Nordic Folk E-Book

Maher Asaad Baker

• Herausgeber: tredition
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 128

Veröffentlichungsjahr: 2024

Beschreibung

If there is anything that can be said to define the music scene in the Nordic countries, it is that it is tremendously diverse, something that this engaging and informative guide to Denmark, Norway, Sweden, Finland, and Iceland's folk music will demonstrate. After reading this book, the readers will be able to dance on the violins of Hardanger fiddle or listen to the otherworldly lyrics of the Icelandic ballads. Learn the background and the role of the folk music of the Nordic countries, being introduced to the genuine musical and percussion instruments, singing techniques, and dances of the region. Discover how these traditions develop both in the colourful examples, leading personalities, and performances which proved the fact of the continents' spirit and creativity in folk music life. Regardless of whether one is a fan of music, a student of history, or just plain bored with popular music of the current trend, the compilation album "Nordic Folk" opens a window into the past and present of northern folk music. From the detailed information about every performer and his or her work to the conceptional analyses and outlooks on the further development of folk music this book is a gold mine for everyone interested in the songs and tales of North-Europa. Find out what people from the North are singing about and witness the eternal beauty of the folk vocals.

Leseprobe

Maher Asaad Baker

Nordic Folk

© 2024 Maher Asaad Baker

ISBN Softcover: 978-3-384-36115-8

ISBN Hardback: 978-3-384-36116-5

ISBN E-Book: 978-3-384-36117-2

This work, including its parts, is protected by copyright. The author is responsible for the contents. Any exploitation is prohibited.

Cover image designed by Freepik

Contents

Introduction

The Foundations

Denmark

Norway

Sweden

Finland

Iceland

Themes and Practices

The Future

Disclaimer

About the Author

Introduction

Nordic folk music can be considered as the traditional, or more precisely 1900 music from Nordic countries Denmark, Norway, Sweden, Finland and Iceland. It is in this music that one can get to notice the cultures and histories of the northernmost countries of Europe. As folk music is one of the art forms that are associated with geography, rural areas, ancestors, and history, Nordic folk music contains a wide range of Nordic societies’ perspectives of otherness and sameness across centuries.

Nordic Folk Music is a style of music that features primarily folk instruments and for the vocals, people instead of using other instruments.

Folk music of the Nordic countries was likely generated before even recorded music could be produced since it was a kind of communal music that was passed through generations of a given culture. Nordic folk music is characterized by several key qualities: Some features, that can be attributed to Nordic folk music, are the following:

- Literary/Localized/native/native language/tribal/area-specific chants or lyricized tunes.

- Sometimes, even the author is not known, or it is an assembly of authors at some stage in time.

- A link to work, festivity and other business.

- Preference for definite tools like fiddle, accordion and willow flutes

- For example, staccato, legato, modal scales or rhythms, which are in some way shaped by an accentuation of language.

- Swan “…song lyrics from the culture myth and personification of daily life”

This type of music was used for social uses and these included dancing, a celebration of season, a rite of passage, leisure as well as change of status throughout the life cycle. The performers were from families and villages, not those who were musicians who were selling concerts or records. One person could write the first sentence or the first tunes, which were then handed down and in various forms, changed in many generations of oral history and variation, leading to many forms of regional and idiosyncratic song. All this and the overall anonymity of the Northern area make it almost impossible to establish where, precisely, these given Nordic folk songs stem from. However, their relevance up to the present day proves that folk music is capable of reflecting the key features of Nordic people’s identity for centuries.

Several related factors indicate why folk music has always played an important role in reflecting a positive image of the self among the Nordic people. First, it connects the people of present-day Nordic with their pre-historic and cultural backgrounds which existed even before the use of urban and modern means of recording their existence and progress, at least for a couple of hundred years. The songs are a portrayal of life as it entailed the farmers who were fishes, the forest dwellers, the first inhabitants of the nutrient-rich Nordic lands and those who lived in synch with nature and its rhythmic cycles.

Secondly, folk music also continued to be the fundament for the majority of modern Nordic pop music as well. It can be said that folk motifs and stories go on transforming into new images in the rock, jazz and electronic styles up to the present day. As it consciously or not the young Nordic musicians in this genre ‘cross over’ folk traditions into the songwriting techniques, intervals and moods of the modern music.

