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Forord, Innhold Etc Korrigert Versjon Regional og typologisk variasjon i norsk slåttemusikk -en kvantitativ tilnærming med et historisk perspektiv Per Åsmund Omholt Avhandling for graden dr.art. Universitetet i Bergen 2009 ii iii Regional og typologisk variasjon i norsk slåttemusikk -en kvantitativ tilnærming med et historisk perspektiv Per Åsmund Omholt Avhandling for graden dr.art. Griegakademiet, Institutt for musikk Historisk-filosofisk fakultet Universitetet i Bergen 2009 iv v Abstract The purpose of the dissertation is to shed light on regional and typological variations in Norwegian old-time fiddling in a historical perspective. I have analyzed 500 transcriptions of traditional tunes from different localities, limited to the gangar / halling and springar / pols varieties. With a computer program specifically developed for this task, I have adapted the tunes written in finger / scordatura notation for a statistical approach by digitalizing the notes. I focus on the role that differences in formal construction, tonality and rhythm might play in connection to the discussion about origin and historical processes. Concerning form, my investigation attempts to give an overview of the typological and geographical distribution of different types of motifs and different methods of formal progression. The determination of the motifs in the music is partly a matter of interpretation based on an inside perspective and personal, tacit knowledge. In order to study tonal matters, I relate the patterns of fingering to theories of scales, crucial tones, frames, modes and movement. My basic approach to the rhythmic aspects is to study the distribution of the note durations (1/4, 1/8, 1/16 etc.). The types of tunes in general or bar- or beat patterns in a rhythmical context are being related to the variation within these categories. My findings both support and add new aspects to the basic and well-known geographical division between the Hardanger fiddle repertoire and the repertoire of the ordinary violin. A polarity can be seen between: 1) a Hardanger fiddle gangar made up of small-motifs with a certain type of “chaining” in the melodic progression and the transposition of motifs in fifths vs. 2) a pols from northeast played on ordinary fiddle with the regular two-bar-form, longer motifs, systematic cadences and in which transposing is not so common. The frequency of finger placement also shows clear differences between the southern Hardanger fiddle districts and the rest. This division, however, does not concern the two types of instruments only. The border between the two areas reflects demographical processes mixed by impulses from outside as well as local innovation during the last centuries. I propose that the two areas be called the southwest and the northeast areas. I summarize typical features of the southwest area as a large repertoire of gangar, small-motif formal development with “chaining”- technique and transposition of motifs, frequent fingering on the D-string, descending tonal movement caused by falling thirds and an overall dominance of major tonality. In the northeast area, gangar / halling tunes are rarer and the regular two-part form dominates. The vi E-string is the most used string, transposition is not common in melodic progression and parts of the repertoire are in what we experience as minor. Concerning the historical aspect, I argue that the traditions in southwest may be the results of impulses during the 16 th century. Dance, music and possibly early fiddle instruments may have spread to Norway through a strong contact to German speaking areas. This view corresponds with the core in the dance scientist’ hypothesis. According to my research, the gangar seems to be the archetype in this tradition. I describe a process of transformation of pols melodies in eastern Norway towards the typical formal patterns of southwest gangar. The eastern impulse is probably slightly younger than the south-western and has spread among different social layers, while the early southwest tradition probably spread among people from lower strata. Also, I speculate that the differences in the fingering patterns between southeast and northeast might be the reflection of a musical heritage carried on from older three-stringed fiddles in southwest. In some aspects, the material shows homogeneity regarding tonal structures. An investigation based on eleven different tunings makes it possible to describe a basic tonal frame consisting of the fifth below the tonic, the tonic, the second, the third and the fifth (5 – 1 – 2 – 3 – 5), with the major triad as a core. vii Forord Den britiske poeten William Wordsworth (1770-1850) skal visstnok ha sagt: ”We murder to dissect”. Utsagnet kan sees på som et spark til datidens litteraturvitenskap, for den