Musikk og Tradisjon http://ojs.novus.no/index.php/MOT <p><em>Musikk og tradisjon</em> er tidsskriftet til Norsk folkemusikklag, som er norsk avdeling av International Council for Traditional Music (ICTM). Tidsskriftet presenterer forskning innenfor området som ICTM dekker, det vil si tradisjonell musikk og dans i vid betydning. <em>Musikk og tradisjon</em> het inntil 2009 <em>Norsk folkemusikklags skrift</em>. Det ble første gang ble utgitt i 1984, og kom ut med tilsammen 23 nummer.</p> Norsk folkemusikklag nb-NO Musikk og Tradisjon 1892-0772 Forfattere beholder opphavsretten og gir tidsskriftet rett til første publisering av arbeidet. Egil Bakka, Theresa Jill Buckland, Helena Saarikoski & Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century http://ojs.novus.no/index.php/MOT/article/view/2061 <p>Waltzing through Europe er ei redigert samling med valse- og polkaartiklar frå medlemmar av ICTMs studiegruppe i Etnokoreologi (International Council for Traditional Music’s study group on Ethnochoreology). Dei har samla seg i ei understudiegruppe for runddanstradisjonen som oppstod på 1800-talet, og dei har halde på med forskingssamarbeidet sidan 2003.</p> Siri Mæland Opphavsrett 2021 Siri Mæland https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Owe Ronström & Dan Lundberg (eds.), Sounds of Migration. Music and migration in the Nordic countries. http://ojs.novus.no/index.php/MOT/article/view/2062 <p>This book is an output from a conference held in Stockholm in April 2019 that brought together researchers, primarily ethnomusicologists, from various countries in the Nordic region and beyond that have worked on music and migration in different Nordic settings. The conference was specifically oriented toward revisiting and “taking stock” of previous research and updating it. The resulting book consists of nine chapters by researchers based in Sweden, Finland, Norway and Bosnia and Herzegovina, though the bulk of the chapters present the results of studies conducted in Sweden. Some chapters revisit older research from the 1980s and 1990s, while others report on research conducted more recently by a new generation of scholars working on the topic since around 2000. A few chapters are primarily oriented to theory, but most use ethnographic and/or archival material as a starting point for engaging with theoretical issues related to music and migration.</p> Thomas Solomon Opphavsrett 2021 Thomas Solomon https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Rapporter http://ojs.novus.no/index.php/MOT/article/view/2063 <p>31. symposiet til ICTM:s studiegruppe i etnokoreologi, 12.-18. juli 2021, Klaipeda, Litauen. Av Siri Mæland</p> <p>ICTMs navneskiftediskusjon og avstemming - Inkludere dans og skifte fra tradisjonsmusikk til musikktradisjoner? Av Siri Mæland</p> <p>North Atlantic Fiddle Convention 2021, 23–26 juni, University of Limerick, Irland. Av Karin Larsson Eriksson</p> <p>Ungt Forskerforum for Folkemusikk og Dans (UFFD). Av Isa Holmgren</p> Siri Mæland Karin Larsson Eriksson Isa Holmgren Opphavsrett 2021 Forfatterne https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Sammendrag av folkemusikkrelaterte masteroppgaver http://ojs.novus.no/index.php/MOT/article/view/2064 <p>Are August Flannagan Furubotn: Slåttemusikkens undertekst, undersøkingar av språket kring slåttemusikken. Masteroppgåve i tradisjonskunst, Institutt for tradisjonskunst og folkemusikk, Universitetet i Søraust-Noreg, 2021.</p> <p>John Ole Morken: På tvers av taktslagene – Om en type buestrøk i rørospolsen som gikk av moten. Masteroppgave i tradisjonskunst, Institutt for tradisjonskunst og folkemusikk, Universitetet i Sørøst-Norge, 2021.</p> <p>Marianne Tovsrud Knutsen: Kor, kveding og improvisasjon; Arbeid med stiltrekk i norsk vokal folkemusikk med metodikk fra konseptet «The Intelligent Choir». Masteroppgave i tradisjonskunst, Institutt for tradisjonskunst og folkemusikk, Universitetet i Sørøst-Norge, 2021.</p> Are August Flannagan Furubotn John Ole Morken Marianne Tovsrud Knutsen Opphavsrett 2021 Forfatterne https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Forord http://ojs.novus.no/index.php/MOT/article/view/2055 <p>Denne utgaven av Musikk og tradisjon består av en samling frie artikler fra folkemusikkforskningen i Norden. Likevel har fire av artiklene nærliggende tematikk som på ulike vis omhandler musikkinstrumenter; relasjonen mellom instrumentet og utøveren, skapelsen av nye musikkinstrumenter og instrumentenes sosiale og kulturelle bruksområder i samfunnet. Tidsskriftets avsluttende artikkel har en litteraturhistorisk tilnærmelse og løfter fram problemstillinger i skjæringspunktet mellom muntlige og skriftlige tradisjoner.</p> Karin Eriksson Opphavsrett 2021 Karin Eriksson https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Å male i blått – om måling av intonasjon på hardingfele http://ojs.novus.no/index.php/MOT/article/view/2056 <p>This article investigates and discusses possible explanations for unconventional intonation practices in Norwegian Hardanger fiddle tunes. Software measurements of archive recordings, mainly of the Telemark fiddler Johannes Dahle (1890–1980), have given access to relevant visual and numerical data. The results show that the conventional diatonic system is not suitable as an analytical tool for intonation practices within this genre. The article presents examples of intonation patterns linked to a genre-specific tolerance and suggest that such patterns, which involves variability and step sizes between the whole step and the semitone, are governed both by the idiomatic left-hand technique, acoustic factors and by choices made possible by a normative and aesthetic framework, including expressive freedom.