Musik- och dansetnologisk tidskrift Journal for ethnoMusicology and ethnochoreology Vol 6 2021 Svenskt visarkiv Musikverket PULS Musik- och dansetnologisk tidskrift, Vol 6, 2021 Journal for ethnoMusicology and ethnochoreology, Vol 6, 2021 Utges av/Published by: Svenskt visarkiv/Musikverket/Centre for Swedish Folk Music and Jazz Research/ Swedish Performing Arts Agency http://musikverket.se/svensktvisarkiv/ Huvudredaktör/General Editor: PhD Madeleine Modin, Svenskt visarkiv, [email protected] Gästredaktör/Guest Editor, Vol 5–7: Prof Alf Arvidsson, University of Umeå, [email protected] Recensionsredaktör/Review Editor, Vol 5–7: Assoc Prof Karin L. Eriksson, Linnaeus University, [email protected] Redaktionsråd/Editorial Board: Assoc Prof Sverker Hyltén-Cavallius, Assoc Prof Dan Lundberg, PhD Madeleine Modin & PhD Karin Strand, Svenskt visarkiv. Assoc Prof Karin L. Eriksson, Linnaeus University, Växjö, Assoc Prof, Mats Nilsson, Independent Scholar, Gothenburg, PhD Eva Fock, Independent Scholar, Copenhagen. Webb/Web: http://musikverket.se/puls E-post/Email: [email protected] Vetenskapligt råd/Advisory Board: Prof Johannes Brusila, Åbo Akademi University, Finland Prof Tellef Kvifte, University of South-Eastern Norway PhD Laura Leante, Durham University, UK PhD Mats Melin, Irish World Academy of Music and Dance, University of Limerick, Ireland PhD Annika Nordström, The Institute for Language and Folklore, Gothenburg, Sweden Prof Eva Sæther, Lund University, Malmö Academy of Music, Sweden Graphic Design & Layout: Jonas André Front Cover Photo: rawpixel.com / Adobe Stock ISSN: 2002-2972 © 2021, Statens musikverk & the authors PULS Vol 6 Contents 3 Contents Editorial 4 Guest Editor’s Column 5 ARTICLES Lars Lilliestam: Valet – att sjunga på svenska eller engelska 14 Om rock- och poptexter skrivna av svenskar Linn Eckeskog & Sofia Pulls:Uti Värmeland 36 Plats och identitet i Sven-Ingvars texter Arnfinn Åslund:En bluespreken 57 Om Son House og «Preachin’ the Blues» Miguel Vázquez-Larruscaín: Dylan på Newport Folk Festival 81 «North Country Blues», 26. Juli 1963 Kaj Ahlsved: Texten som impulsgivare och skildrare av musikaliska praktiker 100 Idrottsföreningen Kamraterna Helsingfors sång- och musikkultur i historisk belysning (1897–1939) Hans K Hognestad: Hymner og nidviser 125 Fotballsangenes sosiale dramaturgi Johan Magnus Staxrud: «I Gällivare trakter» 145 Om sjangertrekk og mening i ei rallarvise Sveinung Nordstoga: Verdas største skrøne 169 Om korleis folkrockgruppa LoMsk tolkar Peer Gynt-forteljinga Viveka Hellström: Att sjunga Danny’s Dream 186 Tre svenska sångtexter till en svensk jazzstandard REVIEWS A Story to Every Dance 206 An Oxford Handbook of Applied Ethnomusicology, Volume 1–3 208 Att göra plats för traditioner 212 Ethnomusicology Matters 216 ”Kors vad det vimlar …” 219 Making Intangible Heritage 222 Former som formar 225 Skillingtryckarna; De osynliga melodierna; En botfärdig synderskas svanesång 229 Songs of Social Protest 235 Spelmansböcker i Norden 240 The Archeology of Sound, Acoustics and Music 244 Tobias Norlind 247 Towards a Global Music History 249 Bulletin Board 253 Svenska kommittén av ICTM 254 Authors and Other Contributors 255 Information 257 4 Editorial PULS Vol 6 Editorial Madeleine Modin, General Editor Welcome to the sixth volume of Puls – Journal for This year’s volume is exclusively Scandinavian, compared Ethnomusicology and Ethnochoreology. I am delighted to to earlier and coming volumes with more articles written present an issue containing no less than nine full articles in English. Actually, five of the articles are written in and twelve book reviews. All the articles are revised and Norwegian. Collaborations with colleagues from our extended papers from a symposium called “The Song, neighbouring countries are much appreciated, just the Singer, the Situation” held in Umeå, Sweden 24–25 as we also welcome authors from beyond the Nordic September 2019. One of the organisers of the symposium region. As before, we encourage contributions from the was Puls’ current guest editor Professor Alf Arvidsson, who ethnochoreological field, as the next issue will be open, elaborates on the symposium’s subject and presents the without a specific theme. articles in the following Guest Editor’s Column. As review editor, Associate Professor Karin L. Eriksson has managed When Dan Lundberg and Karin Strand temporarily took the many book reviews for this issue. over as general editors of Puls after Ingrid Åkesson’s retirement, I was following the work of Puls No. 5 in the The pandemic restrictions made 2020 a special year for background, in order to pick up the job as general editor all of us. It was a year of cancelled, rescheduled and for this volume. The work of producing Puls No. 6 has digital