NORDIC MASTER (Mmus) in Folk Music
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Swedish Folk Music
Ronström Owe 1998: Swedish folk music. Unpublished. Swedish folk music Originally written for Encyclopaedia of world music. By Owe Ronström 1. Concepts, terminology. In Sweden, the term " folkmusik " (folk music) usually refers to orally transmitted music of the rural classes in "the old peasant society", as the Swedish expression goes. " Populärmusik " ("popular music") usually refers to "modern" music created foremost for a city audience. As a result of the interchange between these two emerged what may be defined as a "city folklore", which around 1920 was coined "gammeldans " ("old time dance music"). During the last few decades the term " folklig musik " ("folkish music") has become used as an umbrella term for folk music, gammeldans and some other forms of popular music. In the 1990s "ethnic music", and "world music" have been introduced, most often for modernised forms of non-Swedish folk and popular music. 2. Construction of a national Swedish folk music. Swedish folk music is a composite of a large number of heterogeneous styles and genres, accumulated throughout the centuries. In retrospect, however, these diverse traditions, genres, forms and styles, may seem as a more or less homogenous mass, especially in comparison to today's musical diversity. But to a large extent this homogeneity is a result of powerful ideological filtering processes, by which the heterogeneity of the musical traditions of the rural classes has become seriously reduced. The homogenising of Swedish folk music started already in the late 1800th century, with the introduction of national-romantic ideas from German and French intellectuals, such as the notion of a "folk", with a specifically Swedish cultural tradition. -
Romantic Piano Meets the Hardanger Fiddle: Edvard Grieg's Chamber
The International Edvard Grieg Society, Grieg Academy/Centre for Grieg Research University of Bergen and Edvard Grieg Museum Troldhaugen invite scholars and performers to the event Romantic Piano Meets the Hardanger Fiddle: Edvard Grieg’s Chamber Works and Solo Piano Music International Seminar and Workshop, Bergen, 26-29 October 2017 Edvard Grieg’s chamber and solo piano music includes some of the most important works of the 19 th century repertoire for strings and piano. As intriguing amalgamations of Romantic lyricism, European pianism, and the traditions of Norwegian folk music, they raise practical issues of performance and interpretation, which cannot be addressed solely by reading the edited scores. The focus area of this workshop and seminar will explore the creative interchange of folk and art music in performance traditions from Grieg’s time to the present. The event will combine academic lectures, practical demonstrations, master classes, individual teaching sessions, discussion forums, and performances. The aim is to bring artists together with researchers who are specialists on the performance practice of Romantic art music and Norwegian folk music, so that the workshop-seminars provide an opportunity for sharing knowledge and experiences of still quite separated areas. Invited guest scholars and performers: Clive Brown (University of Leeds, UK), Einar Steen-Nøkleberg (piano, Norway), Rolf Erdahl (Gustavus Adolphus College, Minnesota, USA), and Håkon Asheim (Ole Bull Academy, Norway). Participating staff from the Grieg Academy and Centre for Grieg Research: Ricardo Odriozola (violin), Signe Bakke (piano), Torleif Torgersen (piano), Einar Røttingen (piano), John Ehde (cello) and Arnulf Mattes (musicology). The performance workshops will be open to a limited number of active participants. -
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. -
Based Curriculum Design for Multicultural School Music: Reflections on a National Project in Guyana
