DOCSLIB.ORG

Download PDF Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download PDF Booklet Folk Music of Norway Front cover photograph: Hardanger fiddle from 1 Fanitullen (The Devil’s Tune) 13 Hamburger-polka fra Hardanger Rauland, Telemark, once owned by the composer Eivind Groven. Knut Buen Hardanger fiddle 14 Springleik fra Jostedalen Back cover photograph: fragment of the Baldishol 2 Kjerringa med staven (The Old Wife with the Staff) Vestlandsgruppa band tapestry from the Oslo Museum of Applied Art Hanne Kjersti Buen singing with 15 Springar fra Hardanger Kunst industrimuseeti Oslo. Knut Buen Hardanger fiddle fiddlers of Vestlandsgruppa Production and notes by L Y Daliot 3 Rotnheimsknut (halling) 16 Slåttestev (dance songs) Recorded in Norway, October and December 1976 and January 1977 4 Gangar etter Myllarguten (walking dance) 17 Haugebonden (ballad) Mastering by Patricius Bryn Knut Buen Hardanger fiddle Agnes Buen Garnås singing Photography by Lavasir Nordrum 5 Møykjaeringsvise (spinster’s song) 18 Fanteladda (dance tune) Sleeve design by Tony Ruxell 6 Threestev about the hulder (cattle songs) 19 I Oletjadden (pastoral melody) First published by TOPIC 1977 A SINAR A/S (OSLO) PRODUCTION 7 So er drengjen i uppvokstre (Boys in Their Youth) Elizabeth Kvaerne langeleik 8 Bånsuller (three lullabies) 20 Når mitt øie, trett av møie Hanne Kjersti Buen singing (When My Eye, Tired of Troubles) (hymn) 9 Katt-Ola-Visa 21 Store Store Gud (Great Great God) (hymn) Edvard Ruud singing Sondre Bratland singing 10 Nordfjordingen (springar) 22 Myllarguten bruremarsj 11 Ramsen (springar) (bridal march by Myllarguten) Hauk Buen Hardanger fiddle 23 Fanitullen (The Devil’s Tune) (second version) 12 Bruremarsj (wedding march) Knut Buen Hardanger fiddle Knut and Hauk Buen Hardanger fiddles Genuine folk music as part of an old and lively national Norwegians of the isolated rural districts are particularly culture is still flourishing in Norway, a country with a wild proud of their folk traditions. Every year in summer-time nature, numerous valleys, snow-covered mountains, lakes, local folk contests called kappleik are held in the various deep forests, glorious fjords, remote communities, dark and districts. Many players, singers and dancers with their long winters and shining summer nights. Norway has a long national costumes participate in these folk festivals. A and rich tradition of musical expression. Norwegian folk kappleik is never arranged for tourists. At rustic weddings music has survived through many generations and historical fiddlers still play the old ceremonial music. Norwegian folk changes. Old folk tunes have kept surprisingly well, better musicians, particularly the fiddlers, are organized in local than in the neighbouring lands and in some of the other groups all over the country and have their committees, industrial countries. The selection on this record represents meetings, publications and common activities. The Folk Music of Norway some of the main types and styles of living folk-playing and Norwegian Broadcasting (NRK) transmits a weekly Sunday singing, with their special sound and moods, from south programme of authentic Norwegian folk music. As a whole, 03 west and central parts of Norway. The players and singers are Norwegian folk music may be characterized as very versatile, some of the most outstanding folk musicians of the younger with old and new things side by side. However, if one wants generation who carry on the folk traditions of their districts. to find the characteristics of genuine Norwegian folk music, it is necessary to look among the old types. Norwegian folk The Hardanger fiddleHardingfele ( ) takes a central place on tunes often have a shape related to the medieval type of this record. This special peasant fiddle, with four melody melody making; the ‘church’ modes are common. Intervals strings and four underlying sympathetic strings, is almost which differ from those used in modern art music very often a national symbol like the bagpipes of the Highlanders. As occur. Theslåtter (old dance tunes) show an audacious and Henrik lbsen describes it in his Peer Gynt, ‘It ripples and ‘irregular’ rhythm. sings like a stream at a waterfall.’ Besides the Hardanger fiddle, the record includes typical folk singing from the farm- life of the farmers and mountaineers, old religious folk songs, ancient echo tunes of the langeleik (a kind of fretted zither) and old-time dances played by a group of country fiddlers. TSDL351 The distinction between the vocal and the instrumental in The strongest foreign influence on West Norwegian folk Norwegian folk music is mainly a practical one. No absolute music has been the Scottish. For centuries there was a close distinction exists. Often we find the same musical motives contact between the Norwegians and the Scots, especially in a vocal melody as in a piece played on folk instruments. from 1500-1800, and it is very likely that Scotsmen brought The tunes and songs included in this record may serve with them songs and instruments with