Program 2015 6.–17
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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. -
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. -
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. -
Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström
Online version of Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström Stockholm, Svenskt visarkiv, 2003 Publications issued by Svenskt visarkiv 18 Translated by Kristina Radford & Andrew Coultard Illustrations: Ann Ahlbom Sundqvist For additional material, go to http://old.visarkiv.se/online/online_mmm.html Contents Preface.................................................................................................. 9 AIMS, THEMES AND TERMS Aims, emes and Terms...................................................................... 13 Music as Objective and Means— Expression and Cause, · Assumptions and Questions, e Production of Difference ............................................................... 20 Class and Ethnicity, · From Similarity to Difference, · Expressive Forms and Aesthet- icisation, Visibility .............................................................................................. 27 Cultural Brand-naming, · Representative Symbols, Diversity and Multiculture ................................................................... 33 A Tradition of Liberal ought, · e Anthropological Concept of Culture and Post- modern Politics of Identity, · Confusion, Individuals, Groupings, Institutions ..................................................... 44 Individuals, · Groupings, · Institutions, Doers, Knowers, Makers ...................................................................... 50 Arenas ................................................................................................. -
“How Do I Get to Play in Japan?” Exploring Nordic Folk Music Bands' Brand Iden
“How do I get to play in Japan?” Exploring Nordic Folk Music Bands’ Brand Identity in Japan Anna Wegelius Master’s Thesis Sibelius Academy Arts Management Spring 2020 1 2 “How do I get to play in Japan?” Exploring Nordic Folk Music Bands’ Brand Iden- tity in Japan Anna Wegelius Master’s Thesis Sibelius Academy Arts Management Spring 2020 3 4 Title Number of pages “How do I get to play in Japan?” - Exploring Nordic Folk music Bands’ Brand Identity in Japan 77 pages Author Semester Anna Wegelius Spring 2020 Degree Program Arts Management Abstract The starting point of the thesis was the desire to answer musicians’ burning question “How do I get to play in Japan?”. The thesis aims to give the reader an understanding how bands, agencies and other professionals in the field of music work to build brand identities for Nordic folk music bands in Japan, and give ideas that could be generalized to help answer the question “How do I get to play in Japan?”. The thesis is an exploratory study using qualitative research method. The data was collected through ten interviews with bands that are, or have been, in a roster of an agency, Japanese agencies, and professionals related to the field. Theoretical framework is based on literature on brand identity, Kapferer’s theory of prism of brand identity in particular. The research reveals meanings of brand identity elements on the specific field of Nordic folk music in Japan. Bands’ ideas why they were selected to an agency’s roster, and the agencies’ principles on selecting artists, and reasons why they get interested in Nordic bands, propose answers to the the question ”how to get to play in Japan”. -
The Nordic Fiddlers Bloc
THE NORDIC FIDDLERS BLOC The Nordic Fiddlers Bloc is Olav Luksengård Mjelva, Anders Hall and Kevin Henderson who come from Norway, Sweden and the Shetland Islands respectively. They are three of the finest young fiddlers currently working in the folk music scene and are in great demand playing in various musical constellations throughout the world. The project is the brainchild of Anders Hall who felt that combining the three unique distinctive fiddle styles together would create a special sound. Anders hunch proved to be correct after first exchanging musical thoughts with each other in Voss in May 2009. From the first note that was played they realized this was a collaboration that had to continue such was the feeling of excitement and respect for each other’s playing and traditions. Norway, Sweden and Shetland has three of the richest fiddling traditions in the world as well as many well documented historical links going back hundreds of years. It is refreshing to see these links being rectified in the musical collaboration that is The Nordic Fiddlers Bloc. They have blended three individual styles from these three Nordic regions but still allow their three distinct flavours to come through in a sound that is unique, meaningful, intense and invigorating. Anders Hall – Sweden Anders Hall comes from Arbrå, Hälsingland in Sweden. He plays fiddle, viola and also the Hardanger fiddle, an instrument he studied at the Ole Bull Academy in Voss from 2006-2008. As a result he now has a unique knowledge of both, Norwegian traditional music as well as his native Swedish. -
