The Swedish/Finnish folk- and world music group Hedningarna combined traditional music with an energetic, drone-based “mystical” sound. Throughout the band’s career, they would consistently use traditional acoustic “folk” instruments, with the acoustic sound typically amplified and modified. In this article we discuss the inception and development of one of their custom instruments, the mora-oud, which combined the body of a medieval style keyed fiddle (a mora-harp) with a fretless lute neck. The material (mainly interviews, auto-ethnographic descriptions and social media discussions) suggests that some of the mora-harps meaning potential, such as a sense of ancientness and “Nordic-ness”, followed into the mora-oud. This was combined with certain sonic and tonal resemblances with the Arabic oud, as well as its visual qualities and ease of amplification, to afford an instrument that fitted congenially with the global world music scene in which Hedningarna was a major player, especially during the 1990s. The instrument became an important part of the band’s sound as well as of their strategies to handle and sometimes link together their musical, cultural and political contexts, both on stage and in the studio. In the conclusion we discuss how serendipity and fantasy were important aspects in how the instrument was conceived and developed.
{"title":"Hedningarnas moraoud: innovation, fantasi och nygamla musikinstrument","authors":"Daniel Fredriksson, Hållbus Totte Mattsson","doi":"10.52145/mot.v35i.2058","DOIUrl":"https://doi.org/10.52145/mot.v35i.2058","url":null,"abstract":"The Swedish/Finnish folk- and world music group Hedningarna combined traditional music with an energetic, drone-based “mystical” sound. Throughout the band’s career, they would consistently use traditional acoustic “folk” instruments, with the acoustic sound typically amplified and modified. In this article we discuss the inception and development of one of their custom instruments, the mora-oud, which combined the body of a medieval style keyed fiddle (a mora-harp) with a fretless lute neck. The material (mainly interviews, auto-ethnographic descriptions and social media discussions) suggests that some of the mora-harps meaning potential, such as a sense of ancientness and “Nordic-ness”, followed into the mora-oud. This was combined with certain sonic and tonal resemblances with the Arabic oud, as well as its visual qualities and ease of amplification, to afford an instrument that fitted congenially with the global world music scene in which Hedningarna was a major player, especially during the 1990s. The instrument became an important part of the band’s sound as well as of their strategies to handle and sometimes link together their musical, cultural and political contexts, both on stage and in the studio. In the conclusion we discuss how serendipity and fantasy were important aspects in how the instrument was conceived and developed.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45161358","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 investigates and discusses possible explanations for unconventional intonation practices in Norwegian Hardanger fiddle tunes. Software measurements of archive recordings, mainly of the Telemark fiddler Johannes Dahle (1890–1980), have given access to relevant visual and numerical data. The results show that the conventional diatonic system is not suitable as an analytical tool for intonation practices within this genre. The article presents examples of intonation patterns linked to a genre-specific tolerance and suggest that such patterns, which involves variability and step sizes between the whole step and the semitone, are governed both by the idiomatic left-hand technique, acoustic factors and by choices made possible by a normative and aesthetic framework, including expressive freedom.
{"title":"Å male i blått – om måling av intonasjon på hardingfele","authors":"Per Åsmund Omholt","doi":"10.52145/mot.v35i.2056","DOIUrl":"https://doi.org/10.52145/mot.v35i.2056","url":null,"abstract":"This article investigates and discusses possible explanations for unconventional intonation practices in Norwegian Hardanger fiddle tunes. Software measurements of archive recordings, mainly of the Telemark fiddler Johannes Dahle (1890–1980), have given access to relevant visual and numerical data. The results show that the conventional diatonic system is not suitable as an analytical tool for intonation practices within this genre. The article presents examples of intonation patterns linked to a genre-specific tolerance and suggest that such patterns, which involves variability and step sizes between the whole step and the semitone, are governed both by the idiomatic left-hand technique, acoustic factors and by choices made possible by a normative and aesthetic framework, including expressive freedom.","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":"48927050","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 Norwegian author Arne Garborg (1851-1924) was one of Europe's foremost intellectuals with a production of novels, short stories, poetry and articles, covering many fields and with a vast number of readers both in Norway and elsewhere. As a young man Garborg had learnt to play the fiddle. Later on, he learnt to play the Hardanger fiddle. The Norwegian public debate at the turn of the previous century witnessed a polarization between rural and urban ideological values, and Arne Garborg became the main spokesman for the rural part. The article raises two questions: What does one actually know about Arne Garborg's fiddle playing? In what ways did the (Hardanger) fiddle and folk music influence Garborg's life and ideological standpoints? This article follows two perspectives. First; music and fiddle playing seems to have been Garborg's lifelong companions. Secondly; the Norwegianism movement, which Garborg became the main spokesman for, became a leading factor in the Norwegian public debate more or less at the same time as the Hardanger fiddle gained status as Norway's national instrument. Drawing on different types of sources (written, graphic, and eyewitness), this article investigates the presence of music in Garborg's life and shows that he can be regarded as a good amateur musician capable of expressing himself on both the fiddle and the Hardanger fiddle, and with a solid knowledge of Norwegian folk music. This opens for reflections regarding to what extent Arne Garborg may have looked upon folk music, folk dance, fiddle and Hardanger fiddle playing as vital parts of rural values worth pursuing for the Norwegianism movement.