Action, Criticism & Theory for Music Education ISSN 1545- 4517 A refereed journal of the Action for Change in Music Education Volume 14 Number 2 August 2015 Vincent C. Bates, Editor Brent C. Talbot, Associate Editor Research-Based Curriculum Design for Multicultural School Music: Reflections on a National Project in Guyana Rohan Sagar and David G. Hebert © Rohan Sagar and David G. Hebert. 2015. The content of this article is the sole responsibility of the authors. The ACT Journal and the Mayday Group are not liable for any legal actions that may arise involving the article's content, including, but not limited to, copyright infringement. Special Features: Download this document and then open it in Adobe Reader to view endnotes and citations by placing the cursor over the corresponding number or date. Action, Criticism, and Theory for Music Education 14(2) 145 Research-Based Curriculum Design for Multicultural School Music: Reflections on a National Project in Guyana Rohan Sagar Harpy Eagle Music Foundation, Guyana David G. Hebert Bergen University College, Norway Abstract This article reports on an applied ethnomusicological and historical study that guided the development of a new music curriculum for schools in Guyana, a multi- ethnic and postcolonial nation in Latin America. We establish our rationale with an introduction to Guyana and the status quo of its school music education, then embark on examining the socio-historical background: from Indigenous Peoples and the European settlement of colonial Guyana, to the arrival of Africans as slaves, and indentured servants from Portugal, China and East India. The diverse heritage of post-colonial Guyana, including distinctive creolization, is reviewed as a prelude to discussion of local music traditions and their representation in schools. -
DANISH TRADITIONAL FOLK MUSIC to BE PERFORMED at HARBOR HISTORY MUSEUM in GIG HARBOR Gangspil Trio to Perform Thursday, March 1St, 2018
Contact Zachary Sokolik MEDIA RELEASE Telephone 253.858.6722 February 15, 2018 Email [email protected] Website www.harborhistorymuseum.org DANISH TRADITIONAL FOLK MUSIC TO BE PERFORMED AT HARBOR HISTORY MUSEUM IN GIG HARBOR Gangspil Trio to Perform Thursday, March 1st, 2018 Gig Harbor, WA – On Thursday, March 1, 2018 at 6:30 p.m., Gangspil, the lively trio of Sonnich Lydom (accordion, harmonica), Kristian Bugge (fiddle) and Viðar Skrede (guitar), will provide those in attendance with an entertaining journey through the traditions of Danish folk music. Their performance at Harbor History Museum will include old dance tunes and songs from every corner of their Scandinavian home country: From the rural islands of Læsø to metropolitan Copenhagen, including a few of their own compositions. Expect everything from wild polkas and jigs to lyrical waltzes, fiery reels and happy hopsas, plus the exotic Sønderhoning dance tunes from the famous Island of Fanø, and long forgotten songs from all over the country. An unforgettable live experience spiced up with humor and stories from their many years on the road. Gangspil's: Danish Traditional Music will be held at Harbor History Museum, 4121 Harborview Drive, Gig Harbor, WA 98332. Offered as a special fundraising event for the museum, tickets are $25 for non- museum members and $20 for members. Tickets can be purchased online on the Museum's Buy Tickets page or by calling 253-858-6722; tickets may also be purchased at the Museum front desk. Sonnich (accordion, harmonica, vocal) is a master of Irish, French--Canadian, and especially Danish traditional tunes. -
The International Edvard Grieg Society Foundation Council Assembly Members
THE INTERNATIONAL EDVARD GRIEG SOCIETY FOUNDATION COUNCIL ASSEMBLY MEMBERS GRIEG SOCIETIES BELGIUM Belgian Grieg Society Leader: Laurent Beeckmans [email protected] www.grieg.be [email protected] GERMANY Deutsche Edvard-Grieg- Leader: Prof. Dr. Joachim [email protected] Gesellschaft Dorfmüller Grieg-Begegnungsstätte Leipzig Leader: Phone: 00-49-341 443 2061 e.V. Prof. Dr. Helmut Loos [email protected] www.edvard-grieg.de Edvard-Grieg-Forschungsstelle Leader: Prof. Dr. Patrick [email protected] am Institut für Musikwissen- Dinslage schaft der Universität Leipzig in Kooperation mit der Grieg- Begegnungsstätte Leipzig e.V. GREAT BRITAIN Grieg Society of Great Britain Leader: Beryl Foster [email protected] Secretary: Wendy Howell [email protected] www.griegsociety.co.uk ITALY The Italian Edvard Grieg Society Leader: Chiara Di Dino [email protected] [email protected] www.edvardgriegensemble.it JAPAN The Grieg Society of Japan Leader: Shozo Ohtsuka [email protected] Secretary: Eriko Tanabe www.grieg.jp [email protected] LITAUEN Grieg Society in Lithuania Leader: Eugenijus Januténas [email protected] NORWAY Oslo Grieg Society Leader: [email protected] Einar Steen-Nøkleberg www.oslogriegsociety.com Friends of Troldhaugen Leader: Anders Aarheim [email protected] 1 RUSSIA Russian Grieg Society Leader: Valeria Blok [email protected] THE NETHERLANDS Grieg Stichting Nederland Leader: [email protected] Siebert Nix www.griegstichting.nl UKRAINE The Ukrainian Grieg Society Leader: Liubov Syniak [email protected] USA Edvard Grieg Society, Inc. NY Leader: Berit Brevig [email protected] Edvard Grieg Society Leader: [email protected] Norway House, Minneapolis Jim Lewis www.norwayhouse.org Edvard Grieg Society of President: Sylvia Reynolds [email protected] America, Inc. -