sympathetic strings as evidence of this close connection between vocal and on their trade expeditions to West Norway. We know instrumental folk music. Many of the dance melodies, also that in England, around 1300, there were several wedding marches and other instrumental pieces have instruments which had sympathetic strings. their origin in vocal folk music, and many folk songs have originated in instrumental folk music. Common features Background information and details about Norwegian folk Folk Music of Norway are: musical ornamentation, trills, grace notes and other instruments (Hardanger fiddle and langeleik) the folk music decorations similar to the highly decorated Norwegian rose- and its performers, translations and texts are included here. 04 painting, variations of small basic motives and a rhythm which is always ‘complicated’ and alive. This music, vocal Denne plate inneholder et variert utvalg av norsk vokal og and instrumental, more than any other expresses the basic instrumental folkemusikk i levende tradisjon i dag. Den gir character of the people who produce and make it. et representativt bilde av og utsyn over norsk folkemusikk, slik den lever videre i fortsettelse og utvikling av de gamle Three original tunes (3, 4 and 22) are peasant melodies tradisjoner. Men samtidig er det lagt vekt på den musikalske adapted by Grieg in his famous piano work Slåtter, op. 72. kvalitet, og på at platen skal vaere morsom og interessant å Two compositions for Hardanger fiddle are by the legendary lytte til. fiddler Myllarguten. Fanitullen (track 1) is a piece for Hardanger fiddle used by Johan Halvorsen in his suite for Hardingfela har fått en sentral plass på platen. Denne Hardanger fiddle and orchestra,Fossegrimen . This folk tune, spesielle fiolin, med 4 strenger og 4-5 understrenger, er known in various versions, was a pop hit in Norway and nesten som et nasjonalt symbol. Videre inneholder platen en internationally, a few years ago. The folk singing is generally rekke folkeviser og folkesanger, med emner fra dagliglivet på unaccompanied. Norwegian folk songs (except the hymns) gårder og setre, vakre religiøse folketoner gamle melodier for are usually sung in the various dialects still in everyday use. langeleik, og gammeldans spilt av en gruppe felespillere. These regional dialects have preserved many old forms. The texts of the religious folk songs are usually from old hymn Den norske folkemusikken har en rekke saertrekk, som books (in Danish-Norwegian). atskiller den fra vanlig kunstmusikk, f.eks. brukes ofte andre intervaller, herunder kvarttoner, og skalaer beslektet med gamle kirketonearter. Rytmene, f.eks. i enkelte danser, kan vaere helt spesielle. TSDL351 Melodiene og sangene på denne platen viser den naere 1 Fanitullen (The Devil’s Tune) forbindelse mellom det vokale og instrumentale i norsk This is a very popularslått , similar to a halling (dance), folkemusikk. Ofte finner vi de samme musikalske motiver i which became a hit a few years ago in a pop arrangement. en sang som i et instrumentalstykke. Originally Fanitullen is a traditional tune for Hardanger fiddle. It was used by the Norwegian composer and Rikdommen og omfanget av de gamle tradisjoner i conductor Johan Halvorsen (1864-1935) in his enchanting norsk folkemusikk har gjort den til en uuttømmelig work Fossegrimen (The Elf of the Waterfall), usually heard inspirasjonskilde for norske komponister. På platen høres tre as a suite in which the Hardanger fiddle makes its debut as slåtter som er de samme som ble brukt av Grieg i hans kjente a solo instrument in a modern symphony orchestra. The verk for piano, Slåtter, opus 72. Fanitullen ble også brukt av slått is played in various versions. On this record Fanitullen Folk Music of Norway Johan Halvorsen i hans suite Fossegrimen is performed by Knut Buen in the folk style, full of drive and inspiration, in two versions (at the beginning and end 05 De originale norske tekster til de forskjellige sanger er inkludert i of the record). det illustrerte heftet som følger med platen. 2 Kjerringa med staven (The Old Wife with the Staff) This is a simple folk song with nonsense syllables, known to every child in Norway. Knut and Hanne Kjersti Buen often perform this song in their school concerts with the whole class, pupils and teachers, joining in dancing western springar (a common Norwegian folk-dance). Here, Knut Buen accompanies Hanne Kjersti on the Hardanger fiddle. The song is here combined with another traditional song, Hei, så dansa jenta mi (Hey-ho, my girl danced). Kjerringa med staven høgt oppi Hakkedalen Åtte potter rømme, fire merker smør så kjinna Kari, Ola hadde før Kjerringa med staven høgt oppi Hakkedalen TSDL351 Kjerringa med kjeppen 3 Rotnheimsknut (halling) hoppa over bekken This piece is named after a man called Knut from Hallingdal, Men så dart ho nedi og så blei ho blaut who apparently danced it so well that he became identified Og så drog ho heimatt, og ho koka graut with it. Thehalling is a solo acrobatic dance for men, in 2/4 Kjerringa med kjeppen time.
