Balladane er forteljingar på vers, alle dramatiske, anten romantiske, tragiske eller komiske. Tekstene er i seg sjølve ein stor skatt, i dag lett tilgjengelege i digital form: som transkriberte tekster i Det gamle balladearkivet frå 19971 og i utval med faglege innleiingar i Visearkivet, bokselskapet.no.2 Balladeprosjektet med Folkeviseautomaten3 byr mellom anna også på song av og opplysning om kvedarar. Kjeldeskriftene, sjølve handskriftene til fleire av dei store folkevisesamlarane på 1800-talet, er også digitaliserte, t.d. samlingane etter Sophus Bugge og Moltke Moe på nettsida til Norsk folkeminnesamling.4 Også musikkmanuskript i Nasjonalbiblioteket som oppskriftene av Ludvig Mathias Lindeman er tilgjengelege på nettsida til Nasjonalbiblioteket, bokhylla.no.
{"title":"Astrid Nora Ressem (red.): Norske middelalderballader: Melodier. Bind 2. Ridderballader, Kjempe- og trollballader","authors":"Jarnfrid Kjøk","doi":"10.52145/mot.v28i0.692","DOIUrl":"https://doi.org/10.52145/mot.v28i0.692","url":null,"abstract":"Balladane er forteljingar på vers, alle dramatiske, anten romantiske, tragiske eller komiske. Tekstene er i seg sjølve ein stor skatt, i dag lett tilgjengelege i digital form: som transkriberte tekster i Det gamle balladearkivet frå 19971 og i utval med faglege innleiingar i Visearkivet, bokselskapet.no.2 Balladeprosjektet med Folkeviseautomaten3 byr mellom anna også på song av og opplysning om kvedarar. Kjeldeskriftene, sjølve handskriftene til fleire av dei store folkevisesamlarane på 1800-talet, er også digitaliserte, t.d. samlingane etter Sophus Bugge og Moltke Moe på nettsida til Norsk folkeminnesamling.4 Også musikkmanuskript i Nasjonalbiblioteket som oppskriftene av Ludvig Mathias Lindeman er tilgjengelege på nettsida til Nasjonalbiblioteket, bokhylla.no.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" 97","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135191530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Per Åsmund Omholt, Dan Lundberg, Ingrid Åkesson, Thomas Solomon, Siri Mæland, Daniel Winfree Papuga
Norsk folkemusikklags seminar 2014 hadde teknologi som tema. Siktemålet var å belyse teknologiens rolle i forskning på, formidling, tradering og utøving av norsk folkemusikk og - dans. Seminaret samlet ca. 25 deltakere. Åpningsforedraget ble holdt av professor Tellef Kvifte. Han ga en generell betraktning om forholdet mellom musikk og teknologi i vid forstand, der han bl.a. fokuserte på to av de sentrale teknologiene i vår folkemusikkhistorie, nemlig noteskrift og opptaksteknologi. Deretter ga Notto Thelle, daglig leder av Notam, Norsk senter for teknologi i musikk og kunst, et innblikk i hva sentret arbeider med. Thelle tok spesielt for seg et prosjekt som går ut på å gjøre Eivind Grovens renstemmingsautomat tilgjengelig digitalt.
