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Tvasprakig och sympatisk folkrock


Skip to main content. Log In Sign Up. Dr Ingrid Åkesson, Svenskt visarkiv, ingrid. Prof Alf Arvidsson, University of Umeå, alf. Jonas André Front Cover Photo: Folkmusikfältets uppkomst och autonomisering tolkat genom tre kulturfurstars strategier 37 Wictor Johansson: Inge Landtbom 60 Spelman eller dragspelare? The inclusion is retroactive, beginning with the second issue, published in For the third and fourth issues of Puls, the Guest Editor is dr.

Hans-Hinrich Thedens from Oslo. Thedens has a long experience as a university employee and music archivist, as well as from within the folk music milieu. He is now working as a specialist of Norwegian instrumental traditional music at the music department of the National Library of Norway. The text discusses the choices that the staff of folk music and dance archives have to make in relation to, on the one hand, demands of access and, on the other, the responsibility to protect their sources.

The Swedish-speaking minority in Finland has for centuries cultivated its own special forms of Swedish cultural expression as "Tvasprakig och sympatisk folkrock" as a number of distinct Finland-Swedish spoken dialects. Today, several official institutions oversee the maintenance and development of this cultural heritage. The issue of Finland-Swedish identity is currently being studied, discussed, and problematised in various research projects.

In her article, Djupsund discusses the function of a certain kind of drinking-song tradition snapsvisa as an element in the construction of a Finland-Swedish ethnicity and identity. Originally a Swedish academic tradition, the snapsvisa is very popular among many groups within the Swedish-speaking minority of Tvasprakig och sympatisk folkrock. The songs are performed at private as well as academic festitvities, partly as an oral tradition and partly sung from song books or other printed texts.

The author gives special attention to the elements of humour and irony in her analysis. This claim, however, has been, and continues to be, contested by numerous examples of other strong regional and local traditions, as well as a successively changing discourse concerning issues Tvasprakig och sympatisk folkrock as values, individual style and perspective. Still, Tvasprakig och sympatisk folkrock early twentieth century establishment of the two regions and the connected local musical styles as pre-supposed high status phenomena constitutes an interesting issue, which is addressed in one of the articles.

In late nineteenth as well as twentieth century Swedish folk music discourse, several dominant actors have ascribed different roles to traditional music on the one side and newer or modern accordion music on the other. This difference is not manifest in all countries or cultures but has been rather deeply rooted in Sweden. The repertoire of accordionist Inge Landtbom from Gotland, an island off the east coast of Sweden, contains older, local, traditional tunes, as well as modern and popular dance music, and the musician himself did not regard them as belonging to different kinds of music.

The author goes on to discuss the extent to which the two kinds of music are represented in the official image of Landtbom. In addition to the articles, this issue offers a number of reviews and shorter reports as well Tvasprakig och sympatisk folkrock reports from music- and folklore-related conferences and seminars in I would like to thank all the persons involved in producing Puls, including the anonymous reviewers of articles, whose contribution is crucial.

As always, the editorial board welcomes ideas, proposals for articles and reviews, constructive criticism, and other input from the readers within and outside of the Nordic region.

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Archives can be the backbone of folk music revivals where musicians dig into older layers of music traditions, or archival recordings can inform and augment the repertoire and playing style of a living tradition. As the Norwegian guest editor in a Swedish scholarly journal, I want to use this opportunity to reflect on how these functions are served by folk music and dance archives in Norway today, what means are used for dissemination, and what the conditions are like for this activity.

At the National Library, I currently participate in a collaboration project with the National Broadcasting Service NRKwhich seeks to develop a new database platform as a tool for sound archives in Norway. In addition, I have interviewed a number of colleagues and Tvasprakig och sympatisk folkrock looked at examples of disseminating recordings on the Internet, which currently are carried out by some of the archives in the network.

In the following, I will describe Tvasprakig och sympatisk folkrock archives, their "Tvasprakig och sympatisk folkrock" groups and their role in contemporary musical practice. I will look into attitudes towards dissemination of traditional material, and the legal and other concerns surrounding the publication of audio-visual files on the Internet or through other channels. Landscape and History of our Archives The archive I work at was not in the least founded with the purpose of dissemination or as a resource for musical practice.

Only 20 years later, when the archive became a part of the University of Oslo, and the staff of engineers were replaced by a historian and a musician, did it begin to disseminate archival recordings back into local music milieus.

Tvåspråkig och sympatisk folkrock. musik...

There are four additional folk music and dance archives in the country, which are not limited to any geographical area. The archive of the Norwegian Broadcasting Corporation is the oldest and has used recordings to create weekly folk music radio shows since the s. The North Norwegian Folk 1. The web page for the network only contains links to the member archives: Music Collection at the University of Tromsø is, in practice, the national folkemusikkarkivet.

The Arne Bjørndal Collection in Bergen covers the Tvasprakig och sympatisk folkrock part of Norway, but its founder, Bjørndal, travelled and collected in a much larger area.

However, he collected not only music recordings but also folklore and interviews. Last, but not least, the Centre for Folk Music and Dance in Trondheim has accumulated what might very well be the largest collection of folk dance films in Europe. Beginning in the s, folk dance scholar Egil Tvasprakig och sympatisk folkrock carried out fieldwork documenting many local and Tvasprakig och sympatisk folkrock dances covering large parts of the country.

All of these archives have disseminated their recordings in various ways. The best-known and most active disseminator has been the NRK. Its programming of folk music half hours on Sunday afternoons has been the showcase for folk music for decades.

At first, they presented Hardanger fiddle players and later included singers and players of the standard fiddle — as it is played in the east and north Tvasprakig och sympatisk folkrock Norway. The music featured in the radio programmes largely overlapped with the music presented at contests kappleikerwhich have been the main arena for traditional music since the early 20th century. However, there were exceptions.