Load more

Recommended publications
  • Beethoven and Banjos - an Annual Musical Celebration for the UP
    Beethoven and Banjos - An Annual Musical Celebration for the UP Beethoven and Banjos 2018 festival is bringing Nordic folk music and some very unique instruments to the Finnish American Heritage Center in Hancock, Michigan. Along with the musicians from Decoda (Carnegie Hall’s resident chamber group) we are presenting Norwegian Hardanger fiddler Guro Kvifte Nesheim and Swedish Nyckelharpist Anna Gustavsson. Guro Kvifte Nesheim grew up in Oslo, Norway, and started playing the Hardanger fiddle when she was seven years old. She has learned to play the traditional music of Norway from many great Hardanger fiddle players and has received prizes for her playing in national competitions for folk music. In 2013 she began her folk music education in Sweden at the Academy of Music and Drama in Gothenburg. Guro is composing a lot of music, and has a great interest and love for the old music traditions of Norway and Sweden. In 2011 she went to the world music camp Ethno and was bit by the “Ethno-bug”. Since then she has attended many Ethno Camps as a participant and leader, and setup Ethno Norway with a team of fellow musicians. In spring 2015 she worked at the Opera House of Gothenburg with the dance piece “Shadowland”. The Hardanger fiddle is a traditional instrument from Norway. It is called the Hardanger Fiddle because the oldest known Hardanger Fiddle, made in 1651, was found in the area Hardanger. The instrument has beautiful decorations, traditional rose painting, mother-of-pearl inlays and often a lion’s head. The main characteristic of the Hardanger Fiddle is the sympathetic strings that makes the sound very special – it’s like an old version of a speaker that amplifies the sound.
    [Show full text]
  • The Fiddle Traditions the Violin Comes to Norway It Is Believed That The
    The fiddle traditions The violin comes to Norway It is believed that the violin came to that violins from this period were Norway in the middle of the 1600s brought home by, amongst others, from Italy and Germany. This was Norwegian soldiers who fought in probably as a result of upper class wars in Europe. music activities in the towns. But, much suggests that fiddle playing was known in the countryside before this. Already around 1600 ‘farmer fiddles’ are described in old sources, and named fiddlers are also often encountered. We know of the Hardanger fiddle from the middle of the 1600s, which implies that a fiddle-making industry was already established in the countryside before the violin was popular in the Norwegian towns. Rural craftsmen in Norway must have acquired knowledge about this new instrument from 1500s Italy and been inspired by it. One can imagine From 1650 onwards, the violin quickly became a popular instrument throughout the whole of the country. We have clear evidence of this in many areas – from Finnmark, the rural areas of the West Coast and from inland mountain and valley districts. The fiddle, as it was also called, was the pop instrument of its day. There exist early descriptions as to how the farming folk amused themselves and danced to fiddle music. In the course of the 1700s, its popularity only increased, and the fiddle was above all used at weddings and festive occasions. Fiddlers were also prominent at the big markets, and here it was possible to find both fiddles and fiddle strings for sale.
