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Signifyin' Vigdal The University of Bergen / Universitetet i Bergen Grieg Academy - Department of Music / Griegakademiet - institutt for musikk Master’s Thesis in Ethnomusicology / Hovedfagsavhandling i etnomusikologi 2003 Signifyin’ Vigdal Aspects of the Ragnar Vigdal Tradition and the Revival of Norwegian Vocal Folk Music David-Emil Wickström Studentnr. 146745 Table of Contents 0: Preface p. iv 1: Introduction p. 1 2: Theoretical Frames and References p. 3 2.1: Entering the Realm of Folk Music: Its History and Previous Research p. 3 2.1.1: A Brief History of the Awareness of Norwegian Vocal Folk Music p. 3 2.1.2: Previous Research p. 5 2.2: What are we looking at? My Approach p. 6 2.2.1: Meet the Norwegian “Folk” and its Music p. 6 2.3: Applied Theory p. 8 2.3.1: Musical Revivals p. 10 2.3.2: Entextualization, Decontextualization and Recontextualization p. 17 2.3.3: Signification and Signifyin’ p. 22 2.4: Research Problem p. 25 2.5: Summary p. 25 3: Methodology p. 27 3.1: Research strategy p. 27 3.1.1: The Informants p. 28 3.1.2: The Source - Ragnar Vigdal p. 32 3.1.3: The Data p. 32 3.1.4: Transcriptions p. 33 3.1.5: Computer Based Analysis p. 33 3.1.6: Translations and Foreign Words p. 34 3.2: Problems with the Definition of Categories p. 34 3.2.1: Dialect p. 35 3.2.2: Singing on Vowels or Consonants p. 37 3.2.3: Ornaments p. 37 3.2.4: Vibrato p. 37 3.2.5: Melody p. 38 3.3: Definitions of Important Terms p. 38 3.4: Summary p. 39 4: Delineating Norwegian Vocal Folk Music p. 40 4.1: General – What is Vocal Folk Music? p. 40 4.1.1: General Considerations p. 41 4.1.2: Stylistic Aspects p. 42 4.1.3: The Ragnar Vigdal Tradition p. 44 4.2: Melody p. 45 4.2.1: Emphasis on Performance p. 45 4.2.2: Emphasis on Melody and Lyrics p. 46 4.2.3: Emphasis on Intonation / Phrasing p. 46 4.3: Ornaments p. 47 4.3.1: Types of Ornaments p. 47 4.3.2: Where are They Sung p. 49 4.3.3: How They are Sung p. 50 4.3.4: Vibrato p. 50 4.4: Timbre p. 51 4.4.1: Sound Quality and Location p. 51 4.5: Rhythm p. 52 i 4.6: Lyrics p. 54 4.6.1: Dialect p. 54 4.6.2: Diction p. 55 4.6.3: Vowels vs. Consonants p. 56 4.7: Phrasing p. 56 4.7.1: Breathing p. 57 4.7.2: Pauses p. 57 4.8: Tonality p. 57 4.8.1: Used Terms p. 58 4.8.2: The Characteristics of Tonality p. 58 4.8.3: How the Sources use Tonality p. 59 4.8.4: How the Singers use Tonality p. 59 4.8.5: Tonality and Other Instruments p. 61 4.9: Summary p. 61 5: Analysis p. 65 5.1: “Jygri sit på Jutulaberg” p. 72 5.1.1: Lyrics p. 73 5.1.2: Melody p. 76 5.1.3: Ornaments p. 76 5.1.4: Timbre p. 79 5.1.5: Rhythm p. 79 5.1.6: Phrasing p. 80 5.1.7: Tonality p. 84 5.1.8: Summary p. 90 5.2: “Himmelske Fader” p. 93 5.2.1: Lyrics p. 94 5.2.2: Melody p. 97 5.2.3: Ornaments p. 97 5.2.4: Timbre p. 99 5.2.5: Rhythm p. 99 5.2.6: Phrasing p. 100 5.2.7: Tonality p. 101 5.2.8: Summary p. 105 5.3: Conclusion p. 106 6: Listening to my Informants – How my Informants Perceive the Songs Analyzedp. 109 6.1: Why is this Recording Different from all other Recordings? p. 110 6.1.1: “Jygri” p. 110 6.1.2: “Himmelske Fader” p. 113 6.1.3: What Was Heard? p. 115 6.2: Academia Meets the Performers p. 116 6.2.1: General Aspects p. 116 6.2.2: Timbre p. 116 6.2.3: Ornaments and Bending p. 117 6.2.4: Tonality p. 118 6.2.5: Vibrato p. 119 6.2.6: Rhythm p. 119 6.2.7: Lyrics p. 119 6.2.8: Dialect p. 120 6.2.9: Vowels vs. Consonants p. 120 ii 6.2.10: Phrasing p. 121 6.3: Summing It Up p. 121 7: Concluding Remarks p. 123 7.1: “Über den Tellerrand hinaus” p. 125 8: Bibliography and Discography p. 127 8.1: Bibliography p. 127 8.2: Discography p. 131 8.3: Videography p. 132 8.4: Interviews p. 132 Appendix A: Lyrics p. 133 A.1: “Jygri” p. 133 A.1.1: Sung by Ragnar Vigdal (29.10.1984) p. 133 A.1.2: Sung by Ragnar Vigdal (16.06.1985) p. 133 A.1.3: Sung by Gunnhild Sundli / Gåte (2002) p. 134 A.2: “Himmelske Fader” p. 135 A.2.1: Sung by Ragnar Vigdal (1979) p. 135 A.2.2: Sung by Berit Opheim (1993) p. 136 Appendix B: Chart Data p. 138 B.1: Data for the Charts in Chapter 5.1.6. “Phrasing” (p. 80) p. 138 B.2: Data for the Charts in Chapter 