Norway by Craig Kaczorowski
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Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
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 Unpublished.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. -
What Did They Sound Like?
Háskóli Íslands Hugvísindasvið Íslensk miðaldafræði What did they sound like? Reconstructing the music of the Viking Age Ritgerð til MA-prófs í íslenskum miðaldafræðum Chihiro Tsukamoto Kt.: 250493-3209 Leiðbeinandi: Þórir Jónsson Hraundal Janúar 2017 Abstract There has been much scholarship over the years regarding Scandinavian culture during the Viking Age (c. 793–1066 CE). However, often missing from these discussions is the study of music. This paper attempts to fill that gap by offering a reconstruction of Viking Age Scandinavian music. Archaeological evidence, literary records, and medieval music theories were used as the basis of this study. Archaeology indicates that Scandinavians played wind, string, and percussion instruments, while later Old Norse literary accounts detail the many circumstances wherein music was performed, and suggest the likely existence of different musical genres. I have consulted Arabic, Greek, and Latin accounts for contemporary sources, as the Scandinavian people did not have a written culture during this time. Marking a departure from typical historical analyses, I have also conducted a cross- cultural comparison of medieval Arabic, Greek, and Western European music theories in order to recognize what Scandinavian music could not have resembled. By combining archaeological, literary, and musical evidence, it is possible to propose a highly educated hypothesis on how Viking Age Scandinavian music may have sounded. Ágrip Mikið hefur verið rætt og ritað í gegnum árin um Skandinavíska menningu á Víkingaöld (um 793–1066 e.Kr.). Hins vegar er tónlist viðfangsefni sem oft virðist vanta í þessar umræður. Þessi ritgerð mun reyna að fylla það skarð með því að leggja fram tilgátu um endurgerð Skandinavískrar tónlistar frá Víkingaöld. -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
Working Paper 17/2017: Asset Returns, News Topics, and Media Effects
WORKING PAPER Asset returns, news topics, and media NORGES BANK RESEARCH effects 17 | 2017 VEGARD H. LARSEN AND LEIF ANDERS THORSRUD Working papers fra Norges Bank, fra 1992/1 til 2009/2 kan bestilles over e-post: NORGES BANK [email protected] WORKING PAPER XX | 2014 Fra 1999 og senere er publikasjonene tilgjengelige på www.norges-bank.no RAPPORTNAVN Working papers inneholder forskningsarbeider og utredninger som vanligvis ikke har fått sin endelige form. Hensikten er blant annet at forfatteren kan motta kommentarer fra kolleger og andre interesserte. Synspunkter og konklusjoner i arbeidene står for forfatternes regning. Working papers from Norges Bank, from 1992/1 to 2009/2 can be ordered by e-mail: [email protected] Working papers from 1999 onwards are available on www.norges-bank.no Norges Bank’s working papers present research projects and reports (not usually in their final form) and are intended inter alia to enable the author to benefit from the comments of colleagues and other interested parties. Views and conclusions expressed in working papers are the responsibility of the authors alone. ISSN 1502-819-0 (online) ISBN 978-82-7553-999-9 (online) 2 Asset returns, news topics, and media effects∗ Vegard H. Larseny Leif Anders Thorsrudz September 19, 2017 Abstract We decompose the textual data in a daily Norwegian business newspaper into news topics and investigate their predictive and causal role for asset prices. Our three main findings are: (1) a one unit innovation in the news topics predict roughly a 1 percentage point increase in close-to-open returns and significant continuation patterns peaking at 4 percentage points after 15 business days, with little sign of reversal; (2) simple zero-cost news-based investment strategies yield significant an- nualized risk-adjusted returns of up to 20 percent; and (3) during a media shortage, due to an exogenous strike, returns for firms particularly exposed to our news mea- sure experience a substantial fall. -
Fact Sheet on "Overview of Norway"
Legislative Council Secretariat FSC21/13-14 FACT SHEET Overview of Norway Geography Land area Norway, officially the Kingdom of Norway, is located in northern Europe. It has a total land area of 304 282 sq km divided into 19 counties. Oslo is the capital of the country and seat of government. Demographics Population Norway had a population of about 5.1 million at end-July 2014. The majority of the population were Norwegian (94%), followed by ethnic minority groups such as Polish, Swedish and Pakistanis. History Political ties Norway has a history closely linked to that of its immediate with neighbours, Sweden and Denmark. Norway had been an Denmark and independent kingdom in its early period, but lost its Sweden independence in 1380 when it entered into a political union with Denmark through royal intermarriage. Subsequently both Norway and Denmark formed the Kalmar Union with Sweden in 1397, with Denmark as the dominant power. Following the withdrawal of Sweden from the Union in 1523, Norway was reduced to a dependence of Denmark in 1536 under the Danish-Norwegian Realm. Union The Danish-Norwegian Realm was dissolved in between January 1814, when Denmark ceded Norway to Sweden as Norway and part of the Kiel Peace Agreement. That same year Sweden Norway – tired of forced unions – drafted and adopted its own Constitution. Norway's struggle for independence was subsequently quelled by a Swedish invasion. In the end, Norwegians were allowed to keep their new Constitution, but were forced to accept the Norway-Sweden Union under a Swedish king. Research Office page 1 Legislative Council Secretariat FSC21/13-14 History (cont'd) Independence The Sweden-Norway Union was dissolved in 1905, after the of Norway Norwegians voted overwhelmingly for independence in a national referendum. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
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). -
Gratulerer Med Dagen! We’Re So Excited We Want to Write It in the Sky: Happy Birthday, Norwegian Constitution!