    [Show full text]
  • Excitement Grows with the Sigdalslag Decision to Join with Four Other
    Excitement grows with the Sigdalslag decision to join with four other bygdelags, Hadeland, Land, Telernark and Toten, in sharing a portion of the time June 29-30 and in separate sessions which are of special purpose and interest to each lag when all gather on the St. Olaf College campus, Northfield, Minnesota. Velkommen! Each lag will use advance registration and payment of fees. You may wish to complete this form today when you have read this newsletter. No tickets will be available for the bapquet buffet except by advance sale. A visitor badge will be issued for those able to attend only a portion of the day to include a user fee at $ 3..00 each day. All lags have the same registration fee. Highlights of the weekend will include the evening programs Friday and Saturday to which the public is invited. Dr. Harland Foss,. President of St. Olaf College will bring greetings and Dr. Sidney Rand, former ambassador to Norway and a past-president at St. Olaf, together with his wife Lois will present "Nilkkenog Nissen" in Sigdal and Hadeland Friday evening. Music and singing and coffee offer opportunities to participate. Saturday afternoon and evening the Gjevre VII family will provide instrumental music. Five children and their parents perform and share a Norwegian-American heritage that lS lively, informative entertainment. Folk dancers known as among the most acclaimed in Norway present the after-the- banquet program Saturday evening. The Sogn-Fjordane Ringen in bunads of various districts of Norway's west coast performs regional Cbygedans) dances such as vestlands springar, gamalt, rudl, halling, pols; pattern dances such as reels, row dances, couple dances-- all turdans forms; popular gammaldans or old-fashioned waltz, reinlender, schottische, mazurka and polka dances for couples; and finally the songdans which derive from the Middle Ages and are kept alive in the Faeroe Islands in the tradition of the epic lays.
    [Show full text]
  • Passing of the Baton Stein Fjell Contacts Juletrefest
    PASSING OF THE BATON JULETREFEST (CHRISTMAS TREE PARTY) Kathy Browne, President-Elect Sunday, December 8, 2 p.m., Loveland We are installing new and returning officers at the Come to Stein Fjell's Juletrefest and enjoy food, Jule- December meeting. It is important to have some continui- nisse, singing around the tree, the Christmas Story in Eng- ty in leadership roles, but it is equally critical to change lish and Norwegian, and more. It also is your last chance some of the key positions each year. Fresh perspectives this year to buy Christmas gifts at butikken. The Juletrefest and different styles provide vitality, which is important to will be held at King of Glory Lutheran Church, 2919 Wilson the survival of our lodge. This is true even when the out- Avenue, Loveland. going people have done an extraordinary job. Think of it Please call Barbara Nolin at 970.667.7641 by as a relay race where one runner is able to hand the baton December 2nd to let her know the number of on to the next runner, allowing the team to maintain its children you will be bringing, so Julenisse forward momentum for a longer time. The lodge is in can provide for them. Bring your children, need of a new editor for Posten. We could lose this critical your grandchildren, and/or your neighbor's communication link if no one steps in to accept the baton. children. Along with this annual changing of the guard is the For the potluck dinner, if your last name begins with need to confirm what lodge members are thinking.
    [Show full text]
  • TOCN0004DIGIBKLT.Pdf
    NORTHERN DANCES: FOLK MUSIC FROM SCANDINAVIA AND ESTONIA Gunnar Idenstam You are now entering our world of epic folk music from around the Baltic Sea, played on a large church organ and the nyckelharpa, the keyed Swedish fiddle, in a recording made in tribute to the new organ in the Domkirke (Cathedral) in Kristiansand in Norway. The organ was constructed in 2013 by the German company Klais, which has created an impressive and colourful instrument with a large palette of different sounds, from the most delicate and poetic to the most majestic and festive – a palette that adds space, character, volume and atmosphere to the original folk tunes. The nyckelharpa, a traditional folk instrument, has its origins in the sixteenth century, and its fragile, Baroque-like sound is happily embraced by the delicate solo stops – for example, the ‘woodwind’, or the bells, of the organ – or it can be carried, like an eagle flying over a majestic landscape, with deep forests and high mountains, by a powerful northern wind. The realm of folk dance is a fascinating soundscape of irregular pulse, ostinato- like melodic figures and improvised sections. The melodic and rhythmic variations they show are equally rich, both in the musical tradition itself and in the traditions of the hundreds of different types of dances that make it up. We have chosen folk tunes that are, in a more profound sense, majestic, epic, sacred, elegant, wild, delightful or meditative. The arrangements are not written down, but are more or less improvised, according to these characters. Gunnar Idenstam/Erik Rydvall 1 Northern Dances This is music created in the moment, introducing the mighty bells of the organ.
