The fiddle traditions The violin comes to Norway It is believed that ...
The fiddle traditions The violin comes to Norway It is believed that ... The fiddle traditions The violin comes to Norway It is believed that ...
The girls take overWhilst fiddle players earlier, as a rule, were men (as the names show), at the endof the 1900s this picture underwent a change. Today, there are more and morefemale fiddle players asserting themselves.But female fiddlers had also earlier brought attention to themselves, one of thembeing Kristiane Lund from Telemark. Born in 1889, she was already a “recordedartist” by 1919. The Hardanger fiddle that fiddle player Annbjørg Lien uses mostfrequently today is the fiddle Kristiane Lund used in her childhood.Girls and young women dominate the picture, not only where kveding, langeleikand fløytespill are concerned, but also fiddle and Hardanger fiddle.Kristiane Lund from Bø in Telemark was one of the great female fiddle players inthe 1900s.Kristiane Lund, TelemarkÅse Teigland, Utne in HardangerCD 2 – 4 Åse Teigland, Hardanger fiddle: Spelar-Guro, gangar etter OlaHåstabø / Knut Hamre (Hardanger)
Tradition and new formsWe say that the majority of tunes in the tradition are etter (‘after’) a particularperson. That is to say that a tune can be taught onwards for many generationswithout being notated. It is often an aim that the tune is played exactly as onehas learnt it, but it can also be an ideal that one finds one’s own form andpersonal expression, thus forming something new. Irrespective, the tune willundergo an inevitable change when it goes from generation to generation.Something will be forgotten on the way, and new things created.When a new tune is composed, it is called nyskaping (‘creating’). In all eras,individual musicians have had the urge to create new music, and actually alltunes have their roots in a creative player far back in history. If we do know thename of the person who has written the tune, we say that the tune is av (‘by’) theperson in question.Tune types and dance rhythmsTunes and dances are closely related, and fiddlers and dancers give each othermutual inspiration. The rhythm of the music is replicated in the dancers’movements, and the fiddle player feels intimately connected with what ishappening on the dance floor.The old Norwegian dances are called bygdedanser (rural dances). We canroughly divide them into two categories: those which are notated in duple time(2/4 or 6/8) and those in triple time (3/4). Halling, gangar and rull are in toduple time, whilst springar, springleik and pols are in triple time. In the danceswhich are in duple time, the beats are so evenly emphasised that one couldequally describe it as in one-beat time.We find springar, gangar and rull mostly in the Hardanger fiddle-playing areas,whereas springleik and pols are connected to the areas where the ‘normal’ fiddleis played. We find Halling again in the majority of traditions.In order to learn the dances correctly, it is necessary to start young! Gangar from Valle inSetesdal around 1910. Photo: F. Köhn.
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Tradition and new formsWe say <strong>that</strong> the majority of tunes in the tradition are etter (‘after’) a particularperson. That <strong>is</strong> <strong>to</strong> say <strong>that</strong> a tune can be taught onwards for many generationswithout being notated. <strong>It</strong> <strong>is</strong> often an aim <strong>that</strong> the tune <strong>is</strong> played exactly as onehas learnt it, but it can also be an ideal <strong>that</strong> one finds one’s own form andpersonal expression, thus forming something new. Irrespective, the tune willundergo an inevitable change when it goes from generation <strong>to</strong> generation.Something will be forgotten on the way, and new things created.When a new tune <strong>is</strong> composed, it <strong>is</strong> called nyskaping (‘creating’). In all eras,individual musicians have had the urge <strong>to</strong> create new music, and actually alltunes have their roots in a creative player far back in h<strong>is</strong><strong>to</strong>ry. If we do know thename of the person who has written the tune, we say <strong>that</strong> the tune <strong>is</strong> av (‘by’) theperson in question.Tune types and dance rhythmsTunes and dances are closely related, and <strong>fiddle</strong>rs and dancers give each othermutual inspiration. <strong>The</strong> rhythm of the music <strong>is</strong> replicated in the dancers’movements, and the <strong>fiddle</strong> player feels intimately connected with what <strong>is</strong>happening on the dance floor.<strong>The</strong> old Norwegian dances are called bygdedanser (rural dances). We canroughly divide them in<strong>to</strong> two categories: those which are notated in duple time(2/4 or 6/8) and those in triple time (3/4). Halling, gangar and rull are in <strong>to</strong>duple time, whilst springar, springleik and pols are in triple time. In the danceswhich are in duple time, the beats are so evenly emphas<strong>is</strong>ed <strong>that</strong> one couldequally describe it as in one-beat time.We find springar, gangar and rull mostly in the Hardanger <strong>fiddle</strong>-playing areas,whereas springleik and pols are connected <strong>to</strong> the areas where the ‘normal’ <strong>fiddle</strong><strong>is</strong> played. We find Halling again in the majority of <strong>traditions</strong>.In order <strong>to</strong> learn the dances correctly, it <strong>is</strong> necessary <strong>to</strong> start young! Gangar from Valle inSetesdal around 1910. Pho<strong>to</strong>: F. Köhn.
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