conferences. Our section with conference reports is been interesting and it is amazing to realise how many missing in the volume, reflecting this situation. Networking people are involved in the process. The 23 authors, the and in-depth scholarly discussions work best in real life, guest editor, the editorial board, the advisory board, the just as our fieldwork needs on-site reality. Let us hope to peer reviewers, the language reviewers and the graphic be able to meet again in person, soon. designer make a total of more than 50 persons. I am most grateful to all these people for their professional work and New for this issue is a section where the idea is to highlight smooth collaboration. Thank you so much! new resources for scholars, such as databases, digitalized materials and publications, networks and forums. The Together with the Puls team, I hope the readers find it resources presented are selected from the perspectives of informative and interesting reading about songs, singers the editorial board, but readers are invited to contribute to and situations! upcoming volumes. The scope of Puls has become broader with each volume, even if ethnomusicology and ethnochoreology in a Scandinavian/Nordic context have remained at the core. This issue contains a wide range of musical genres, such as jazz, navvy songs, rock, blues, contemporary folk rock, dance-band music and sports songs, but a common thread for the articles is the focus on song texts, due to the theme of the symposium. PULS Vol 6 Guest Editor’s Column 5 Guest Editor’s Column Alf Arvidsson This issue of Puls coincides with the seventieth anniversary of Svenskt visarkiv. As indicated by the name, the focus is on folk songs, and especially the lyrics. When the archive was nationalized in 1970, its field of responsibility was enlarged to also include instrumental folk music, and over time more fields have been added. New ideas concerning genres, temporality, media and social categories have still further changed direction and character of the work. However, the ethnomusicological approach towards the collection has been a common thread through the decades. This issue of Puls has song lyrics as a common denominator – perhaps not at the centre of every article, but as a recurring presence; a change in the lyrics would change the general image, an absence of lyrics would redefine the situation. The intricate networks that arise between text, music, performance, time and place, actors, ideologies and power relations are temporary and volatile, while at the same time they establish relationships backwards in time to proven and well-known expressions, and supply new patterns for future situations. The articles are the outcome of the symposium “Sången, sångaren, situationen – nya perspektiv på sångtexter” held in Umeå 24–25 September 2019, arranged jointly by Svenskt visarkiv and the Department of Culture and Media Studies, Umeå University. The purpose was to stimulate a renewal of research on and with use of song lyrics from the perspectives of musicology, literature studies, and ethnology. In the call for papers we specifically asked for contributions that would bring various perspectives to musical texts that we considered productive. The first of these drew attention to the contemporary tendency to use song lyrics as markers of identity. The increased importance of identity consciousness has given music an important role in expressing categories of identity, making them visible in public space, as well as problematizing people’s own notions about identity. Furthermore, the seemingly obvious character of song lyrics is emphasized as being a medium of meanings – inscribed in the text or attributed to singers and listeners. Songs and popular music are expected to have easily comprehensive lyrics. At the same time, there 6 Guest Editor’s Column PULS Vol 6 can be a sizable need for paratexts, judging by the many introductory monologues from stage or comments on record sleeves or inserts. In the narrative of strong musical experiences, individual and contextual interpretations of lyrics can show how they can come to represent values, affects and messages that are not encoded in the text. Shared meanings and identifications furthermore are central to songs written for building of collective identities – for example, in clubs, societies, at working-places and in schools. Here there is a long twentieth-century tradition within the popular movements, among others, to write songs in order to express and build feelings of communality, articulate collective values and emotions, provide tools for identification with fellow others (for example, the regional hymns that used to be taught in primary schools). How were collective identities formed in the past, and