(Periodicals postage paid in Seattle, WA) TIME-DATED MATERIAL — DO NOT DELAY Heritage Neighborhood Bunad versus Red, White, and « Det norske flagg vaier overalt festdrakt hvor jeg kommer i verden. » Blue all over Read more on page 14 – Thorbjørn Jagland Read more on page 13 Norwegian American Weekly Vol. 126 No. 17 May 8, 2015 Established May 17, 1889 • Formerly Western Viking and Nordisk Tidende $2.00 per copy Gratulerer med dagen! We’re so excited we want to write it in the sky: Happy birthday, Norwegian constitution! What’s inside? News 2-3 Business 4 Sports 5 Opinion 6-7 Roots & Connections 10 Obituaries & Religion 11 Travel 12 In Your Neighborhood 13 Norwegian Heritage 14 Arts & Entertainment 15 Syttende Mai special section S1-S16 Greetings S2 Heroes of Ragnarök S3 Kings of Norway S4-S5 Taste of Norway S8-S9 Calendar S12-S13 $1 = NOK 7.581 updated 05/04/2015 In comparison 04/04/2015 7.9519 11/04/2014 6.8603 05/04/2014 5.9355 Photos: (Copenhagen, August 1807, oil on canvas, by Bjørn Båsen) courtesy of Trond B. Olsen, exhibit curator (Paragliding at Voss) Nils-Erik Bjørholt / Visitnorway.com 2 • May 8, 2015 norwegian aMerican weekly NyhETEr Fra NorgE Nyheter Nesten 10,000 i 1. maitoget SV vil ha Vinmonopolet overalt SV vil pålegge Vinmonopolet å åpne Man må 25 år tilbake i tid for å finne et bedre oppmøte i 1. maiarrangementet polutsalg i alle norske kommuner som ønsker det. Det er dermed en ny vend- Han innledet derfor talen med å snakke ing for partiet som har vært kjent for om båtflyktningene, og hvordan Norge bør rødvinsdrikkende medlemmer, men hjelpe syrere både i nærområdene og her i med ganske restriktivt syn på alkohol- landet. -
Persecution, Collaboration, Resistance
Münsteraner Schriften zur zeitgenössischen Musik 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ›Reichskommissariat Norwegen‹ (1940–45) Münsteraner Schrift en zur zeitgenössischen Musik Edited by Michael Custodis Volume 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ‘Reichskommissariat Norwegen’ (1940–45) Waxmann 2020 Münster x New York The publication was supported by the Deutsche Forschungsgemeinschaft , the Grieg Research Centre and the Westfälische Wilhelms-Universität Münster as well as the Open Access Publication Fund of the University of Münster. Bibliographic information published by the Deutsche Nationalbibliothek Th e Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografi e; detailed bibliographic data are available in the Internet at http://dnb.dnb.de Münsteraner Schrift en zur zeitgenössischen Musik, Volume 5 Print-ISBN 978-3-8309-4130-9 E-Book-ISBN 978-3-8309-9130-4 DOI: https://doi.org/10.31244/9783830991304 CC BY-NC-SA 4.0 Waxmann Verlag GmbH, 2020 Steinfurter Straße 555, 48159 Münster www.waxmann.com [email protected] Cover design: Pleßmann Design, Ascheberg Cover pictures: © Hjemmefrontarkivet, HA HHI DK DECA_0001_44, saddle of sources regarding the Norwegian resistance; Riksarkivet, Oslo, RA/RAFA-3309/U 39A/ 4/4-7, img 197, Atlantic Presse- bilderdienst 12. February 1942: Th e newly appointed Norwegian NS prime minister Vidkun Quisling (on the right) and Reichskomissar Josef Terboven (on the left ) walking along the front of an honorary -
'Monumentalism' in Norway's Music 1930 –1945
Arnulf Christian Mattes ‘Monumentalism’ in Norway’s Music 1930 –1945 I. Building the Young Nation after 1905 The year 1905, when Norway eventually became a fully independent nation and a sovereign state, put an end to the uneasy political union with Sweden. Apparently, it marks the moment, when Norwegian cultural nationalism accomplished its goal. However, achieving independence in 1905 did not make the cultural nationalist movement obsolete, to the contrary: its protagonists were given the task to provide artistic expressions for cultural consensus and historical continuity of the young, Norwegian state at the turn of the 20th Century, aspiring to become a modern, economically thriving, and democratic society. This meant also to find the means of expression that suited this task. Therefore, many of the major artworks produced during the first decades of the 20. century tell a story about expressing ‘greatness’, in a specific Norwegian way. Additionally, there prevailed the strong ties to Germany in almost every aspect. German engineers helped to establish Norwegian infrastructure and industry, as well as Norwegians during most of the 19th century took advantage from the Germans’ world-leading academies and universities to educate its own cultural and academic elites. Calling this background into mind, one can understand better to which extend Norwegian artists felt ambivalent about their national responsibility: they had to acknowledge German cultural supremacy, at the same time they had to create artistic monuments which could match the standards of ‘advanced artworks’ equal to the German models, adopting the highly-developed techniques most of them had learned as students at the prestigious German institutions, the famous art- and music academies in Berlin and Leipzig. -
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.