Konsert Med Arve Tellefsen, Knut Buen Og Geir Botnen
NO I ENG SUMMER 2016 KOMPONISTHJEMMENE THE COMPOSERS’ HOMES A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN OLE BULL MUSEUM LYSØEN HARALD SÆVERUD MUSEUM SILJUSTØL Troldhaugen, Lysøen og Siljustøl er en Innhold / Contents del av KODE – Kunstmuseene i Bergen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 12 Program Siljustøl 14 Program Lysøen 24 Program Troldhaugen 44 The International Edvard Grieg Piano Competition 46 Lyttekurs Musikalske landskap Musical landscapes Etter at Edvard Grieg døde i 1907 fortsatte Nina Ved alle de tre komponisthjemmene fortaper After Edvard Grieg died in 1907, his wife Nina Nina and Edvard Grieg å bo på Troldhaugen i sommerhalvåret, slik de musikkhistorien seg i naturen. På Lysøen le- continued living at Troldhaugen during the to hadde gjort i alle år. Nina hadde et hjerte der kilometervis med stier deg direkte inn i Ole summer months, just as she and her husband their rootedness in stories that live on, in the for alt det stedet hadde betydd for dem mens Bulls romantiske verden. Det er et møte med had always done. Nina cherished the memory of music that is still being played, and in a nature Edvard levde, og hun var opptatt av hva Trold- den vestnorske naturen Bull fremdeles har re- what Troldhaugen had meant to them, and she that changes from day to day. haugen skulle bli når hun selv ikke lenger kunne gien på. På Siljustøl venter et annet stort natur- was concerned about what would become of it ta vare på det. -
Aesthetic and Creative Learning Processes
Book of Abstracts Grieg Research School in Interdisciplinary Music Studies June 18 – June 21, 2012 Bergen University College Researching Music Practices – Methodological Approaches 1 Content Keynotes Brynjulf Stige page 3 David Hargreaves page 4 Marie McCarthy page 5 David G. Hebert page 6 Senior researcher Oded Ben-Horin page 7 PhD Candidates Sigrún Lilja Einarsdóttir page 8 Ingrid Grønsdal page 10 Tom Eide Osa page 11 Steinar Sætre page 12 Tamara Thies page 13 Lars Tuastad page 14 Master of Arts Olga Witte page 15 2 Keynote I Toward an agenda for evaluation of qualitative research Brynjulf Stige - Professor Brynjulf Stige is Professor of Music Therapy, University of Bergen & Head of Research, GAMUT – The Grieg Academy Music Therapy Research Centre, Uni Health, Uni Research, Bergen. Stige is co-editor of the international journal Voices: A World Forum for Music Therapy (Open Access) and a member of the editorial board of Nordic Journal of Music Therapy. As a researcher Stige has been preoccupied particularly with the cultural and social aspects of music therapy, and he has focused upon themes such as disabled persons’ participation in the local music practice, psychiatric patients’ experience of the music therapy service and music as a health promoting resource in the local community. Stige is now leading the project “Network for research on music therapy and the elderly” (2008-2012). This is a Nordic network which aims to build up a research close to practice, that can increase the competency and develop the music therapy service in the geriatric care. He has published many articles and several books in Norwegian and English. -
NORDIC COOL 2013 Feb. 19–Mar. 17
NORDIC COOL 2013 DENMARK FINLAND Feb. 19–MAR. 17 ICELAND NorwAY SWEDEN THE KENNEDY CENTER GREENLAND THE FAroE ISLANDS WASHINGTON, D.C. THE ÅLAND ISLANDS Nordic Cool 2013 is presented in cooperation with the Nordic Council of Ministers and Denmark, Finland, Iceland, Norway, and Sweden. Presenting Underwriter HRH Foundation Festival Co-Chairs The Honorable Bonnie McElveen-Hunter, Marilyn Carlson Nelson, and Barbro Osher Major support is provided by the Honorable Bonnie McElveen-Hunter, Mrs. Marilyn Carlson Nelson and Dr. Glen Nelson, the Barbro Osher Pro Suecia Foundation, David M. Rubenstein, and the State Plaza Hotel. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts. NORDIC COOL 2013 Perhaps more so than any other international the Faroe Islands… whether attending a performance festival we’ve created, Nordic Cool 2013 manifests at Sweden’s Royal Dramatic Theatre (where Ingmar the intersection of life and nature, art and culture. Bergman once presided), marveling at the exhibitions in Appreciation of and respect for the natural environment the Nobel Prize Museum, or touring the National Design are reflected throughout the Nordic countries—and Museum in Helsinki (and being excited and surprised at they’re deeply rooted in the arts there, too. seeing objects from my personal collection on exhibit there)… I began to form ideas and a picture of the The impact of the region’s long, dark, and cold winters remarkable cultural wealth these countries all possess. (sometimes brightened by the amazing light of the , photo by Sören Vilks Sören , photo by aurora borealis). -
Dance in Copenhagen, C. 1750-1840
Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material. -
Utopia of the North Scandinavia's Presence at the Educational
Scandinavica Vol 58 No 2 2019 Utopia of the North Scandinavia’s Presence at the Educational Exhibition in London, July 1854 Merethe Roos University of South-Eastern Norway Abstract This article sheds light upon the Norwegian and Swedish contributions at the Educational Exhibition in London in 1854 and how the exhibits from these countries were covered in the British contemporary press. The article suggests that the strongly positive reaction in the British press should be viewed in the light of a rising interest in Scandinavia as a tourist destination which emerged in the British Society from the mid- nineteenth century. This interest in Scandinavia as a tourist destination replaced a fascination for the North as a wild, remote and untouched location. Keywords educational exhibition, schools, Scandinavia, press, tourism 134 Scandinavica Vol 58 No 2 2019 In this article, I will analyse the press reports in British newspapers covering the Norwegian and Swedish contributions at the educational exhibition in London in 1854. I will argue that these reports can be seen in the light of a rising interest in the Scandinavian countries as a tourist destination, characteristic for Great Britain at that time. This interest pertained particularly to Norway and Sweden; Denmark was more densely populated and less characterised by a wild and untouched nature. Thus Denmark did not meet the main preconditions for this recently awakened interest in the North. During the summer months of 1854, the British Royal Society for the Encouragement of Arts, Manufactures and Commerce arranged an international educational exhibition at St. Martin’s Hall in London. -
THE JVEDIS. ART SONG Presented to the Graduate Council of the North
110,2 THE JVEDIS. ART SONG THESIS Presented to the Graduate Council of the North Texas State College in Partial ifillment of the requirements For the Degree of MAST ER OF MUSIC by 223569 Alfred R. Skoog, B. Mus. Borger, Texas August, 1953 223569 PREFACE The aim of this thesis is to present a survey of Swedish vocal music, a subject upon which nothing in English exists and very little in Swedish. Because of this lack of material the writer, who has spent a year (195152) of research in music in Sweden, through the generosity of Mrs. Alice M. Roberts, the Texas Wesleyan Academy, and the Texas Swedish Cultural Foundation, has been forced to rely for much of his information on oral communication from numerous critics, composers, and per- formers in and around Stockholm. This accounts for the paucity of bibliographical citations. Chief among the authorities consulted was Gsta Percy, Redaktionssekreterare (secretary to the editor), of Sohlmans Jusiklexikon, who gave unstintedly, not only of his vast knowledge, but of his patience and enthusiasm. Without his kindly interest this work would have been impossible, iii TABLE OF CONTENTS Page . 1.F. .:.A . !. !. ! .! . .! ! PREFACE.! . ! .0 01 ! OF LIST ITLISTRATITONS. - - - . a- . a . V FORH4ORD . .* . .- . * .* . * * * * * * * . vii Chapter I. EARLYSEDIS0H SONG. I The Uppsala School II. NINETEENTH CENTURY NATIONALISTS . 23 The Influence of Mid-Nineteenth Century German Romanticism (Mendelssohn, Schumann, Liszt and Wagner) The French Influence III. LATE NINETEENTH CENTURY ND EARLY TWENTIETH CENTURY COMPOSERS . 52 Minor Vocal Composers of the Late Nine- teenth Century and Early Twentieth Century IV. THE MODERN SCHOOL OF S7E)ISl COMPOSERS.