Inprogramme host, Rolf Myklebust, presented music from his field trip to northern Norway, which had been completely invisible on the contest scene. While the university archives were less focused on the best-known traditions, they did very little to make their holdings known to the public or even to the traditional music scene.

A grass-roots movement, starting in the s, sought to emancipate the traditional music of areas that had not been visible at the contests. The intention was to use these recordings as a resource for revitalising, and sometimes resurrecting and reconstructing, the local traditions.

Along with dissemination, the purpose of these smaller archives is further documentation of current musical practices. At least since the s, strong emphasis has been placed on local style and repertoire. For a description of some of these archives and their activities see Thedens In addition, there are a handful of collections without staff.

With such a dense landscape of archival resources one would think that they were highly frequented and used by the active folk musicians, such as fiddle players, singers, and dancers. Tvasprakig och sympatisk folkrock this is not always the case. In my opinion, however, this is likely to change. They simply Tvasprakig och sympatisk folkrock not need more input of repertoire and playing styles in order to keep their musical activities going.

But, sooner or later, there will be a generational shift. They learned from the old masters, some of whom were concert performers, and many of whom were contest players. Now, as the teachers get older, their students may very well become more curious about other music than their core repertoire, and they might want to learn about playing styles from recordings. This has already begun to happen among a growing number of young professional performers: Singers have been using texts and tunes from written sources and recordings for a long time.

Other user groups are local historians, families of folk musicians, musicians performing other styles and genres of music, researchers, and increasingly museums who want to include sound in exhibitions about local culture. Norwegian traditional music is more visible today than it has been for a long time.

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Still, it is a field of specialty interests, a niche. Demands for Online Access But, whoever the user groups are, today there is a demand from both users and politicians to make materials more accessible. So far, apart from radio programmes, the most widespread way of disseminating archival recordings has been on CDs.

The archivists have produced such discs and by choosing specific recordings, have acted as curators. On two CDs with vocal recordings, my collaborators and I chose performers and recordings from different traditions and with a variety of singing styles. However, users today do not expect curators to choose for them.

The younger generations show a general shift in attitudes. In times of constant accessibility of so much mainstream music through streaming services, young listeners grow up with totally different expectations. They are used to having access to Tvasprakig och sympatisk folkrock enormous amount of information at their fingertips — on whichever device they are using at any given time.

Even eight years ago, at the Norwegian Sound archive conference, this was a widespread notion. Then it Tvasprakig och sympatisk folkrock personal computers, now it is smartphones.

New users of the archives want to be able to search on their own and they are much less willing to engage with the recorded performers in order to use the recordings see below. To them, having to ask for permission looks like nothing but a bureaucratic hindrance.

When you can stream the music of high profile artists "Tvasprakig och sympatisk folkrock" free, or a moderate monthly fee, why would you need to get permission to gain access to and use archival recordings? Different Perspectives The reason is of course that the users are not the only people that the archives relate to. They also have a relationship with the people and the communities whose recordings they have collected and which they safeguard.

Different interests regarding the accessibility of archival recordings can be quite contradictory. This problem is best described by an example from Tvasprakig och sympatisk folkrock real world: Ina mishap occurred at the Mo i Rana branch of the Norwegian National Library, where all the recordings of the National Broadcast Cor- poration are stored.

Folk music enthusiasts quickly discovered this, and the news spread like wildfire on Facebook and through other communication channels. What a gold mine! Everybody was wondering if this access was intentional, as there had been no information whatsoever about any plans for this. Even at the music section of our Oslo branch we could not answer this question. Then, after two days, it became evident that it was indeed a mistake, and access was shut down.

I do not know if anyone actually managed to download any recordings; I did not think too much about it and Tvasprakig och sympatisk folkrock almost disappointed that this wealth of music was not available to the public.

The reason was that the NRK has Tvasprakig och sympatisk folkrock distinguished between the music that they broadcast, and the music they collect, but do not broadcast. For various reasons, the recordings that are broadcast must live up to certain standards.

The listeners expect quality, so if a player makes a mistake while playing, or if the recording has technical flaws from either the equipment or outside noises, then it is not considered fit for broadcasting. Brendan Croker folkrockare som var med i The Notting Hillbillies Brendan Croker beskrivs som en sympatisk, kanske grov, pubrockare med Frans har en tvillingsyster och en yngre bror, är tvåspråkig då hans pappa har.

Usually, what you find is music performed in traditional costume, or folk-rock, that are . samtidigt ett exempel på överlägsenhetsteorin, i en tvåspråkig, finländsk En sympatisk bieffekt och misskänt instrument ger Birgit Kjellström i ett. Tvåspråkig och sympatisk folkrock. musik Nikola & Fattiglapparna Scen: Nalen, Stockholm.

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Girls, how do you feel when a guy compliments you? Tvåspråkig och sympatisk folkrock. musik Nikola & Fattiglapparna Scen: Nalen, Stockholm. Uttrycket ”alla talar svenska” har smittat av sig från. Oribatulidae toppfart Simpsonichthys tvåspråkig Dnepr Mead interposita lokalkonkurrenten ståtlig sympatiska Maury 92 Thalassema 92 BT 92 tyngdlyftare 92 utbrytargrupp 92 folkrock 92 ..

Disregard to main content. Log In Sign Up. Dr Ingrid Åkesson, Svenskt visarkiv, ingrid. Prof Alf Arvidsson, University of Umeå, alf. Jonas André Front Stand Photo:

OECD government debt statistics. Here we go All band: Me, myself, I and H eikk i t he bass player gets a jo b , we´ll take some gigs sometimes in clubs and other good places.

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Tvasprakig och sympatisk folkrock

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