Grove's dictionary of music and musicians

;
580 SONG
treasures of poetry and song, indicate the prevalence
of a new movement in Finland's music.
BlBLIOaBAFHY
Ueher die finnUche Mualk {Jfeue Zeltschrift /. Muttk), vol. xxxiv.
p. 206. Leipzig. 18S1.
Flodin. K. JHe SntvncTteVung der Muttk in Filmland {Die Mtuik,
.TahrgaTig ii.)
Xrohn, llmaTi. De la mesure d S ttmipe dans la mutique populaire
FLnnoise. Sammelb&nde, I.M.O. i. 1900.
Mendel. Mu*, Lexihan.
Willibrand, M. voa. Flmlemde en XlXme StSole. Paris, 1900.
Fudor, H. Zwr Qeiehichte der ituHk in Finnland. Sammelbilnde,
I.M.Q., II. i. 1900.
(The wriiitir la alBO indebted to Dr. Ilmari Krohn loi his kind
help. I
COLLECnONB
SclirSter. • Flnnische Eunen.' Stuttgart, 1834.
Kollan, K., and Beinholm, A. 'Suomeu Eanaaii Lautaatoja,'
Helsingfors, JS^ ; and ' Valituita Suomalaiaia KansaU'LauluJa,'
Helsinglors, 1854.
' Ilberg, F. V. Suomalaiaia Kansan-Lauluja ]a Soeteltnia.' Hel-
Blngfors, 1867.
BoreniuB, A., and LlUBtSn, G.
'
Buomalaisia Eansan-Lauluja.'
Helsingfors, 1860.
Krobn, nmari. 'Uusla Buomalaisia EanBanlauluJa,' Helsingfors,
18Se.
Lagus, E. 'Nylandska Folkvlsor' (2 parts). Helsingfors, 188?.
•
1900.
Eajanas,
' Suomen Kansan SSTelmiii.' Helsingfors, 1886-92.
B.
'Suomen Kansan Savelmia' (Melodiea of the Finnish People),
three series, published br the Finnish Literary Society i at Helsingfors;
1st series, 'Hengellisia B&TelmiiC' (Sacred Melodiea),
1898 (still in progress); 2nd series, 'Eansaniauluja' (Popular
Songs). 1688; Srd series, 'Kansantansseja' (Popular Dances).
1^ (complete with German Introduction). The whole work
is edited by I, Krohn-
' Hjigg, Q. Soreijnmat Solnnut Suomesta.' Stockholm (5th edition),
1904.
Scandinavia
To this group belong Sweden, Norway,
Denmark, parts of Finland, Iceland, and the
adjacent islands. There is a great affinity
between the Scandinavian languages. At the
present time Danish is the language of the
educated class in Norway, although it has a
harder pronunciation. ^ And in an article
written early in the last century, entitled
Alte Volksmelodien des Nordens? it was pointed
out that the Swedish songs only differed from
the Danish in dialect and not in language.
Danish is also as much spoken as Norwegian in
the Faroe Islands,* where also many Icelandic
and Danish songs are heard.
The poetry of Scandinavia is peculiarly rich
refrains, or Omkvade, of the Kampavisor. The
Omkvad'' (Danish Omkvosd), which is undoubtedly
of very ancient origin, forms an
important part of northern songs.* It may be
a line at the end of each verse, used to strengthen
the meaning of the poem, or a line interpolated
in the middle of the verse corresponding with
its contents ; or it may contain satirical or
contemptuous remarks sung by a chorus ; or
it may only concern the reciter, applauding and
encouraging him.' Musically the OmkvSd was
the most important part of the song, and
remained always intact and imvaried, whereas
the actual song was often improvised or changed
according to the solo-singer's desire. In the
Faroe Islands, for instance, the old ballads are
still sung to the mediaeval dances, and collectors
often find variants in the songs themselves,
whilst the refrains are identical in every part
of the islands. The Omkvad naturally influences
both the form and harmony of the songs.
It necessitates the extension or repetition of
a musical phrase, and sometimes a change of
time and accent, which impart a great freedom
of form to the Scandinavian songs. Again, if
the song be in the minor, the Omkvad would
be in the major, or vice versa ; also if the song
be sung as a solo, or in unison, the Omkvad is
most frequently sung in parts.
Och Jvmgfrun.
Och, Jungfrun hon skul-le Big &t ot-te s&n-gen g&;
Oh 1 the maiden she hurriea to evensong
^Omkvad.
Tiden gdra mig l&ng. S& gick hon den vSgen &t
Time is long. So she went the way by
in ballads, legends, and tales of ancient and
mediaeval warriors on sea or land—the heroic-
hSga berget l&g ; Men jag vet att sor-gen ar tung.
epic element being abundant, while the lyric
the high hill; But I wot that sorrow is heavy.
element plays little part except in the refrains
to the ballads. The Scandinavians have
These refrains are universal in Scandinavian
always
songs,
been a music -loving nation, but not
and occur as often in other forma as in
until
the Kcum/pavisor.
comparatively recent times have systematic
It is a
collections of their folk-music been
well-known fact (and has been briefly
made.^
alluded to in several sections of this article)
Collectors have found great difficulty in taking
that
down the music of the Kaimpavisor,^ owing
some of the most famous folk-songs of
to
different countries are
the free declamatory way in which they were
founded on the same
subject,
sung. The formal melody
whether it be a legendary or historical
occurs only in the
event, or an incident of ordinary life. The
i Sitomdlataen SirJalUetmden Seura. Dr. Ilmari Krohn says
that this publication, which is still in progress, will, when completed,
accessories of course vary, and impart a local
be the fullest and most systematic collection.
2 Chambers's Sncyclopcedia, 1891 edition.
colouring to each version of the song, but the
8 AUg. Mus. Zeitung, No. 35, August 18, 1816.
central theme is in all the same. In like
4 Ta/nz, DicJiiunff und Geaanff auf den PdrSern, Sammelbdnde of
the I.M.G., III. pt. 11. 1902, H. Thuren.
manner the same tunes are the property of
s T. Norlind, in bis History of Swedish Music, speaks of certain
isolated collections, such as 7 Om(0ermanum)=round, about; ffiia!(Z