    [Show full text]
  • SUMMER 2009 K R a M E L E T - T S E W Welcome to Kviteseid Med Morgedal Og Vrådal
    WEST-TELEMARK S U M M E R 2 0 0 9 Welcome to Kviteseid med Morgedal og Vrådal Activities, adventure, culture and tradition Kviteseid, Morgedal, Vrådal – an exciting part of Telemark • KVITESEIDBYEN Kilen Feriesenter (campsite) Kviteseidbyen is an idyllic village by Beautifully situated by lake Flåvatn, the Telemark Canal. It is a lively and about 30 km from Kviteseid village. pleasant commercial and local Cabins for rent. Beach, water slide, government centre, with some forty boats for rent, fast food restaurant. companies involved in most lines of tel. +47 35 05 65 87 www.kilen.as business. The canal boat Victoria visits the harbour during the summer. The FOOD AND BEVERAGES harbour is also open to tourist boats, Waldenstrøm Bakeri (bakery shop) and is free of charge. Washing machi - tel. +47 35 05 31 59 ne, toilets, shower facilities and septic Bryggjekafeen (cafeteria on the wharf) tanks are available. The tourist office tel. +47 95 45 15 46 on the wharf is a WiFi hotspot. Straand Restaurant www.kviteseidbyen.no tel. +47 35 06 90 90 ATTRACTIONS TOURIST INFORMATION Kviteseid Folk Museum Kviteseid Tourist Information and Kviteseid old church Kviteseid bryggje (the wharf) Outdoor museum with 12 old buil - tel. +47 95 45 15 46 dings. Kviteseid old church is a Romanesque stone church, dating TAXI from the 12th century. Opening hours: Kviteseid taxi, tel. +47 94 15 36 50 11:00-17:00, every day 13 Jun- 16 Aug • MORGEDAL – the cradle of modern tel. +47 35 07 73 31/35 05 37 60 skiing. A visit to Morgedal will take you www.vest-telemark.museum.no straight into the history of skiing, from the days of the pioneers to modern times.
    [Show full text]
  • Fra Presidenten
    Volume 22 Number 3 Fall 2017 Published 3 times per year by: Nord Hedmark og Hedemarken Lag 2018 Tre-Lag Stevne August 8-11, 2018 Fra Presidenten, Notice, it’s one-week Fall is my favorite time of year. It is later than usual. partly the changing season with cool temperatures and beautiful colors, but my Austin Convention Center enjoyment is mostly tied to the many At the Holiday Inn Hotel traditional activities that begin in the fall. Yard work may be a 1498 4th St. N., necessity, but how we each go about dealing with our bulbs, leaves and general preparation for winter is part of our own Austin MN 55912 traditions. How we celebrate Halloween, and Thanksgiving are Theme - “Norway Evolving” part of our traditions. Do you always have candied yams, or pumpkin pie, or green bean casserole with your turkey? We In the next newsletter, we will have always have lefse, which I’m certain they didn’t have at the first information to make reservations. Thanksgiving. But we are Norwegian, so we will be thankful with There are two hotels involved. a Scandinavian twist. More information in the March, 2018 issue. This weekend the family got together for our annual lefse baking party. Check out the news and This year we only made 112, but that was information from enough to divide 7 ways and still provide Fellesraad Bygdelag enough for the family Christmas dinner, too. on the web site to help After Thanksgiving there will be krumkake Norway House to grow. and sandbakkels made, along with many other traditional holiday treats.
    [Show full text]
  • Fra Halling Til Reinlender
    Institutt for musikkvitenskap, UiO Litteratur MUS1301 V2010 1 Fra halling til reinlender Historisk skisse av runddansens / gammaldansens inntog i norske danse- og instrumentaltradisjoner. Av Olav Sæta Ved midten av 1800-tallet hadde fela og hardingfela vært dominerende som folkelige instrumenter til dans og seremonier i hver sine omr˚aderi Norge i rundt et ˚arhundre. Fele hadde riktignok vært i bruk siden 1600- tallet, der et 30-talls dokumenterte tilfeller antyder felebruk godt spredt over landet, bortsett fra i visse samiske omr˚ader.Og fra første del av 1700- tallet framtrer et bilde av felas generelt stigende posisjon og popularitet. Rundt hardingfelas opphav og alder fins enkelte uklare momenter, men en framvekst i Hardanger virker sikker. Tida for omfattende utbredelse av slike feler til betydelige omr˚aderi Sør-Norge { Vestlandet fra nordre Rogaland til Sogn, Telemark, Numedal, Hallingdal og Valdres { var fra 1750-60-tall og framover noen ti˚ar(se art. om feletradisjoner). I ettertid er disse omr˚adene{ som ble noe utvidet etter hvert { p˚afolkemusikkspr˚ak kalt hardingfeleomr˚ader.Øvrige distrikter i landet er kalt feleomr˚ader, eller omr˚aderfor vanlig fele. Fra denne perioden og til godt inn p˚a1800-tallet virker bruken av de to feletypene i hovedsak ˚aha vært svært parallell. Eldre skikker og praksis for musikkbruk i samværsformer og seremonier virker ˚aha vært temmelig ensartet landet over i det gamle bondesamfunnet, som omfattet rundt 90% av befolkningen. Bruken av felemusikk gjaldt først og fremst til tidas aktuelle sl˚atterepertoar knyttet til dansens brede plass i samværsformene og til marsjer i bryllups- seremoniene. Slik inngikk denne musikken i, og var dels formet av, sosiale funksjoner { ved sida av ˚agi musikalsk opplevelse.