{"title":"Konferanserapportar","authors":"Per Åsmund Omholt, Dan Lundberg, Ingrid Åkesson, Thomas Solomon, Siri Mæland, Daniel Winfree Papuga","doi":"10.52145/mot.v28i0.693","DOIUrl":"https://doi.org/10.52145/mot.v28i0.693","url":null,"abstract":"Norsk folkemusikklags seminar 2014 hadde teknologi som tema. Siktemålet var å belyse teknologiens rolle i forskning på, formidling, tradering og utøving av norsk folkemusikk og - dans. Seminaret samlet ca. 25 deltakere. Åpningsforedraget ble holdt av professor Tellef Kvifte. Han ga en generell betraktning om forholdet mellom musikk og teknologi i vid forstand, der han bl.a. fokuserte på to av de sentrale teknologiene i vår folkemusikkhistorie, nemlig noteskrift og opptaksteknologi. Deretter ga Notto Thelle, daglig leder av Notam, Norsk senter for teknologi i musikk og kunst, et innblikk i hva sentret arbeider med. Thelle tok spesielt for seg et prosjekt som går ut på å gjøre Eivind Grovens renstemmingsautomat tilgjengelig digitalt.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I will analyse the variants of the melody used for the song Petter Dass wrote around 1690 about the 5th commandment. There exist about 100 variants of this melody in different archives in Norway, but not in Sweden or Denmark. It is possible to follow the melody in oral tradition through the 19th and 18th centuries. We don’t know if the melody dates back to Petter Dass himself, but it is possible. In that case there are reasons to assume that the melody was well known already then, which means it must be even older. So the melody seems to be an old Norwegian melody used in oral tradition for hundreds of years.
{"title":"Petter Dass: «Du skal ikke slå i hjel» – En folkemelodi med livskraft gjennom flere århundrer","authors":"Ola Graff","doi":"10.52145/mot.v36i.2130","DOIUrl":"https://doi.org/10.52145/mot.v36i.2130","url":null,"abstract":"In this article I will analyse the variants of the melody used for the song Petter Dass wrote around 1690 about the 5th commandment. There exist about 100 variants of this melody in different archives in Norway, but not in Sweden or Denmark. It is possible to follow the melody in oral tradition through the 19th and 18th centuries. We don’t know if the melody dates back to Petter Dass himself, but it is possible. In that case there are reasons to assume that the melody was well known already then, which means it must be even older. So the melody seems to be an old Norwegian melody used in oral tradition for hundreds of years.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45932681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses how dance forms have developed and spread through the ages and works in particular with the genre that we in Norway call regional dances. In contrast to much other research into dance history, it is the dances as movement patterns that I focus on, rather than their context. Therefore, I will also discuss methodological approaches suitable for such a focus. The conventional method is to study old sources in both writing and images and compare them with dance in the present, Film and video recordings of dance from the last hundred years or so can also be used to make hypotheses about connections. A less common approach, that I have used before, is to build on theories about diffusion processes and the spread of dance forms and dance elements (Bakka, Aksdal & Flem 1992, Bakka 2012). Finally, I present an approach that I believe is new in dance history, although Lisbet Torp did an ethnochoreological description of chain dances somewhat related (Torp 1990). It is the idea of the generative power of the simple basic elements that runs through many dances. By generative power or potential, I mean the property of an element to be able to “give birth” to new variants of itself. In the dances with which we work here, it is especially the couple turnings that provide the basis for the approach through the generative. I compare basic elements in dances that are similar to each other and try to show how it only takes a small change of one basic element for us to get the other. It is similar to what biologists call mutation. I imagine that a basic element that becomes popular and has generative power will develop new variants based on certain fundamental principles laid down in humans. I think it is processes of this kind that have created most of the variety, in the regional as well as in the round dances. We cannot know for sure when the development starts, or in what order the variants come into being, if we cannot date certain variants from other kinds of historical sources.
