The first day, at the rock-carving site Madsebakke, was devoted to lurs. No fewer than five bronze lurs were in use, alongside other metal lurs and lurs made of wood. I myself brought a couple of my short lurs, which in Norway have traditionally been called ‘stuttlurer’ or ‘bjønnatuter’.

We investigated, among other things, different playing techniques, acoustic reflections in the landscape and vegetation, and the ritual use of the instruments—including the effect of dissonance and interference.

The second day focused on the human voice, at Rispebjerg—an archaeological area with ancient remains from the Stone Age and Iron Age. One of the themes we explored was Tacitus’ description of the Germanic peoples’ use of shields as voice amplifiers; another was ceramic jars used as voice maskers.

In addition, I was part of a small group that tested mouth bows, based on a Danish Mesolithic find from Mullerup (ca. 9000 BP). It is a quiet instrument and was probably not meant to entertain many listeners. It sounds better inwardly in the body of the person playing—like a meditative overtone instrument.

On the last day we were in Ekkodalen (the Echo Valley) in the middle of the island—one of the biggest tourist attractions, both because of the cliff faces that answer back and the beautiful scenery. We held a successful sound walk open to the public, with different stations along the trail in the valley. I also took part in acoustic measurements together with my colleague Julia Shpinitskaya.

Thanks to Eva Fock in Ears Wide Open for a wonderful initiative!

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The post Fellessang som kampmiddel i arbeiderbevegelsen, den syngende revolusjon og fotballens tribunesang appeared first on Musark.

Review of Siv Gøril Brandtzæg and Bjarne Markussen (eds.): Arven fra skillingsvisene. Fra en sal på hospitalet til en sofa fra IKEA (Oslo: Scandinavian Academic Press, 2021). In Norwegian.

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Abstract: In September 2019 the authors participated in the International Symposium on the Jew’s Harp – New Discovery of the Archaeological Site in Shimao Huangchengtai, which took place in Shenmu, in the Chinese province Shaanxi. One part was purely archaeological, while one part was devoted exclusively to jew’s harps, because more than twenty jew’s harps were found during the excavations of the site in 2016 and 2017.

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Essay based on the last chapter of the book Sang som våpen. Online publication, in Norwegian.

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A recent re-examination of finds from Soviet-era excavations in Dzhetyasar, Kazakhstan, has identified the remains of two wooden objects as stringed instruments. Dating to the fourth century AD, one bears a strikingly close resemblance to lyre finds from Western Europe, including the instrument from Mound 1 at Sutton Hoo: the Sutton Hoo lyre.

Published online (OA) 15 Dec 2021.

The post The Sutton Hoo lyre and the music of the Silk Road: a new find of the fourth century AD reveals the Germanic lyre’s missing eastern connections appeared first on Musark.

The post Den forbudte sangen appeared first on Musark.

This book, Sang som våpen (Singing as Weaponry), tells about group singing as an important social and political force in the large popular movements, in the folk singing revival movement, in protest singing, battle cries and among singing football supporters who carry on and renew engaged, powerful singing with commitment, strength and direction. This is the book about the unifying and community-building strengths of singing.

215 pages, Norwegian text.

The post Sang som våpen. Historier om sangens slagkraft appeared first on Musark.

Music and book reviews for Folkemusikk (printed magazine) and Folkemusikk.no, 2015–2019: Mari Skeie Ljones: Spring du fela, Grove horn: Rallarpop, Rim: Rim, Anders Nils J. Eira: Doalli, Maar: Epleslang, Boreas: Ahoy hoy, Tor Jonsson Orkester: Einseto, Sigrid Kjetilsdotter Jore: Brurehesten, Lars-Ingar Meyer Fjeld: Hardingfele, Pål Bratås: Pål Bratås m/ gjester, Ingvild Blæsterdalen Trio: Stayer, Lars-Ánte Kuhmunen: Riihmagállis/A Legend, Duo Fjerdingøy & Andersson: Jag levde den tiden, Haldor Røyne: Slåtter etter bestefar, Ragnhild Furholt trio: Vårevinden, Gro Kjelleberg Solli: Stien eg fann, Jo Einar Jansen: Naken, Knut Hamre: Slåttar frå Granvin [book and 4 CDs], Anne Tone Aanby (ed.): Spelemannen og slåttemusikken i Åmli [book], Svartevja: Svartevja, Trygve K. Vågen: På Møsstrond, Dag Vårdal: Samværsdansen i Christiania på 1800-tallet. Dans og musikk [book and 3 CDs], Spöket i köket: Chateau du Garage, Trio Dhoore: August, Frode Barth and Ellen A. Oskal: Árbi, Johan Sara jr.: Electronic Yoik, Marja Mortensson og Daniel Herskedal med Trondheimsolistenes strykekvartett: Lååje/Dawn, Erling Eriksen: Erling Eriksen volum 1–6, diverse artister: Rosita. Harald Haug – Portrett av ein bygdemusikar, Per Åsmund Omholt: Vara ungkar og gå fri, Sigrid Stubsveen: En skulle levd før og en skulle levd nå.

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The article, in Norwegian language, describes and discusses some developments in the modern Norwegian folk music scene. The most significant driving tendencies are education and professionalization.

Published online (OA), 28 Feb 2019

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