Last, at the geo-political dimension, the folk music of Nordic countries plays an essential role in strengthening sustainable cultural diplomacy between the currently affiliated Nordic countries. For instance, there is some evidence that cross-cultural export co-operation in Nordic folk music has increased in the last decades. The findings indicate that most of the formal cultural activities are directed towards folk music hence exchange programs, concerts, youth engagement and archiving. This all serves to maintain the ongoing building and marketing of Copenhagen, Stockholm and Oslo as creative and sustainable capitals informed and drawing on tradition. While traditions tend to become multicultural in the world under the globalization processes, the transmitted folk arts are more important to maintain the specific tendencies of the Nordic societies’ cultures in the global space.

Nordic folk music remains vitally important within contemporary Nordic societies, it can be stated that the concept of Nordic folk music persists as culturally significant in today’s Nordic societies by:

- Bringing today’s Nordic people their ancestors and Ethnicity

- Interacting new forms of rhythms inherent in the classic folk music of the Nordic countries into popular music styles

- Sharing experiences and policy practices to promote the cultural identity in the Nordic countries.

- Preserving dear familiarity with rituals distinct for the Nordic countries and different from the rest of the globe.

Because Nordic folk music arose from the rural peoples’ culture of social gatherings, this tradition must carry the main historical archaic evolution trends of the Nordic societies of the last thousand years. While every country in the Nordics has it own regional folk music that can be probably associated with the geography, economy, events, mythology, etc of the country there are some common features one might observe.

Before the thousand AD, Nordic music was of simpler types and was closer to the earth and was founded on the tribal beliefs of the shamans. Medieval Nordic instrumentation started somewhere between 1000-1500AD and included fiddles, flutes, as well as animal horns. This is connected with the rise of pastoralism like sheep farming, the disappearance of heathenry as a form of relation to the wild through pagan rituals concerning the Black Plague, the dominance of the church and the rise of the early mercantile economy.

From 1500 to 1800 CE the Nordic folk music began to become more distinct from one another, attributed mainly to the breakdown of the Kalmar Union and the changes brought by the Reformation. Today, hymnal repertoires and animating patriotism with the songs contribute to the creation of specifically Norwegian, Swedish, Danish and Finnish song collections. Through enhanced contacts with continental Europe and Britain dance forms and instruments such as the viol were introduced. The represented market economy, the printing press and the rather early industrialization supported the collecting, publishing, and formalization of regional oral folk music.

Finally, the processes of urbanization, nationalism and mass media during the 19th and the 20th centuries in the Nordic countries directed the audience’s attention to the revival of the folklore. Collections of folk songs made by nations – Like ‘Kalevala’ of Finland and concert performances and urban dance societies made the routine of folk songs as symbols of nationalism. The nationalist classical music was engaged by Nordic composers who also contributed folklore motives to it. After the sixties, new waves of culture standardization and globalization reawakened traditions of folk culture collection and propagated by relics and regulation. This proved true by bringing them back to the forefront of themes incorporated into rocks, this electronic, and jazz fusion.

It’s somehow daunting to see how those young Nordic artists have still to be given this immensely complex and continuously developing musical armor – shamanistic prehistoric art, medieval struggle, imperial decline, nationalism, industrial and post-industrial post-modern globalization. Songs, therefore, are semiotically coded with other layers of historical meanings and represent the processes involved in the management of the tensions between globalization and the particularism within Nordic music in music.

Nordic folk music is therefore intrinsically linked socio-culturally to historical political narratives as well as sociocultural folkloric myths, historical and fictional Nordic stories and real-lived Nordic regional practices typical of generations. As a non-literary narrative or entertainment, the content reflects how rural families and communities of fishermen, subsistence farmers, reindeer herders and craftsmen entertained themselves and disseminated information and elaborated their winters, often in isolation, until the process of urbanization.

Shamanic chants as well as drumming are the oldest form of Nordic folk music that has been performed only by revival bands of modern times like that from Norway – Wardruna. These pre-historic cultures had their spirituality in animism, ancestor worship and Norse pantheons in song, the beauty, hooligans and riddles of the Norse wilderness. Epics like the Finnish ‘Kalevala’ belong to pre-Christian polytheism and belong to the area of epic songs about magic, chaos, death, and cosmogony.

Folk music addressed Christianity in parallel and opposition to other types of Norse and other kinds of Nordic paganisms for several centuries after they diminished. singing of sacred church music or simple hymns in praising God with rousing secular tunes and country dance for other celebrations like saint’s days or weddings on the same village streets. According to the church, such practices as drumming, jumping dances and fiddles were promoting immoral conduct. Hymns and religious scriptures morality together with some popular tunes follow the tones and the awakened generations helped to clean music over the generations. Sacred compositions sung and played in pilgrimages ensured that people relating throughout lengthy and tiresome trips on foot were able to form fellowship. Hence, the relationships between Nordic folk music and religious features also developed when society went through centuries.