{"title":"Arne Garborg og fela","authors":"Bjørn Sverre Kristensen","doi":"10.52145/mot.v34i.1922","DOIUrl":"https://doi.org/10.52145/mot.v34i.1922","url":null,"abstract":"The Norwegian author Arne Garborg (1851-1924) was one of Europe's foremost intellectuals with a production of novels, short stories, poetry and articles, covering many fields and with a vast number of readers both in Norway and elsewhere. As a young man Garborg had learnt to play the fiddle. Later on, he learnt to play the Hardanger fiddle. The Norwegian public debate at the turn of the previous century witnessed a polarization between rural and urban ideological values, and Arne Garborg became the main spokesman for the rural part. The article raises two questions: What does one actually know about Arne Garborg's fiddle playing? In what ways did the (Hardanger) fiddle and folk music influence Garborg's life and ideological standpoints? \u0000This article follows two perspectives. First; music and fiddle playing seems to have been Garborg's lifelong companions. Secondly; the Norwegianism movement, which Garborg became the main spokesman for, became a leading factor in the Norwegian public debate more or less at the same time as the Hardanger fiddle gained status as Norway's national instrument. Drawing on different types of sources (written, graphic, and eyewitness), this article investigates the presence of music in Garborg's life and shows that he can be regarded as a good amateur musician capable of expressing himself on both the fiddle and the Hardanger fiddle, and with a solid knowledge of Norwegian folk music. This opens for reflections regarding to what extent Arne Garborg may have looked upon folk music, folk dance, fiddle and Hardanger fiddle playing as vital parts of rural values worth pursuing for the Norwegianism movement.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45744768","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 aspects of the epistemology of practice. It defines the term practice to mean bodily actions, that usually have names and are considered as repeated or reoccurring in society and often based upon advanced skills. Examples could be ice skating, playing a fiddle tune, braiding hair, making a vegetable soup or dancing the waltz. The article addresses the methodology in the Safeguarding of Intangible Cultural Heritage at one narrow, specific and concrete point; a mechanism I call linearisation. I oppose this to practices that are not regulated into an authorised form but often has many alternatives in its structure; points where the practitioner can choose between several options. I call this a multi-track practice. What I discuss is how the multi-track practices tend to be linearised into one line of elements in a fixed order.
{"title":"Multi-Track Practices and Linearisation","authors":"E. Bakka","doi":"10.52145/mot.v34i.1921","DOIUrl":"https://doi.org/10.52145/mot.v34i.1921","url":null,"abstract":"This article discusses aspects of the epistemology of practice. It defines the term practice to mean bodily actions, that usually have names and are considered as repeated or reoccurring in society and often based upon advanced skills. Examples could be ice skating, playing a fiddle tune, braiding hair, making a vegetable soup or dancing the waltz. The article addresses the methodology in the Safeguarding of Intangible Cultural Heritage at one narrow, specific and concrete point; a mechanism I call linearisation. I oppose this to practices that are not regulated into an authorised form but often has many alternatives in its structure; points where the practitioner can choose between several options. I call this a multi-track practice. What I discuss is how the multi-track practices tend to be linearised into one line of elements in a fixed order.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42644629","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 Nordtrad network was established in 1999 and has since 2000 arranged an annual gathering for students and teachers from the higher educations of folk/traditional music in the Nordic and Baltic countries. This article investigates how the participants experience these gatherings. Do they have impact on the repertoires or playing styles among the young traditional players in our countries, or are other aspects more important when it comes to what is achieved? The article draws on interviews with teachers and students, document studies and my own experiences as a participant through many years. It shows how these gatherings have become important places for participants to meet and exchange musical ideas and tunes, and to raise knowledge of how folk music is performed in the different countries. The Nordtrad network also contributes to a collective sense of belonging across geographies and cultures. Folk- and traditional music is in many ways defined by history and tradition. In light of Nordtrad I reflect upon the genre specific aspects and the choices that have been made when building higher educations in folk/traditional music.
{"title":"Møter gjennom folkemusikk; fellesskap og særtrekk","authors":"Ragnhild Knudsen","doi":"10.52145/mot.v34i.1923","DOIUrl":"https://doi.org/10.52145/mot.v34i.1923","url":null,"abstract":"The Nordtrad network was established in 1999 and has since 2000 arranged an annual gathering for students and teachers from the higher educations of folk/traditional music in the Nordic and Baltic countries. This article investigates how the participants experience these gatherings. Do they have impact on the repertoires or playing styles among the young traditional players in our countries, or are other aspects more important when it comes to what is achieved? The article draws on interviews with teachers and students, document studies and my own experiences as a participant through many years. It shows how these gatherings have become important places for participants to meet and exchange musical ideas and tunes, and to raise knowledge of how folk music is performed in the different countries. The Nordtrad network also contributes to a collective sense of belonging across geographies and cultures. Folk- and traditional music is in many ways defined by history and tradition. In light of Nordtrad I reflect upon the genre specific aspects and the choices that have been made when building higher educations in folk/traditional music.","PeriodicalId":52709,"journal":{"name":"Musikk og Tradisjon","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399250","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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