</p> Per Åsmund Omholt Opphavsrett 2021 Per Åsmund Omholt https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Rekonstruktion och revitalisering av äldre svenska spelmanslåtar http://ojs.novus.no/index.php/MOT/article/view/2057 <p>The present text describes a combined artistic research and recording project of fiddle tunes from the second half of the 18th century in the county of Hälsingland in Sweden. Through studies of older interpretative practices within art and folk music traditions, the project Brudlåtar (2018) was initiated to revitalize and reconstruct the performances of a selection of fiddle tunes. The tunes that were chosen have some common features with the violin sonatas from the baroque and classical periods and were put together into suites where a general bass part was added to strengthen the sound of the 18th century. The study draws on Paul Ricœur’s (1984) mimesis theory and his ideas on transmission of tradition, revitalization and reconstruction. It discusses the various difficulties and opportunities that the interpreter encounters in relation to conventions and source material, and it shows how the cognitive achievements concerning interpretation from traditional music as well as early music, may enrich each other.</p> Thomas von Wachenfeldt Opphavsrett 2021 Thomas von Wachenfeldt https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Hedningarnas moraoud: innovation, fantasi och nygamla musikinstrument http://ojs.novus.no/index.php/MOT/article/view/2058 <p>The Swedish/Finnish folk- and world music group Hedningarna combined traditional music with an energetic, drone-based “mystical” sound. Throughout the band’s career, they would consistently use traditional acoustic “folk” instruments, with the acoustic sound typically amplified and modified. In this article we discuss the inception and development of one of their custom instruments, the mora-oud, which combined the body of a medieval style keyed fiddle (a mora-harp) with a fretless lute neck. The material (mainly interviews, auto-ethnographic descriptions and social media discussions) suggests that some of the mora-harps meaning potential, such as a sense of ancientness and “Nordic-ness”, followed into the mora-oud. This was combined with certain sonic and tonal resemblances with the Arabic oud, as well as its visual qualities and ease of amplification, to afford an instrument that fitted congenially with the global world music scene in which Hedningarna was a major player, especially during the 1990s. The instrument became an important part of the band’s sound as well as of their strategies to handle and sometimes link together their musical, cultural and political contexts, both on stage and in the studio. In the conclusion we discuss how serendipity and fantasy were important aspects in how the instrument was conceived and developed.</p> Daniel Fredriksson Hållbus Totte Mattsson Opphavsrett 2021 Forfatterne https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 Cylinderpositiv i Norge fram till 1850 – typer och traditioner http://ojs.novus.no/index.php/MOT/article/view/2059 <p>The article is the first comprehensive study that explores different types of barrel organs before the production of cylinder barrel organs started in the village of Steinkjer in Norway in the 1850s. The first reported performance of barrel organs took place in the homes of the bourgeoisie in the second half of the 18th century, and later from the 1830s increasingly more often in public places. In contrast to these instruments, owned by travelling Italian performers, a few rather expensive imported English church and chamber barrel organs are now part of the collections in Norway. The article shows that these instruments had a varied repertoire: hymns, older and contemporary dance melodies. In addition, the smaller bird organ, (French, serinette), with a repertoire predominantly of marches, dances, and songs from operas was also imported and used in Norway in this period. The article investigates and gives an overview of various organ builders, artisans and clockmakers that cared for the instruments. It also demonstrates the different uses and functions of the performed music. Thus, this study of the instruments, repertories and culture is relevant to gain a further understanding of the later emergence of the Steinkjer barrel culture in the second half of the 19th century.</p> Mats Krouthén Opphavsrett 2021 Mats Krouthén https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35 «En Ridder saa bold og en Frøken saa grand» – spøkelsesdikting i vers og på prosa http://ojs.novus.no/index.php/MOT/article/view/2060 <p>The publication of Thomas Percy’s anthology Reliques of Ancient English Poetry (1765) not only marked a new interest in the old medieval ballads themselves, but provided contemporary writers with dramatic literary motifs. Especially erotic ghost stories became fashionable. One of the most prominent ghost story writers was Matthew Gregory Lewis. In 1796 he published what was to become one of the most influential Gothic novels at the time, The Monk, containing several ballads of Lewis’ own creation. One of these, «Alonzo the Brave», became a classic. Almost immediately it was translated to Swedish and Danish. In Sweden, the ballad about the bold warrior Alonzo and his fiance Imogine became immensely popular as a broadside ballad (skilling ballad). Later it was translated to Norwegian, where the text was shortened and in some ways simplified. It seems that the ballad collector Sophus Bugge was the first to come across the ballad in Norwegian oral tradition. This was in the 1860s, but probably the translation was made quite a few years before that. Furthermore, in some cases the ballad story was transformed to a prose tale. Especially the prose tale told by Inger Marie Fallet from Sørum is of high quality, showing that there was no unsurmountable distinction between tales in verse and prose.</p> Olav Solberg Opphavsrett 2021 Olav Solberg https://creativecommons.org/licenses/by-sa/4.0/ 2021-12-31 2021-12-31 35