Ringing Stones in Sweden and Norway – Documentation and revitalization of a prehistoric and traditional sound tool
Cajsa S. Lund and Gjermund Kolltveit. Poster presentation at the 7th Symposium of The International Study Group on Music Archaeology, Tianjin Conservatory of Music, China (2010)
This pilot project aims to make a survey of ringing stones in Sweden and Norway, collect traditional information about them and discuss their signficance in ancient societies. Revitalizing of these music-archaeological artefacts is also an important part of the work. The project (2009–2010) is funded by The Foundation for Swedish-Norwegian Co-operation.
The Problem of Ethnocentricity in Music Archaeology
R. Eichmann, E. Hickmann and L.-C. Koch (eds.), Studies in Music Archaeology VII. On Ethnographic Analogy in Music Archaeology. Leidorf, Rahden/Westf.: 103–108 (2010)
‘Music’ is a surprisingly new invention. Most of the languages of the world lack a concept of music, yet in all known cultures people play, sing and dance. Historical musicologists too often employ an ethnocentric understanding of music, arisen from the western art music tradition. Does music archaeology represent an alternative voice that challenges ethnocentric approaches to music? Since the field consists of individual researchers with different interests and views, there is no easy answer to this question. But the fact that music archaeologists use material culture as their primary point of departure means that they arrive at other perspectives and approaches to musical activities than historical musicologists using written sources. Most music archaeologists will probably understand music in the widest sense. On the other hand, does our discipline need ‘music’ at all? Some music archaeologists tend to abandon the concept of music, in favour of ‘intentional sound’ or similar, and some prefer to label their field of study ‘archaeomusicology’ or ‘archaeo-organology’. Such strategies could be seen as a response to an unwanted ethnocentric perspective.
Studies of Ancient Nordic Music 1915–1940
S. Mirelman (ed.), The Historiography of Music in Global Perspective, Gorgias Press, Piscataway, N.J.: 145–175 (2010)
The pioneers who contributed towards the formative period of Scandinavian musicology (ca. 1915–1940) were highly interested in ancient music. This essay describes these individuals’ approaches and methods, seeking to place their work in the context of the cultural, political, and academic ideas of the period. Some of the scholars were notably influenced by nationalism, whereas others were more concerned with a common Nordic musical heritage. Moreover, Nordic identities were often parallel to national identities. The interest in ancient music in this period was sometimes related to evolutionary theories. More often, however, the scholars tended to view the history of music as a decline, from an ancient golden age to the present, where only remnants from ancient times survive. The pioneers discussed in this essay include Angul Hammerich, Hortense Panum, Otto Andersson, Tobias Norlind, Christian Leden and Geirr Tveitt.
The Jew’s Harp in Western Europe: Trade, Communication, and Innovation, 1150–1500
Yearbook for Traditional Music 41: 42–61 (2009)
The abundant material of jew’s harps from archaeological excavations and collections in Europe can be traced back to around 1200 AD, with no substantial datings from earlier times. The remarkable thing is the instrument’s rapid expansion on the continent, of an almost explosive character. Already after a century or so, several types are distributed and, judging by the archaeology, the instruments are produced by professional artisans to serve a market. What was the reason for this fast development in the jew’s harps geographical distribution? The situation with an abundance of finds combined with technological diversity among the objects suggests some kinds of innovative activities. Furthermore, what do the finds express in terms of trade and communication in the medieval society? Which communicative processes produced and spread these items of fashion? Communication is understood here in a wide sense, including trade and distribution of goods, people, technology and ideas. The article illustrates the significance of archaeology in the study of musical instruments in medieval Europe. The material basis is found in the author’s thesis from the University of Oslo Jew’s Harps in European Archaeology (Published 2006 by Archaeopress, BAR1500), which includes a catalogue with more than 800 specimens from archaeological contexts.