    [Show full text]
  • Cr2016-Program.Pdf
    l Artistic Director’s Note l Welcome to one of our warmest and most popular Christmas Revels, celebrating traditional material from the five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. We cannot wait to introduce you to our little secretive tomtenisse; to the rollicking and intri- cate traditional dances, the exquisitely mesmerizing hardingfele, nyckelharpa, and kantele; to Ilmatar, heaven’s daughter; to wild Louhi, staunch old Väinämöinen, and dashing Ilmarinen. This “journey to the Northlands” beautifully expresses the beating heart of a folk community gathering to share its music, story, dance, and tradition in the deep midwinter darkness. It is interesting that a Christmas Revels can feel both familiar and entirely fresh. Washing- ton Revels has created the Nordic-themed show twice before. The 1996 version was the first show I had the pleasure to direct. It was truly a “folk” show, featuring a community of people from the Northlands meeting together in an annual celebration. In 2005, using much of the same script and material, we married the epic elements of the story with the beauty and mystery of the natural world. The stealing of the sun and moon by witch queen Louhi became a rich metaphor for the waning of the year and our hope for the return of warmth and light. To create this newest telling of our Nordic story, especially in this season when we deeply need the circle of community to bolster us in the darkness, we come back to the town square at a crossroads where families meet at the holiday to sing the old songs, tell the old stories, and step the circling dances to the intricate stringed fiddles.
    [Show full text]
  • Norway – Music and Musical Life
    Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture.
    [Show full text]
  • Den Norske Kunsten Staar Fix Og Ferdig Paa Fjeldet”
    Institutt for musikkvitenskap, UiO Litteratur MUS1301 V2010 1 "Den norske Kunsten staar fix og ferdig paa Fjeldet" av Olav Sæta Overskriftens p˚astand er tillagt Ole Bull, trolig omkring 1850, og kan vir- ke typisk for et av høydepunktene i den nasjonalromantiske perioden i v˚arkulturhistorie. Forutsetningen for dette var strømningene i europeisk ˚andslivfra siste del av 1700-tallet og framover, der tanker om, og følelse for, nasjonal identitet ble styrket, noe som fikk spesielt sterkt gjennomslag i kulturlivet. For musikkens del innebar dette oppfatninger om at en nasjons egen musikkarv burde utgjøre fundamentet for landets musikkliv. Den urbane ˚ands-og kultureliten, som forvaltet slike tanker, oppfattet ˚aleve i svært moderne tider preget av rotløshet og fremmedgjøring, der nasjonens rendyrkede musikalske arv bare kunne finnes igjen blant den enkle og na- turlige befolkningen p˚alandsbygda. Dette var mer enn rent ideologiske funderinger. Den musikalske arven ble oppfattet som en ˚andskraftnedlagt i hvert enkelt menneske { slik Johan Gottfried von Herder hadde hevdet i Tyskland, og slik Aasmund O. Vinje beskrev det her hjemme: Dei høyrde Tonar, som dei kjende var sine eigne. Det folkelige inspirerer Bulls utsagn om den norske Kunsten var særlig myntet p˚aden folkelige musikken og dansen, der hans eget engasjement vokste kraftig fra 1840- ˚ara.Han ans˚aat sl˚attemusikk p˚ahardingfele, og de gamle dansene halling og springar i variert utforming, var enest˚aende kunstverk i seg sjøl, slik han hadde opplevd dem utført av de beste utøverne i bygde-Norge. Hos andre kunstnere, og hos publikum, omfattet den nasjonale gløden i like stor grad teater-, dikter-, malerkunst og arkitektur, og ikke minst den næ- re samklangen som eksisterte mellom disse uttrykksformene p˚adenne tida.
    [Show full text]
  • The Devolution of the Shepherd Trumpet and Its Seminal
    Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]