Norway is located in northern Europe, bordering the North Sea and the North Atlantic Ocean, west of Sweden.
Norwegian folk Music
Norway is a small country where individual artists can have an decisive effect on the development of folk music. The fact that musicians from different musical spheres are interested in the Norwegian folk music heritage, and use it in their compositions, gives evidence of a renewed appreciation of this music and the existence of a vigorous milieu that emphasizes preserving the folk music tradition. The energy generated by the convergence of various fora for presenting folk music, including CDs, concerts and competitions, provides an ideal breeding ground for this type of music. Tradition and innovation are no longer regarded as diametrically opposed, but as necessary elements of development. (source: Folknett Norway)
There are two types of Norwegian folk music: instrumental and vocal. Most of the time, instrumental folk music is dance music (slåttar). Norwegian folk dances are communal dances and regularly performed by couples, even though there are also solo dances, like the halling. Norway has very little of the ceremonial dances of other traditions. Dance tunes include two-beat (halling, gangar or rull ) and three-beat dances (springar or springleik). (source: Music Information Centre Norway – MIC)
In seeking the “exotic”, folk music is one of the areas open to musicians who want to chart unfamiliar territory, away from the “top ten” charts, in their search for a genuinely independent mode of expression. At the same time, folk music forms the backbone of the contemporary music of a people. Without the influence of transatlantic blues, the past forty years of Western popular music would have had another flavor altogether. Without Norwegian fiddle tunes, Edvard Grieg and Jan Garbarek’s music would have been entirely different. People who are concerned with preserving traditions live side by side with innovators. The more secure a tradition is, the easier it is to maintain continuity, often as the paradoxical result of a radical desire to break with the tradition itself.
The recording “Rosensfole” (1989), a collection of folk songs presented by eminent saxophonist Jan Garbarek and equally distinguished vocalist Agnes Buen Garnås, is only one of the many glowing examples of a successful combination of traditional Norwegian music and daring experimental genres. But the CD “Kaksi”, released by the Swedish-Finnish group Hedningarna in 1992, had an unexpected effect. Almost overnight Nordic folk music was able to compete with radical pop music, whether it was called rock, techno, world music, or something similar. Once again, folk music had become as alive as the folk it represented, the demanding audience. The original hallmark of pop music was its ability to challenge the listener.
For many years, Norwegian folk music meant no more than the preservation of older music. Sigbjørn Bernhoft Osa was the only modern-day fiddler whose rendering of “Fanitullen” made a lasting impression. In retrospect, we are grateful for the work accomplished in preserving folk music, especially through the unflagging efforts of Rolf Myklebust of the Norwegian Broadcasting Corporation (NRK). A selection from the 50,000 recordings in the NRK archives has been made available in the ten-volume CD anthology “Norwegian Folk Music” (1995).
When we listen to this material, we understand that there actually is no difference between old and new folk music. Any boundary that does exist is that between music that copies its prototype slavishly and music that appropriates folk traditions in order to create something new. (Ivar Orvedal, poet and freelance writer, source: Folknett Norway)
Recordings of historical interest
In the period of national romanticism that swept over Western Europe at the end of the19th century, the Hardanger fiddle experienced a renaissance. Both Ole Bull (1810-1880) and Edvard Grieg (1843-1907) drew on fiddle tunes as a means of integrating folk music into their art-music. This served to introduce Norwegian folk music into the concert arena. Fiddle playing and the Hardanger fiddle as a solo instrument were presented to a concert audience for the first time when Ole Bull brought Myllarguten, Norway’s most legendary fiddle player, to perform at the Losjen in Kristiania (now Oslo) in 1849.
The three most important fiddlers in the 1800s were Torgeir Augunson, called Myllarguten (1799 or 1801-1872), Ola Mosafinn (1828-1912) and Lars Fykerud (1860-1902). These fiddlers played a significant role in the development of the Hardanger fiddle, and their influence is still felt today. Mosafinn and Fykerud also became very popular in the USA. The old-time fiddlers could create masterpieces based
on existing fiddle tunes, interweaving themes and building variations on them. These fiddlers, and others like them, could provide all the entertainment necessary for a lavish three-day wedding, and never play the same tune twice. As the old customs fell out of use, the Hardanger fiddle became more and
more a concert instrument, and fiddle tunes began to assume a fixed «concert» form. In our day there are once again many fiddlers who improvise. There is now a more relaxed attitude towards personal creativity in teaching the Hardanger fiddle, and there are also more fiddlers who compose their own tunes. The line of tradition leading from Myllarguten, Mosafinn and Fykerud to Osa, Buen, Bjørgum, Rygg and Herrefoss, and continuing to Lien, Høgemo and Underdal, can be interpreted in at least as many ways as there are fiddlers. In any case, Norway is fortunate in having a unique source of folk music to serve as an inspiration to young and old alike. Hardanger fiddle music will continue to develop, and will be transformed and renewed by the musicians and music-lovers of today and tomorrow. (Karl Seglem, source: Folknett Norway)
Folk instruments
The most prominent folk music instrument in Norway is the Hardanger fiddle, found in the western and central part of Norway. The regular violin (the flatfele) is used in the eastern and northern parts of the country.
Other folk music instruments customary in Norway are the Norwegian dulcimer (langeleik), various flutes and the jaw harp.