In addition to the cosmic mythical level, there are popular folk songs in the Nordic area that are more obvious in connection with the community. There were songs to be sung in Viking longships and this was used to facilitate rhythm among the rowers. While blowing of horns and calling helped to bring together animals for transhumance across large areas of the highland grazing fields. In this sense, the social concern from women is signified from the vocal cries of the chores at home to the rhymes of the children with babies. North Atlantic fishermen of diverse fishing and whaling groups that convened on the shores of Nordic countries sang shanties while working in coordination in the hostile and dangerous sea.

Songs and dancing were done during specific periods in the year for instance during summer solstice or the Christmas period or even during harvest. Lamentation songs offered consolation to the deceased’s kin and dancing songs promoted courting during the Nordic funerals or weddings as well as saint festivity periods. The heroic re-creation of significant characters and events includes ballads that depict famines, battles, or disasters that form part of the history of attack, hunger, resistance, or grief of a community. Besides, shorter lyric verses also encompassed nearly all aspects of life such as desire, betrayal, foolishness, love, forgiveness, foolishness, patriotism, bravery, loneliness and grief. Song was as much a part of the belt-and-suspenders Nordic existence at all strata from the rake’s progress to the peasant’s pauper.

Again, as with most folk song’s words stretch only part of the truth and when it comes to Nordic countries it would be remiss not to mention the beautiful instrumental tunes and dances that are done in accompaniment to the songs and which are as much a gateway into the traditional Nordic pastimes as the lyrics themselves.

Of course, every animal, plant and other natural substance that can be found in the Nordic villages and rural forests was used as musical material. It is done by covering the drums with reindeer and cattle skins. Bones shake within flutes. This is done by the blacksmiths where the tuned steel bars are played percussively. Violins and wooden horns come from a pool of production from the Norden timber reserve. The willow flutes from whistle pipes to the säckpipa bagpipe and all of the instruments only use hollow willow reeds which are rare and can only be sourced in northern locations. For horn sound fish air bladders expand like balloons. Fiddle strings are either made of horsehair or woven catgut. Waulking boards are used to beaten during the finishing of linen fabrics. Water musical instruments make the sounds by blowing musical notes through water. Seabird wings produce a whistling sound when the wings are twirled through the air. Hence Nordic music cultures adequately benefitted from each acoustical possibility of a solitary cold climate biome. They do that still today in neo-folk music revivals.

There is also a clear link between dancing and musical genres by hundreds of named Nordic set dances for couples or groups. Some of the folk dances of the present time originated from the medieval European dance forms while others originated from Pagan rings. To this day, there are short competitive solo dances for example Norwegian halling or in Sweden polska. Folk couples still move to fiddles and accordions and communities round up the festive seasons with a circle dance like their forefathers did generations back. The dances thus transmit kinetic generational memory as the melodies the lyrics or the words do also.

Consequently, Nordic folk music is a tremendous sphere of traditional song, sound, and dance that can immediately tie the contemporary Nordic creation to the centuries before the beginning of music recording. It throbs with the metronomic rhythms which have been pulling the strings of the Nordic societies while the culture changed for 10 centuries.

Beginning with ancient shamanic and Norse mythological roots, moving through medieval focus on rurality and Christianity, all the way up to the modern trends of urbanization, technological advancement, and globalization, Nordic folk arts keep and restore the reflections of the fundamental guidelines of how to inhabit these northernmost regions of Europe. The music, therefore, has embedded and simultaneously, has multiple historical significations and enactments of Nordic selves in a perpetually varying process of performing local differences against a backdrop of globalization homogeneity.

Nordic folk music therefore remains a highly flexible but grounded cultural product that has entered the 21st century still afloat and largely unscathed. Thus, the continuous practice of folk music in every period of the Nordic countries corresponds to the current requirement of the contemporary Nordic countries, which aim to brand their capitals as creative cities of the globalized modern world, while still preserving the Nordic cultural identity as a valuable asset. Many tools have shifted on the Nordic shores for centuries, but the songs remain to sing.

The Foundations

Music has always been an important aspect of the lives of people within the Nordic countries including Denmark, Finland, Iceland, Norway, and Sweden. Social factors, which include geographical location, climatic conditions and previous experiences have also influenced the music of the region which has similar tones but is rich in variation because each country has its unique style.