Emilia Amper on the Move
Emilia Amper – Trollfågeln — Traditional and new Nordic folk music composed and arranged by Emilia Amper for nyckelharpa, voice, folk music ensemble and strings Emilia Amper is the World Champion of Emilia Amperʼs solo project Trollfågeln presents a nyckelharpa, double American Grammy playful, vibrant and rhythmic new soundscape nominee, Norwegian Spellemannsprisen where nyckelharpa and voice meets percussion- winner, Artist of the year nominee at the focused folk music ensemble and classical strings. Swedish Folk and World Music Awards and educated Nordic Master in Folk music. With A kaleidoskopic mix of traditional Nordic tunes and Emilia ́s own compositions shows influences from her groovy, dynamic and elegant all over the world, from folk, rock, pop and chamber playing style, her enchanting and clear music, and explores the possibilities of the folk style singing and her radiant stage nyckelharpa. Hypnotic, melancholic and meditative, personality she charms audiences super groovy and shining with happiness, the worldwide. Trollfågeln project is a vivacious roller-coaster ride with Emilia at the wheels. ”In my solo project, my love and respect for tradition merge with an on-going, exciting and occasionally also painful exploration of my own boundaries and those of my instrument. For me, life is powerfully affirmative and music and the movements of body and soul unite.” Robert von Bahr (Founder and owner of BIS Records): ”I have never experienced anyone, anytime, who could so transfix a public like this girl.” ”A unique production with a unique artist.” Fredrik Kronkvist (Jazz saxophone player): ”What a sound, rhythm, intensity... The whole concert was awesome!” Joakim Milder (Professor of Improvisation at KMH in Stockholm): ”Amazingly beautiful playing!” Mattias Petersson (composer): ”Like hearing Glenn Gould playing Bach.” Contact: [email protected] MP3: 1. -
NISSWA-STAMMAN INFO 2017 Nisswa-Stämman Scandinavian Folk Music Festival, June 9 & 10, 2017, Features 150 Folk Musicians Pe
NISSWA-STAMMAN INFO 2017 Nisswa-stämman Scandinavian Folk Music Festival, June 9 & 10, 2017, features 150 folk musicians performing on 3 stages, day- long dancing opportunities on two dance floors, dance instruction, a cultural children's activity tent, and great Scandinavian food...all under the shade of the majestic Norway pines of the Nisswa Pioneer Village in Nisswa, Minnesota. We are going into the 18th year of the festival, and yet another special line up of award winning musicians from Scandinavia is headlining. They include: Maja Kjær Jacobsen - master fiddler from Southern Denmark, Aallotar, Finland/Minnesota - two talented musicians from two countries making contemporary nordic folk music on violin and accordion; Vindonia, Sweden - trio playing and singing traditional nordic music w/ Vocals, Harp and Violin; Skvis, Norway - three talented accordion players making great listenable and danceable music together; Lustspel, Sweden - a student spelmanslag, or fiddlers group from Lund University in Malmö, Sweden. USA groups and individuals appearing include the American Swedish Institute Spelmanslag, the Twin Cities Nyckelharpalag, the Twin Cities Hardingfelelag, Hutenanny, Tjärnblom, he Stoney Brook Fiddlers, Ole Olssons Oldtime Orkestra, Skål Klubben Spelmanslag, Ivares Pojkarna, Skålmusik, Finn Hall Band, Loretta Kelley, Ross Sutter and many, many others! For more information contact Paul Wilson, 218 764 2994 [email protected] http://www.nisswastamman.org/ Here is the basic Nisswa-stämman 2017 schedule: Friday June 9 - 10 am - 3 pm - Scandinavian music and dancing workshops, Nisswa area, open to public. There is a fee involved. Email Janet Hill for information at: [email protected] or call her at 218 259 4090 7 pm - Gala Opening Sampler concert, Lutheran Church of the Cross, Nisswa, $15 adults, $5 children 12 and under. -
(George) Percy (Aldridge) Grainger
