Last Sunday we, five of nine singers from #koraleriet, sang chorales at the medieval inspired service in Heliga Kors church in Ronneby.
One of the chorales sung was the all-time-high-hit Den Signade Dag, which oldest found transmission in writing is dated to 1450.This chorale has been sung continuously for hundreds of years and ties together catholicism and protestantism.
Our version of melody was noted down by Nils Stålberg, and sung to him by Ingrid Isaksson, who lived in a small cottage in the village Röaby, some km north of Bräkne-Hoby in Blekinge.
The musical arrangements are made by Kristin Borgehed,after detailed analyses of how melody interacts with pronunciation patterns in that very local dialect.
Singers: Kristin Borgehed, Astrid Selling, Lisa Stormlod, Emma Feldmanis, Linnea Gustafsson
At this year’s Korrö Folkmusic Festival FPA contributed with two happenings. A workshop mediating tunes with mainly Blekinge material and also one of my “seminar-concerts”, which I held on Thursday night. This time the theme was cultural connections around the Baltic Sea. I was happy to notice that the dark Old Mill (Kvarnen) soon was filled and that there seemed to be quite a crowd outside that couldn’t get in, due to both lack of space and high interest in the subject.
I took the audience on a path through experiences that we in Folk Practice Academy have collected from our projects Baltic Sea Inter Cult, Baltic Trad(e) and Basic – Folk & Tradition. But I also lifted som really interesting details of dance descriptions that Kristin and I have found in the archives of Nordiska Museet and through our meetings with old singers and fiddlers.
The audience showed a dedicated interest in the subject and several of them gave some nice feedback after the session; “This was the best I have ever experienced at Korrö!”, “You have to write a book!”, “This should be made into a film!”
It seems as if the subjects we constantly are poking at fill a need. People have an urge to talk about immaterial heritage. Where do cultural expressions derive from? How can we make a complex picture more understandable? How does geography, time, development, society, political implications, etc colour the way we perceive traditional music? And how can the music we love to play and sing be connected to knowledge allowing questions and discussions to flourish?
With me on stage, I also had my daughter Agnes, who is one of the dedicated youth we have in FPA, and she mastered the Polish drum with excellence while I played a couple of tunes from Suwalki.
I also managed to break a string while retuning, but having fiddlers in the audience is a true bliss. Thank you from all my heart, you anonymous who gave me a new G-string!
Fully aware of that this is a long and important discussion, we just simply want to highlight that a big local newspaper were unsatisfied with the little amount of women on stage on this year’s Hasslöfestivalen. Among their tips for coming years are among others Bessman, a quartet in which both Astrid and Kristin, Lisa Stormlod, and Marie Länne Persson (with excellent blog Slakamusiken https://slakamusiken.wordpress.com) sing. We want to celebrate this as a sigh of society’s increasing awareness of the aesthetic and entertaining potential of traditional music.
Luckily Bessman is planning a small tour in southern Sweden, so please let us know if you want us to come and sing!! Links to Bessman: https://soundcloud.com/bessman https://www.youtube.com/user/BessmanMusic https://www.facebook.com/bessmanmusic?fref=ts
Hej friends! Within Ethnography, we often tend to talk about field work, not really sure of if people know what it may look like. To overcome this we want to share some various pictures from Folk Practice Academy’s field work the past four years – enjoy!!
For a much bigger gallery of folk music and folk art pictures, please take a look at our Facebook webpage.
Thanks for now!
The hashtag #libertéegalitétonalité will from now on be used for posts here and other social media, for posts related to Kristin Borghed’s PhD project at the University of Aberdeen. The project is called Tuning the Human Voice: An Empirical Exploration of Tonality in Northern Traditional Singing. Feel free to scroll down this page for a short info film.
This PhD project on singing traditions in northern Europe, is in close cooperation with Folk Practice Academy, in fact, the work is inseparably intertwined.
This is a picture of me, my mother Elisabeth Bjurström Jonzon, Malungsfors, Sweden and my aunt Anna Hedin, Malungsfors, Sweden. They are the two singers that have had the greatest impact on me in terms of songs, singing style, story telling, general life advice, as well as together with other relatives always helping my family when I have been away singing, recording and writing.
For more info of the project, please read here!! http://www.abdn.ac.uk/staffnet/profiles/r01keb12
A few pictures from recent rehearsals with #koraleriet
“How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things!” (Romans 10:15)
Everything taught by heart, including incredibly tricky monodic and polyphonic microtonal music. No music sheets handed out. Ever.
Even if a 200 year hymn book often is smaller than a contemporary phone, it still lasts a hundred times longer. How about that for sustainability and transcendence?!!
Soon we are off to start our performances!!
Kristin & Astrid