{"title":"Kva kan dansehistoria fortelja om røtene til bygdedansen?","authors":"Egil Bakka","doi":"10.52145/mot.v36i.2143","DOIUrl":"https://doi.org/10.52145/mot.v36i.2143","url":null,"abstract":"This article discusses how dance forms have developed and spread through the ages and works in particular with the genre that we in Norway call regional dances. In contrast to much other research into dance history, it is the dances as movement patterns that I focus on, rather than their context. Therefore, I will also discuss methodological approaches suitable for such a focus. The conventional method is to study old sources in both writing and images and compare them with dance in the present, Film and video recordings of dance from the last hundred years or so can also be used to make hypotheses about connections. A less common approach, that I have used before, is to build on theories about diffusion processes and the spread of dance forms and dance elements (Bakka, Aksdal & Flem 1992, Bakka 2012). Finally, I present an approach that I believe is new in dance history, although Lisbet Torp did an ethnochoreological description of chain dances somewhat related (Torp 1990). It is the idea of the generative power of the simple basic elements that runs through many dances. By generative power or potential, I mean the property of an element to be able to “give birth” to new variants of itself. In the dances with which we work here, it is especially the couple turnings that provide the basis for the approach through the generative. I compare basic elements in dances that are similar to each other and try to show how it only takes a small change of one basic element for us to get the other. It is similar to what biologists call mutation. I imagine that a basic element that becomes popular and has generative power will develop new variants based on certain fundamental principles laid down in humans. I think it is processes of this kind that have created most of the variety, in the regional as well as in the round dances. We cannot know for sure when the development starts, or in what order the variants come into being, if we cannot date certain variants from other kinds of historical sources.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48435174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anders Heldal (1811–1897) has been regarded as the foremost fiddle maker in Western Norway in the 19th century. He had a large production of Hardanger fiddles and has been considered a continuator of the fiddles made by Isak Botnen (1669–1759). In addition, he repaired and rigged fiddles for many of the leading musicians and violinists of the time. In connection with repairs, he often assembled parts from various instruments, used parts from older instruments in his own fiddles or made new parts for older fiddles, without this being stated on the repair note. To try to describe what characterizes Heldal’s Hardanger fiddle production, I have reviewed and examined a larger selection of fiddles that were either signed by Heldal or were considered Heldal fiddles in connection with the Hardanger fiddle project in 1990s. I have measured and examined the size and shape of his fiddles, described important aspects of the construction of the fiddles, as well as identified and classified key decorative elements. On this basis, I have tried to find out and describe to which extent his fiddles continued the 18th century Hardanger fiddle types from Western Norway and especially Isak Botnen’s fiddles. Finally, I have discussed what place Anders Heldal deserves in the historical development of the Hardanger fiddle in the 19th century. My conclusion is that Anders Heldal in several areas represents a clear continuation of the Hardanger fiddles made by Isak Botnen. Heldal’s fiddles are most similiar to Isak Botnen’s fiddles in the decor, especially when it comes to the fiddle head, the lines on the edges, the use of a center rose on the top, and the design of the fingerboard and string holder. If, on the other hand, we look at the size, shape and construction, the fiddles made by Johannes Bårdsen Tveit (1786–1847) have as much in common with Isak Botnen’s fiddles as Heldal’s instruments.
{"title":"Felemakeren Anders Heldal","authors":"Bjørn Aksdal","doi":"10.52145/mot.v36i.2132","DOIUrl":"https://doi.org/10.52145/mot.v36i.2132","url":null,"abstract":"Anders Heldal (1811–1897) has been regarded as the foremost fiddle maker in Western Norway in the 19th century. He had a large production of Hardanger fiddles and has been considered a continuator of the fiddles made by Isak Botnen (1669–1759). In addition, he repaired and rigged fiddles for many of the leading musicians and violinists of the time. In connection with repairs, he often assembled parts from various instruments, used parts from older instruments in his own fiddles or made new parts for older fiddles, without this being stated on the repair note. To try to describe what characterizes Heldal’s Hardanger fiddle production, I have reviewed and examined a larger selection of fiddles that were either signed by Heldal or were considered Heldal fiddles in connection with the Hardanger fiddle project in 1990s. I have measured and examined the size and shape of his fiddles, described important aspects of the construction of the