(George) Percy (Aldridge) Grainger Born Brighton Victoria Australia 8 July 1882 Died White Plains New York USA 20 February 1961 1882-1894 educated at home under the management of his mother, Rose – included piano (Louis Pabst), art, drama, languages and elecution. After his prodigy debut at age 12, helped by public subscription, he and his mother went to Frankfurt, to further his education. His father, an architect from Adelaide, designed Princes Bridge. 1895 -1901 education in Frankfurt- piano (James Kwast) and composition (Iwan Knorr). The Frankfurt Group – English music students with whom he linked, included Cyril Scott, Henry Balfour Gardiner, Roger Quilter and Norman O’Neill. 1901 – 1914 From a base in London Grainger established his career as a concert pianist and piano teacher. During this time he also had a few lessons from Busoni in Berlin and travelled two concert tours to Australia with contralto Ada Crossley. He began British folk song collecting from1906, being the first to collect by recording on phonograph. Not until his concert career was established did he seek publication of his compositions; the first published by Schott in 1911. A first concert entirely of his music was given in 1912. With the onset of World War 1 Grainger moved to USA where he worked as a pianist, composer, producer of piano rolls for Duo Art and recordings for Columbia. He joined the US Army in 1917, playing oboe and soprano saxophone and eventually becoming a band instructor. His mother’s suicide in 1922 caused him to review his direction and he limited his concert performances, spending time recording Danish folk songs, travelling Europe and visiting Australia. -
Live at Liszt Academy
Live at Liszt Academy - TransBalkan Express - MUZIKAS CIMBALIBAND - Side 8 og 10 Folk Music from The Balkans - PRAVO Artister til Førde Side 16 Folkemusikkfestival Dance Music - JOHNNY side 8 og 9 O'LEARY - Side 18 Katalog nr 75 April-Mai 2009 MÅNEDENS ALBUM I NORDISK PROFIL SIDE1 4 Redaksjonelt Redaksjonelt he sings, joined from time to time by singer Gunnlaug Lien Myhr, ANNONSE percussionist Terje Isungset and Tor Egil Kreken on bass and banjo. The albums got a captivating Etnisk narrative: the title translates as Sowing Day, and it takes as its Musikklubb inspiration the old-fashioned søker hjelp primstav (almanac), which reminded people of important days to do with til seasonal outdoor work and rituals. 1-890 Sådagen - EILIF Gundersen has personalised this as Festivalsalg GUNDERSEN, GUNNLAUG a reminder of growing up in LIEN MYHAR, TERJE Hallingdal in south-central Norway i sommer! ISUNGSETH, TOR EGIL with tunes for St Margarets Day KREKEN (when it would be bound to rain), Ta kontakt St Bartholomews Wake (by which 32 73 56 60 4 av 5 stjerner! time the cattle have to be down from the mountains), or St Catherines Day (when its time to start spinning). omfatter kjøring til Its somewhat addictive; the 33 Sådagen review tracks are all quite short but the og fra festivaler - hugely informative booklet helps pakking av varer i from issue 58 in you along the journey. Songline below: bil, opprigging, The playing from all performers nedrigging og salg The cover of this CD displays a is impeccable, with noteworthy under festivalen. very fine goat with a masterful pair tracks including the traditional Kost og logi samt of horns, for Eilif Gundersen is a psalm Mitt Hjerte Alltid Vanker, man who is reviving and exploring featuring subtle percussion festivalpass. -
Tidsreise I Domkirken
WWW.FIB.NO FESTSPILLENE PROGRAM I BERGEN KR 20 DOMKIRKEN 30. MAI Tidsreise i Domkirken Time Travel in the Cathedral BERGEN 21. MAI — 04. JUNI INTERNATIONAL 2014 Redaksjon: Festspillene i Bergen / Design og konsept: ANTI Bergen, www.anti.as / FESTIVAL Trykkeri: Bodoni // Formgiving:Formgiving: Anna-Julia Anna-Julia Granberg Granberg / /Foto Foto forside: forside: Oddleiv ?? Apneseth FESTSPILLENE I BERGEN 7 Festspillene 2014 Samarbeidspartnere i kulturlivet Arrangement Tjenester takker Austevoll kommune Barratt Due musikkinstitutt Bekkjarvik Gjestgiveri Festspillene i Bergen er Bekkjarvik Torg avhengig av mange og ulike Bergen Backline Bergen Dansesenter støttespillere for å avvikle Bergen Filharmoniske Orkester vårens store eventyr. Disse Bergen kulturskole er med på å gjøre opplev- Bergen Kunsthall elsen større. Bergen Nasjonale Opera BIT20 Ensemble Festspillambassadører Bright Yvonne og Bjarne Rieber Buekorpsenes dag Grieg Foundation Bymuseet i Bergen Trond Mohn Carte Blanche – Norges nasjonale kompani for samtidsdans Hovedsamarbeidspartnere Collegiûm Mûsicûm DNB Cornerteateret Statoil Columbi Egg Radisson Blu Hotel Norge Det felles innvandrerråd, Hordaland DagensTidsreise Næringsliv Bergen Internasjonale Kultursenter Den Nationale Scene Prosjektpartnerei Domkirken Det Norske Teatret Stiftelsen Kristian Gerhard Jebsen Dramatikkens Hus Kavlifondet Dukkenikkerverkstedet SparebankenBERGEN DOMKIRKE Vest Edvard Grieg Kor – allmennyttige midler Ervingen kulturhus, Gimle H. Westfal-Larsen og hustru Anna Fargespill FredagWestfal-Larsens 30. mai