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Mastergradsavhandling Mastergradsavhandling Arne Anderdal ”Denna raringen der, ja”! Ein studie av runddansmusikk spelt på hardingfele av utøvarar frå Hallingdal. Fakultet for estetiske fag, folkekultur og lærerutdanning Mastergradsavhandling i tradisjonskunst 2014 Arne Anderdal ”Denna raringen der, ja”! Ein studie av runddansmusikk spelt på hardingfele av utøvarar frå Hallingdal. Høgskolen i Telemark Fakultet for estetiske fag, folkekultur og lærarutdanning Høgskolen i Telemark Fakultet for estetiske Institutt for folkekultur Neslandsvegen 402 3864 Rauland http://www.hit.no © 2014 Arne Anderdal Denne avhandlinga representerer 60 studiepoeng 2 Samandrag Denne oppgåva tek for seg runddansmusikk spelt på hardingfele av utøvarar frå Hallingdal. Med runddans meiner ein her vals, reinlender, polka og masurka som var dansetypar som vart etablert i Noreg i løpet av 1800-talet. I arbeidet med oppgåva er det gjort ei innsamling i folkemusikkarkiva det var sannsynleg hadde opptak med utøvarar frå Hallingdal. Dette for å få ei samla oversikt over det totale materialet som har vore brukt her. Oppgåva set fokus på runddansmusikken både musikalsk, biografisk og historisk. Dette er gjort for å setja musikken og utøvarane inn i ein samanheng og for å sjå musikken i ein heilskap. Musikalsk er sju slåttar plukka ut for ei nærare analyse, gjort i eit utøvarperspektiv der målet har vore å kunne beskrive særdrag i musikken. I analysen har det blitt sett på motiv, slåtteoppbygging (periodisering), fingersetjing og strøkfigurar. Musikken etablerte seg i ei tid då det var store omveltingar i Noreg, der nasjonsbygging og etablering av organisasjonar som skulle arbeide for det norske uttrykket i folkemusikken vart viktige element. Oppgåva er og inne på kva konsekvensar det fekk for runddansen. 3 Abstract This thesis presents a study of runddans music played on the Hardanger fiddle by performers from the Hallingdal district. The term runddans refers to vals, reinlender, polka, and masurka, which are dance types that were established in Norway during the 1800s. During work on the thesis, relevant material was collected from folk music archives that were likely to hold recordings of performers from Hallingdal. In this way, it has been possible to make a comprehensive survey of runddans music that has been played in Hallingdal. The thesis focuses on runddans music both musically, biographically, and historically. Through this approach, the music and the performers are placed in a context, and it is possible to examine the music as a whole. Seven tunes were selected for detailed musical analyses made from a performer’s perspective, in which the goal has been to describe characteristic elements in the music. In the analyses, musical motifs, tune construction, fingerings, and bowing patterns have been studied. This music was established during a period of great upheaval in Norway, during which the cultivation of a national identity, as well as the establishment of organizations that promoted Norwegian qualities in folk music were important elements. The thesis also examines the impact of these elements on runddans music. 4 Innhaldsliste Samandrag............................................................................................................................3 Abstract.................................................................................................................................4 Innhaldsliste..........................................................................................................................5 1 Innleiing............................................................................................................................9 1.1 Bakgrunn og motivasjon for oppgåva ................................................................................................. 9 1.2 Problemstilling ..................................................................................................................................... 10 1.3 Avgrensing og begrepsavklaring........................................................................................................ 11 2 Metode............................................................................................................................12 2.1 Historisk kjeldegransking................................................................................................................... 12 2.2 Slåtteanalyse......................................................................................................................................... 13 2.3 Analyseverktøy..................................................................................................................................... 14 2.4 Analysemal ........................................................................................................................................... 14 2.5 Kritisk refleksjon av metode .............................................................................................................. 17 3 Hallingdal.......................................................................................................................18 3.1 Instrumental folkemusikk i Hallingdal.............................................................................................. 19 3.2 Dans i Hallingdal ................................................................................................................................. 20 3.3 Spelemannshistorie.............................................................................................................................. 22 3.4 Hallingspel............................................................................................................................................ 25 3.5 Tradisjonsområde................................................................................................................................ 27 4 Runddans .......................................................................................................................29 4.1 Kva er runddans? ................................................................................................................................ 29 4.2 Stiluttrykk ............................................................................................................................................ 30 4.3 Historiske spor ..................................................................................................................................... 31 5 Runddans frå Hallingdal i arkiva................................................................................38 5.1 Bruk av arkivmateriale ....................................................................................................................... 43 5.2 Arkivopptak som læremeister ............................................................................................................ 45 6 Analyse ...........................................................................................................................49 6.1 Gamal reinlender frå Flå .................................................................................................................... 49 6.2 Masurka................................................................................................................................................ 51 5 6.3 Vals etter Per Hesla ............................................................................................................................. 53 6.4 Reinlender etter Tor Grimsgard ........................................................................................................ 55 6.5 Reinlender etter Lars Skardet............................................................................................................ 58 6.6 Vals på nedstilt..................................................................................................................................... 60 6.7 Gamal vals på nedstilt ......................................................................................................................... 61 6 Runddansen på hardingfele i Hallingdal – kulturhistorisk plassering og oppsummerande diskusjon................................................................................................64 6.1 Diskusjon .............................................................................................................................................. 67 6.2 Sluttord ................................................................................................................................................. 70 Referansar/litteraturliste...................................................................................................71 6 Føreord Eg byrja å spela hardingfele i Hemsedal Spelemannslag tidleg på 1980-talet med blant andre Knut Fausko, Kjell og Egil Syversbråten som lærarar. I denne tida vart og Hallingdal Juniorspelemannslag og Hallingdal Låtelag skipa og eg vart aktiv i folkemusikkmiljøet i Hallingdal. Hemsedal Spelemannslag var eit aktivt lag som spelte mykje til dans og underhaldning på 1980 og 1990-talet. Laget deltok også på kappleikar og var ein del av det organiserte arbeidet i Landslaget for spelemenn. I Hemsedal Spelemannslag hadde me kontakt med spelemenn og musikarar frå mange kantar av landet, i tillegg til å hente slåttar frå diverse kjelder i Hallingdal. Med ei vid kontaktflate var og repertoaret vårt prega av stor breidde der bygdedansmusikk og runddansmusikk var jamstilt. Det opplevde eg ikkje i så stor grad i andre hardingfelemiljø
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