5.1.7. “Tonality” (p. 84) p. 139 B.3: Data for the Charts in Chapter 5.2.7. “Tonality” (p. 101) p. 142 Appendix C: List of Figures p. 147 Appendix D: List of Tables p. 148 Appendix E: List of Examples p. 149 Appendix F: Music Examples Provided on the Included CD p. 150 iii 0. Preface Picture it: Bergen, 2001 – a young, not so handsome boy arrives in his country of birth following a 13 year Diaspora. During those 13 years abroad, one of his top priorities had been to return to his native city. This desire was fueled by strong feelings of nostalgia and a feeling of local identity, which of course was a construction, this lad being too cosmopolitan even in his early years in Norway… As Sophia from Golden Girls1 uses the image “Picture it:...” and Sicily partly to invoke nostalgia for her homeland, she also uses it to (usually) prove a point. In my case, both points are identical. Nostalgia is what links my personal background to musical revivals and to this research project. I left Norway at the age of 10 and created a picture of an idealized Norway, to which I longed to return, while living in Linz, Austria and Berlin, Germany (and anybody who knows me from that time knows that I was a true Norwegian patriot - despite I never having actually possessed the Norwegian citizenship2). When I returned to Norway in August 2001 that picture of course did not correspond with reality. Even though I knew very deep down that my vision of Norway was a construct, it still came as a minor shock – and I dearly missed (and still miss) Berlin (look, a new nostalgia has been created). But there are two reasons for the discrepancy between my picture of Norway and the real Norway. One is simply that Norway has changed and that I have idealized what I remember from living here. However another aspect is more important – and which also became very clear to me living in Bergen again. Although having claimed to be Norwegian all along, my personality silently has adopted ideas and ideals from living in Austria and (East-)Berlin and being active within the worldwide Esperanto community. While I dislike it when people think I am German, my interaction with these communities have strongly affected who I am today. This is very important to remember when considering the following project. One of the strongest elements of a revival is nostalgia – longing for something, which existed in the past. Some performers today strive to copy elements from the past. However one of my informants said that singers always mirror the stylistic ideals of their time - also the sources that are used today. That is very important. However it is equally important to remember that present day performers 1. A popular sitcom from the mid 80s about four old women living together 2. Just to get the record straight – by birth I was an American and Swedish national and now I am an Austrian and American national. iv also are affected by their own personal background and stylistic ideals linked to that. These directly influence how they perform and can also be heard directly in their presentations. This is what I hope to show in the following project. But before starting the project, I would like to explain how I came to Bergen in 2001. First I would like to thank Prof. Christian Kaden. If it had not been for his lectures on ethnomusicology with a strong focus on the Berliner and Wiener Schule, I would not have heard of Steven Feld. If I had not heard of Steven Feld, I would not have signed up for his seminar in Bergen, Autumn 2001. If I had not signed up for his seminar, I would not have, by mistake, been accepted as a Hovedfagsstudent of ethnomusicology in Bergen. However this thesis would never have been what it became without the help of many, many people. Most important are all my main informants, who enabled me to conduct the research and I would like to thank: Asbjørg Ormberg, Berit Opheim, Bodil Haug, Gunnhild Sundli, Kjersti Wiik, Klaus Vigdal, Solgun Flaktveit, Steffen Eide, and Unni Løvlid! Without them, it would have been impossible to write the following chapters.
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