fiddles, as well as identified and classified key decorative elements. On this basis, I have tried to find out and describe to which extent his fiddles continued the 18th century Hardanger fiddle types from Western Norway and especially Isak Botnen’s fiddles. Finally, I have discussed what place Anders Heldal deserves in the historical development of the Hardanger fiddle in the 19th century. \u0000My conclusion is that Anders Heldal in several areas represents a clear continuation of the Hardanger fiddles made by Isak Botnen. Heldal’s fiddles are most similiar to Isak Botnen’s fiddles in the decor, especially when it comes to the fiddle head, the lines on the edges, the use of a center rose on the top, and the design of the fingerboard and string holder. If, on the other hand, we look at the size, shape and construction, the fiddles made by Johannes Bårdsen Tveit (1786–1847) have as much in common with Isak Botnen’s fiddles as Heldal’s instruments.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46000909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The point of departure for this article has been personal experiences and feedback from Irish and Scottish researchers and traditional musicians that the Norwegian traditional singing, kveding, resembles sean-nós singing. I have met traditional musicians, singers and researchers in Ireland and Scotland who compare selected melodies from Setesdal, Norway to the “old style” of singing in these countries. The research questions have become: How do the informants respond to performances of a selection of setesdalstev, and how do they describe these experiences? What eventual similarities between kveding of stev from Setesdal and sean-nós singing are identified by the informants? The research is based on empirical material consisting of videotaped interviews with Irish and Scottish researchers, traditional singers and musicians. Audio material from archives, commercial recordings, transcriptions and literature on the subject also form part of the material. The methodological approach has been a presentation of stev from Setesdal via live performance and sound recordings. Participant responses to stev melodies form the basis for a comparison and analysis of different stylistic traits. The respons refer to special traits of kveding of setesdalsstev which are also found in Irish and Scottish sean-nós song.
{"title":"Kveding av setesdalsstev og irsk/skotsk \"sean-nós singing\"","authors":"Ragnhild Furholt","doi":"10.52145/mot.v36i.2131","DOIUrl":"https://doi.org/10.52145/mot.v36i.2131","url":null,"abstract":"The point of departure for this article has been personal experiences and feedback from Irish and Scottish researchers and traditional musicians that the Norwegian traditional singing, kveding, resembles sean-nós singing. I have met traditional musicians, singers and researchers in Ireland and Scotland who compare selected melodies from Setesdal, Norway to the “old style” of singing in these countries. The research questions have become: How do the informants respond to performances of a selection of setesdalstev, and how do they describe these experiences? What eventual similarities between kveding of stev from Setesdal and sean-nós singing are identified by the informants? \u0000The research is based on empirical material consisting of videotaped interviews with Irish and Scottish researchers, traditional singers and musicians. Audio material from archives, commercial recordings, transcriptions and literature on the subject also form part of the material. The methodological approach has been a presentation of stev from Setesdal via live performance and sound recordings. Participant responses to stev melodies form the basis for a comparison and analysis of different stylistic traits. The respons refer to special traits of kveding of setesdalsstev which are also found in Irish and Scottish sean-nós song.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44416731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the formation of Estonia-Swedish musical self-images during the interwar period. The question that is raised is what influence the relation between a cultural minority, Estonia-Swedes, and its historical land of origin, Sweden, had on the minority’s image-creation. The case-study analyses the first Sweden tour ever with an Estonia-Swedish music group. The tour consisted of performances both in churches and in the open-air-museum Skansen in Stockholm among a couple of other places. At Skansen, the choir performed the play Ett bondbröllop från Wormsö (A Farmers’ Wedding from Ormsö) that was written specially for the tour. The research material consists of archive material with the musical expressions used on stage, articles in newspapers about the performances and other texts related to the persons and organisations behind the arranging of the tour. Seen as a whole, the tour expresses two cultural belongings: the pan-Swedish and the Estonia-Swedish. Pan-Swedishness focuses on bounds with an imagined pan-Swedish community expressed by spritual and patriotic songs in standard Swedish. Estonia-Swedishness, on the other hand, is based on a revived repertoire of wedding songs and dances from the mid-19th century that expresses uniqueness using a well-known cultural mould – the farmers’ wedding.
