, mind and body.
I was very honored to be interviewed about my experiences with exploring musical expression faced with the experience of growing up with a body that didn´t (and sometimes doesn´t) seem to have quite the same agenda as the ego, and how the need for artistic expression sometimes can seem to overwhelm our own body and challenge the limits of expression we think we can allow ourself.
It is said that a concert pianist has fine motor-control skills with a degree of coordination which exceeds that of a brain surgeon during operations. To perform of piece of music which demands that each finger, each joint of that finger and each muscle in the hand, arm and body cooperates and contributes to the end result and that this end result is experienced as harmoniously, melodically and rhythmically complete is really somewhat of a physiological and neurological miracle.
Perhaps the reason why most of us still don’t reflect on this when great art is presented to us is because one of the hallmarks of great art is that it is perceived as “effortless”. We sense the coordination, the seamless conversations within the body of the practitioner, how everything just seems to “flow”. Yet a part of our mind is aware of the enormous amount of coordination happening and realises that there is no way we can consciously control all of these minuite operations. So what is going on? Continue reading
It takes a lot of effort to make something look effortless
– Steven Sondheim
When we witness an expert performer in music or in sport the word “effortless” often springs to mind. However, most people are (hopefully) aware of the amount of work actually needed to reach this level of mastery. Therefor “effort-less” can´t necessarily mean that something is “without effort”.
A seemingly “effortless” performance is indeed the result of a sophisticated physical and neurological coordination which creates a subtle fluctuation between tension and relaxation in the parts responsible for the movements and to master this coordination is at the true core of every excelling performance. Continue reading
Some time back I had the privilege to be “Artist of the month” in the Timani newsletter and as this was a decidedly new experience I thought I´d share it here, also since the questions of the interview brings up the topic of strain injuries and of having your passion linked to pain, which I think is a big and important topic. Continue reading
Musical jiggsaw-puzzles at Kamfest 2016
Our perception of reality is a highly individual matter: every day our mind is occupied by trying to create coherence between an unimaginable amount of fragments brought to us through our different senses. It is a bit like a game: you’re given certain pieces but how you combine them is up to you.
Art and music reflects this essential fact that we humans are not sharing one reality but rather perceiving myriads of different possibilities of reality, all interlaced and happening at the same time. We are all aware that two people might experience the same piece of music or art in entirely different ways. The music or the art work is the same and yet the experience differs.
The continued construction of our separate realities is a game which every human being plays continuously, whether we are aware of it or not but once we are aware of it it is possible to use it consciously. Within the world of music this sense of the possibility that lies in co-creation with the listener is more present in particular composers and their works than in others.
Last Tuesday, the 5 of January the great composer, conductor and pianist Pierre Boulez passed into eternity. As a lifetime explorer of new musical dimensions he has, for me, been a great source of inspiration. The following is an imagined meeting which I personally would have loved to witness and a small tribute to the great and timeless minds of three immaculate artists who, in my view, share the common feature of fearless exploration into Art: Pierre Boulez, Pablo Picasso and Johann Sebastian Bach.
So what if it were possible to create a quiet place beyond the limits of time and allow these three to meet for an amiable chat concerning life and art? To erase the years between them and let them meet as equals, each formed by his own time but also at the same time combined in their mutual love of Art and their own work. What if it were possible to let them meet on neutral ground in a half-fictional setting but at the same time partly real? Continue reading
Music is known as an efficient emotional trigger, but physiologically speaking our auditory senses has the potential for creating multi-sensory experiences and sometimes making it possible for us to accomplish seemingly impossible tasks. Continue reading
My initial interest in listening and listening intentions started while writing my master thesis at the Conservatory of music in Oslo where I was introduced to the subject Aural Sonology, developed and taught by the two composers Lasse Thoresen and Olav Anton Tommesen. Continue reading