Norwegian Folk Music

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Essay #: 064913
Total text length is 5,057 characters (approximately 3.5 pages).

Excerpts from the Paper

The beginning:
Norwegian Folk Music
Edvard
Grieg, the most popular and influential composer to emerge from Norway, wrote that “the art of every nation could be characterized by the transformation of folk songs from smaller forms to larger and finer ones” (as quoted in Ling 207). However, by the time Grieg’s musical career began in the late 1860s, Norwegian folk music was already in decline. It was not until the early 1990s that, according to
Goertzen
, Norwegian folk music began to revive, focusing largely on the tradition of fiddling.
One of the most interesting elements in the history of Norwegian folk music has been the tension between traditionally and ineffably Norwegian forms of music versus music emerging from the larger Nordic and European...
The end:
.....e music’s qualities. Now that Norway is safely independent and has a strong identity of its own, the revival of Norwegian folk music that is underway is not defense, as it was in the nineteenth century, but is rather a way of recapturing a way of life that was lost in Norway’s incorporation into Europe.
References
Goertzen
, Chris. Fiddling for Norway: Revival and Identity. Chicago: University of Chicago Press, 1997.
Grimley
, Daniel. Grieg: Music, Landscape, and the Norwegian Identity. London:
Boydell
Press, 2006.
Hauser, Michael,
Holtved
, Erik, & Jensen, Bent. Traditional Inuit Songs from the Thule Area. Stavanger: Museum
Tusculanum
Press, 2010.
Ling, Jan. A History of European Folk Music. Rochester: University Rochester Press, 1997.