{"title":"Estlandssvenskar på Sverigeturné med körsång och ett bondbröllop på Skansen","authors":"Sofia Gylling","doi":"10.52145/mot.v36i.2133","DOIUrl":"https://doi.org/10.52145/mot.v36i.2133","url":null,"abstract":"This article discusses the formation of Estonia-Swedish musical self-images during the interwar period. The question that is raised is what influence the relation between a cultural minority, Estonia-Swedes, and its historical land of origin, Sweden, had on the minority’s image-creation. The case-study analyses the first Sweden tour ever with an Estonia-Swedish music group. The tour consisted of performances both in churches and in the open-air-museum Skansen in Stockholm among a couple of other places. At Skansen, the choir performed the play Ett bondbröllop från Wormsö (A Farmers’ Wedding from Ormsö) that was written specially for the tour. The research material consists of archive material with the musical expressions used on stage, articles in newspapers about the performances and other texts related to the persons and organisations behind the arranging of the tour. Seen as a whole, the tour expresses two cultural belongings: the pan-Swedish and the Estonia-Swedish. Pan-Swedishness focuses on bounds with an imagined pan-Swedish community expressed by spritual and patriotic songs in standard Swedish. Estonia-Swedishness, on the other hand, is based on a revived repertoire of wedding songs and dances from the mid-19th century that expresses uniqueness using a well-known cultural mould – the farmers’ wedding.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47806080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The publication of Thomas Percy’s anthology Reliques of Ancient English Poetry (1765) not only marked a new interest in the old medieval ballads themselves, but provided contemporary writers with dramatic literary motifs. Especially erotic ghost stories became fashionable. One of the most prominent ghost story writers was Matthew Gregory Lewis. In 1796 he published what was to become one of the most influential Gothic novels at the time, The Monk, containing several ballads of Lewis’ own creation. One of these, «Alonzo the Brave», became a classic. Almost immediately it was translated to Swedish and Danish. In Sweden, the ballad about the bold warrior Alonzo and his fiance Imogine became immensely popular as a broadside ballad (skilling ballad). Later it was translated to Norwegian, where the text was shortened and in some ways simplified. It seems that the ballad collector Sophus Bugge was the first to come across the ballad in Norwegian oral tradition. This was in the 1860s, but probably the translation was made quite a few years before that. Furthermore, in some cases the ballad story was transformed to a prose tale. Especially the prose tale told by Inger Marie Fallet from Sørum is of high quality, showing that there was no unsurmountable distinction between tales in verse and prose.
{"title":"«En Ridder saa bold og en Frøken saa grand» – spøkelsesdikting i vers og på prosa","authors":"Olav Solberg","doi":"10.52145/mot.v35i.2060","DOIUrl":"https://doi.org/10.52145/mot.v35i.2060","url":null,"abstract":"The publication of Thomas Percy’s anthology Reliques of Ancient English Poetry (1765) not only marked a new interest in the old medieval ballads themselves, but provided contemporary writers with dramatic literary motifs. Especially erotic ghost stories became fashionable. One of the most prominent ghost story writers was Matthew Gregory Lewis. In 1796 he published what was to become one of the most influential Gothic novels at the time, The Monk, containing several ballads of Lewis’ own creation. One of these, «Alonzo the Brave», became a classic. Almost immediately it was translated to Swedish and Danish. In Sweden, the ballad about the bold warrior Alonzo and his fiance Imogine became immensely popular as a broadside ballad (skilling ballad). Later it was translated to Norwegian, where the text was shortened and in some ways simplified. It seems that the ballad collector Sophus Bugge was the first to come across the ballad in Norwegian oral tradition. This was in the 1860s, but probably the translation was made quite a few years before that. Furthermore, in some cases the ballad story was transformed to a prose tale. Especially the prose tale told by Inger Marie Fallet from Sørum is of high quality, showing that there was no unsurmountable distinction between tales in verse and prose.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47542115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is the first comprehensive study that explores different types of barrel organs before the production of cylinder barrel organs started in the village of Steinkjer in Norway in the 1850s. The first reported performance of barrel organs took place in the homes of the bourgeoisie in the second half of the 18th century, and later from the 1830s increasingly more often in public places. In contrast to these instruments, owned by travelling Italian performers, a few rather expensive imported English church and chamber barrel organs are now part of the collections in Norway. The article shows that these instruments had a varied repertoire: hymns, older and contemporary dance melodies. In addition, the smaller bird organ, (French, serinette), with a repertoire predominantly of marches, dances, and songs from operas was also imported and used in Norway in this period. The article investigates and gives an overview of various organ builders, artisans and clockmakers that cared for the instruments. It also demonstrates the different uses and functions of the performed music. Thus, this study of the instruments, repertories and culture is relevant to gain a further understanding of the later emergence of the Steinkjer barrel culture in the second half of the 19th century.