The vocal tradition
Epic folk songs are the most significant form of vocal folk music in Norway. Although there are many types of epic folk songs, the most fascinating are the medieval ballads. They were first transcribed in the 20th century, but the ballad tradition has been handed down from the Middle Ages. The lyrics of these songs narrate tales of the lives of nobles, knights and maidens. Some ballads depict historical events, and they are frequently melodramatic. Epic songs may have fairy-tale themes and creatures such as goblins and giants.
The lullaby (bånsull) is another form of folk song that is well-known in Norway. There are also work songs in Norway, including high-pitched herding calls known as laling, lalning or lålning used to communicate over long distances.
A rich tradition of folk melodies used in Protestant hymns arose before the arrival of the church organ.
Sami music
The Sami people (also known in English as Lapps or Laplanders) have their own vocal folk music called joik, performed with a constricted throat and slightly opened mouth employing circular breathing techniques.
Joik, a word that is used both as a noun and a verb, is both a unique musical genre with a clear structure, and a method of communication. The melodies are often short, separated into small themes that create patterns. One can joik animals and places, but most often a joik is dedicated to a person. Because the joik is so closely connected to the individual, it is said that one «joiks the person». Through the joik, friends and relatives were able to express their respect for the recipient of the joik and at the same time strengthen their sense of identity and belonging. The joik is regarded as an enduring gift, given by parents to children or by a lover to the beloved. It expresses love, and one is presenting a tribute to the person one joiks. (Source: Folknett Norway)
The only traditional instrument used by the Sami was the shaman’s drum (runebomme).
Bergen
Bergen is a world heritage city that grew around a medieval town. The city is situated between seven mountains on the North Sea coast. Bergen is surrounded by the Norwegian Fjords, which have now been included on UNESCO’s World Heritage List. Bergen is situated between the longest fjord Sognefjord and the beautiful Hardangerfjord.
Accordionist and composer Gabriel Fliflet runs an influential folk music club named Columbi Egg, which is one of the biggest scenes for folk music in Norway. The club is also renowned for bringing in musicians from all over the world and creating a vibrant hot-spot, not just for folk musicians, but for music lovers in general.
Bergen hosts two important music festivals, Bergen International Festival and Night Jazz.
A must is to take the Fløyen Funicular and get a panoramic view over one of the most beautiful cities in Norway.
Førde
Førde is situated on the western coast area of Norway, 150 km north of Bergen, surrounded by fjords, mountains, glaciers and waterfalls. It is a small town (12000 inhabitants), and it is uncomplicated to go from one place to another. All distances are easily walked.
Førde was a very small farming community, but over the past few years, it has developed to become the region’s most important business center between Bergen and Ålesund.
The annual international folk music festival, Førde Folk Music Festival, is held in July. It is the biggest of its kind in Scandinavia for folk, traditional, world music and dance from all over the world. The festival takes place in the beginning of July each year. The main profile is traditional and contemporary folk music on an acoustic basis. Artists from more than 100 different countries were presented at the festival in the past years.
The festival program includes concerts, workshops, exhibitions, children’s events, dance evenings etc. Plus different kinds of projects during the festival week and throughout the year.
The main festival arena is the culture center, “Førdehuset” with four concert halls from 170 to 2500 seats. Festival events also take place in hotels, museums, arts centers and outdoor stages in and nearby Førde, altogether about 20 venues. The festival emphasizes a certain theme each year.
The focal point of culture in the Førde region is “Førdehuset”. In Førdehuset you will find theater, cinema, library, fine arts, sports, swimming pool and much more.
Folk and World Music Companies
The two record labels specialized in Norwegian folk music are Heilo and Buen Kulturverksted. Kirkelig Kulturverksted has also released Norwegian folk music and world music by artists from abroad, including collaborations between Norwegian musicians and international acts.
Etnisk Musikklubb A/S (EM) is a company with business activities focusing on a worldwide repertoire of traditional folk music, ethnic music and world music. EM’s record company division releases Norwegian folk music, as well as multi-cultural artists of international stature based in Norway.
Etnisk Musikklubb operates a Music Club, a membership-based club for ethnic music and related explorative fields, and also runs a mail order company whose distribution is mainly based on catalog mail order and web sales.
Norwegian Musicians
Ånon Egeland
Adjagas
Agnes Buen Garnas
Annbjørg Lien
Arve Moen Bergset
Åse Teigland
Berit Opheim
Bjarne Herrefoss
Bjørn Ole Rasch
Bukkene Bruse
Frode Haltli
Gjermund Larsen
Håkon Høgemo
Hallvard T. Bjørgum
Harald Skullerud
Hauk Buen
Inga Juuso
Jan Garbarek
Johan A. Andersen
Johan Sara Jr.
John Ole Morken
Karl Seglem
Kirsten Bråten Berg
Knut Buen
Knut Hamre
Knut Reiersrud
Lars Underdal
Leif Rygg
Majorstuen
Mari Boine
Olav Torget
Rita Eriksen
Rusk
Sigurd Brokke
Sinikka Langeland
Steinar Ofsdal
Susanne Lundeng
Synnøve S. Bjørset
Terje Isungset
Tone Hulbækmo
Transjoik
Trygve Seim
Unni Boksasp
Unni Løvlid
Utla
Vajas
Valkyrien Allstars
Vamp
Vegar Vårdal
