Laura Ellestad: Valdresspel i Amerika. 2014. Ta:lik TA127CD. Recorded by Mark Ellestad. Annotated by Laura Ellestad and Ingar Ranheim. Produced by Laura Ellestad and Mark Ellestad. 32-page booklet with notes in Norwegian and English. Norwegian translation by Aud S&amp;yland, B/w photographs, illustrations. CD, 21 tracks (47:40). Recorded at Hexagon Studio, Calgary.

Goertzen, Chris

doi:10.5921/yeartradmusi.47.2015.0210

Cited by 2 publications

(2 citation statements)

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“…Norwegiankappleikarare similar to Swedish folk music gatherings, differing primarily in that events centre around a playing competition. These competitions have been discussed at length by Chris Goertzen (1997;1998).…”

Section: The Zorn Trials In Folk Music Swedenmentioning

confidence: 98%

The Zorn Trials and the Jante Law: On Shining Musically in the Land of Moderation

Kaminsky¹

2007

yearb. tradit. music

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Danish-Norwegian author Aksel Sandemose called these commandments “the Jante’ Law,” so-named for his protagonist's fictional Danish home-town in the semi-autobiographical novel A Fugitive Crosses His Tracks (orig. pub. 1933; English trans., 1936:77-78). Over the years this ironic credo of elder-dominated communal living has expanded and acquired a special resonance with respect to Swedish cultural self-image. Today in Sweden, the Jante Law occupies a place in the popular imagination as a descriptor of a specifically Scandinavian attitude, a subtly enforced culture of moderation and humility.

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Section: The Zorn Trials In Folk Music Swedenmentioning

confidence: 98%

The Zorn Trials and the Jante Law: On Shining Musically in the Land of Moderation

Kaminsky¹

2007

yearb. tradit. music

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“…If asked in a North East pub session where the last tune to have been played came from, the answer would be as likely to automatically explain the source (e.g., the book or CD whence the tune was learned by that individual) as it would be to refer to a geographic location of origin. Likewise, the composer of a recently penned tune is rarely passed on with the melody more than two or three times before that detail is forgotten-something that contrasts the music culture starkly with the Norwegian fiddle culture described by Goertzen (1997). Having said that, value is assigned to the composition of new tunes, with tunesmiths being revered in the North East in a way that does not occur in "England."…”

mentioning

confidence: 99%

Déjà Vu? Folk Music, Education, and Institutionalization in Contemporary England

Keegan-Phipps¹

2007

yearb. tradit. music

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In a nation on the periphery of Europe, in a region most distant from the capital, the country's indigenous musical traditions are undergoing a process of institutionalization. A large proportion of the nation's population fears the loss of their ancient customs and national identity to the ever rising tide of foreign cultural influences. The locality itself, however, enjoys both a strong regional identity and a unique musical repertory, a repertory that plays a central role in both the text and context of the institutionalization in question. The resultant institution is multifaceted—its activities include: the collation and publication of music recordings and transcriptions; the promotion of performances by locally and nationally revered folk musicians; the creation and direction of a folk orchestra; and, most importantly, an extensive folk music education programme, culminating in a nationally recognized qualification. The organization has been quietly accused by other folk musicians of standardizing and formalizing the music it professes to support. Nonetheless, it receives financial support from the state departments for education and culture.

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Cited by 2 publications

References 0 publications

The Zorn Trials and the Jante Law: On Shining Musically in the Land of Moderation

The Zorn Trials and the Jante Law: On Shining Musically in the Land of Moderation

Déjà Vu? Folk Music, Education, and Institutionalization in Contemporary England

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