{"title":"Cylinderpositiv i Norge fram till 1850 – typer och traditioner","authors":"Mats Krouthén","doi":"10.52145/mot.v35i.2059","DOIUrl":"https://doi.org/10.52145/mot.v35i.2059","url":null,"abstract":"The article is the first comprehensive study that explores different types of barrel organs before the production of cylinder barrel organs started in the village of Steinkjer in Norway in the 1850s. The first reported performance of barrel organs took place in the homes of the bourgeoisie in the second half of the 18th century, and later from the 1830s increasingly more often in public places. In contrast to these instruments, owned by travelling Italian performers, a few rather expensive imported English church and chamber barrel organs are now part of the collections in Norway. The article shows that these instruments had a varied repertoire: hymns, older and contemporary dance melodies. In addition, the smaller bird organ, (French, serinette), with a repertoire predominantly of marches, dances, and songs from operas was also imported and used in Norway in this period. The article investigates and gives an overview of various organ builders, artisans and clockmakers that cared for the instruments. It also demonstrates the different uses and functions of the performed music. Thus, this study of the instruments, repertories and culture is relevant to gain a further understanding of the later emergence of the Steinkjer barrel culture in the second half of the 19th century.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48964782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present text describes a combined artistic research and recording project of fiddle tunes from the second half of the 18th century in the county of Hälsingland in Sweden. Through studies of older interpretative practices within art and folk music traditions, the project Brudlåtar (2018) was initiated to revitalize and reconstruct the performances of a selection of fiddle tunes. The tunes that were chosen have some common features with the violin sonatas from the baroque and classical periods and were put together into suites where a general bass part was added to strengthen the sound of the 18th century. The study draws on Paul Ricœur’s (1984) mimesis theory and his ideas on transmission of tradition, revitalization and reconstruction. It discusses the various difficulties and opportunities that the interpreter encounters in relation to conventions and source material, and it shows how the cognitive achievements concerning interpretation from traditional music as well as early music, may enrich each other.
{"title":"Rekonstruktion och revitalisering av äldre svenska spelmanslåtar","authors":"Thomas Von Wachenfeldt","doi":"10.52145/mot.v35i.2057","DOIUrl":"https://doi.org/10.52145/mot.v35i.2057","url":null,"abstract":"The present text describes a combined artistic research and recording project of fiddle tunes from the second half of the 18th century in the county of Hälsingland in Sweden. Through studies of older interpretative practices within art and folk music traditions, the project Brudlåtar (2018) was initiated to revitalize and reconstruct the performances of a selection of fiddle tunes. The tunes that were chosen have some common features with the violin sonatas from the baroque and classical periods and were put together into suites where a general bass part was added to strengthen the sound of the 18th century. The study draws on Paul Ricœur’s (1984) mimesis theory and his ideas on transmission of tradition, revitalization and reconstruction. It discusses the various difficulties and opportunities that the interpreter encounters in relation to conventions and source material, and it shows how the cognitive achievements concerning interpretation from traditional music as well as early music, may enrich each other.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48917794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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