|
Please use this identifier to cite or link to this item:
http://hdl.handle.net/2282/1197
|
| Title: | Rytmen i kryllingspringar |
| Authors: | Omholt, Per Åsmund |
| Issue Date: | 2011 |
| Abstract: | This article is based on a research project at Telemark University College,
where I have aimed to record the entire material of fiddle tunes that Truls
Ørpen (1880–1958) wrote down from his own local community Krøds -
herad in the county of Buskerud between 1915 and 1958. There are some
significant differences between Ørpen’s notation and what he plays on his
own recordings, which leads me to the main objective, namely that the
source material and the recording process raises important questions concerning
documentation, interpretation and continuation. This article focuses
on a field where there is a particular dilemma, namely the relationship
between the location of the bar line in Ørpen’s transcriptions, the stamping
that can be heard on Ørpen’s recordings and the movements and steps
of dancers in a movie from 1978, performing this local springar dialect
from Krødsherad. The conclusion is that the dancer’s interpretation of the
tunes does not correlate with the expected pattern of Ørpen’s transcriptions
or the way he plays. Furthermore, the fiddlers and the dancers in the
movie seem to perform the music and dance in a way that does not fit into
the patterns of springar dialect in Norway that are described by earlier
scholars. Accordingly, there is certainly a challenge of communicating and
transmitting this material further. |
| Keywords: | hardingfeleslåtter
springar
rytme |
| Publisher: | Novus |
| Document type: | Journal article |
| Peer reviewed: | Peer reviewed |
| Appears in Collections: | Institutt for folkekultur
|
This item is protected by a usage licens. All items in TEORA are protected by copyright.
|
|