romantiske dikteren likte nok ikke at hans verker ble analysert og plukket fra hverandre. For dem som måtte ha samme følelser overfor feleslåtter, må det foreliggende arbeidet, der 500 slåtter blir lagt under lupen og analysert via datateknologi, fortone seg som en særdeles bloddryppende affære. Det er fullt forståelig at koblingen mellom felemusikk, tørr analyse, diagrammer og datamaskiner vil virke fjern for den jevne folkemusiker. Slåttespel handler rimeligvis for mange om tradisjon og tråder til henfarende tider, om akustiske, håndlagede instrument og om personlig uttrykk og musikalske stemninger. Selv legger jeg også bort den akademiske hatten rimelig ofte. Å sitte med fela og spille akkurat de slåttene jeg har lyst til uten å måtte tenke noe særlig, alene eller i godt selskap, er en mer eller mindre daglig aktivitet jeg ikke vil være foruten. I andre situasjoner er jeg derimot glad i å snu steiner, for floraen av uttrykksformer og stilretninger innen slåttemusikken har pirret nysgjerrigheten helt siden jeg begynte å bli fortrolig med sjangeren. Når jeg nå legger fram denne avhandlingen, kan jeg se tilbake på en periode over flere år der hangen til å finne ut av ting har kommet over i mer organiserte former. I denne forbindelsen er det mange gode hjelpere som fortjener å bli nevnt. Først vil jeg rette en takk til Høgskolen i Telemark (HiT), som har gitt meg de økonomiske og fysiske rammene som har vært nødvendige i stipendiatperioden. I denne tiden har oppbakking fra både kollegaer og studenter på Institutt for folkekultur på Rauland vært en positiv faktor i arbeidet. Så er det naturlig å trekke fram veilederne, hovedveileder professor Tellef Kvifte ved Universitetet i Oslo, som under tiden har vært engasjert ved Griegakademiet i Bergen, samt biveilederne Jo Røislien (UiO) og Vidar Lande (HiT). Alle har i løpet av arbeidet kommet med betydelige faglige innspill samt god og innsiktsfull kritikk. Gjennom arbeidet med utvalget av slåtter har jeg hatt svært god hjelp av et knippe informanter til å vurdere kildene, alle med lokal ekspertise i forhold til de områdene jeg har valgt ut. Disse har særlig vært til god hjelp med tanke på utvalget av spelemenn og hvor sentrale disse har vært. Videre har jeg drøftet selve avgrensningen av områdene med disse. I tillegg til allerede nevnte Vidar Lande har dette vært Einar Mjølsnes, Anders Røine, Olav Luksengård Mjelva, Sjur Viken og Olav Sæta. En spesiell takk går til Olav Sæta som både har latt meg bruke av hans upubliserte materiale og som har bidratt mye gjennom faglige samtaler. Nyttige, faglige innspill har jeg viii også fått fra Jan Petter Blom, Egil Bakka, Bjørn Aksdal, Mikkel B. Tin og Hans Olav Gorset, og det samme gjelder mine medstudenter Mats Johansson og Anne Murstad. Håvard Johnsbråten ved HiT har bidratt med en første innføring i SPSS, Hege Andersen har laget kart, Venke Haugen har gått igjennom det språklige og Sarah Nagell har hjulpet til med språkvask av det engelske. Takk til alle sammen. En særlig takk går også til kollega og kontornabo Ånon Egeland, som sjenerøst har latt meg få innsyn i diverse systematisert, historisk materiale og som samtidig har bidratt til mange gode innspill gjennom faglige diskusjoner. Likeledes må jeg trekke fram Ranveig Tunheim ved biblioteket på Institutt for Folkekultur som har vært til uvurderlig hjelp i arbeidet med litteraturen. I løpet av stipendiatperioden har det vært nødvendig å reise en del; her takker jeg spesielt Herdis Lien og søster Marit for gjestfrihet. Den viktigste støttespilleren gjennom arbeidet har likevel vært datamedhjelper Mikkel Aandreaa. Gjennom sin unike kombinasjon av teknisk innsikt, kreativitet og positive evne til problemløsning har han klart å omskape mine vidløftige og fragmentariske ideer til en database og et program som fungerer. Uten Mikkel hadde dette prosjektet neppe latt seg gjennomføre i den form det har fått, og jeg skylder ham en stor og uforbeholden takk. Jeg glemmer heller ikke min nærmeste familie, som har holdt ut med at far i huset har vært noe mindre til stede enn vanlig både psykisk og fysisk, særlig i den siste del av stipendiatperioden. Det er mitt håp at andre kan la seg inspirere av dette arbeidet, og det er ingen grunn til å være redd for å ta i bruk uortodokse metoder i forskningen på norsk folkemusikk og dens historie. Fortsatt er det mye upløyd mark, men det ligger et stort potensial i å kunne ta i bruk et bredt spekter av metoder i tilnærmingen til fagfeltet. Dette er mitt bidrag. Rauland, november 2008 Per Åsmund Omholt ix Innholdsfortegnelse: Abstract……………………………………………………………........................ v Forord…………………………………………………………………………….. vii Innholdsfortegnelse………………………………………………………………. ix Kapittel 1 Innledning 1.1 Bakgrunn og problemstillinger……………………………………………… 1 1.1.1 Behov for begrepsavklaring
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