Grove's dictionary of music and musicians

—
582 SONG
The northern melodies usually hegm -with
the up-beat, and by preference with the step of
the fourth (as ' Ooh Jungfrun '). They are very
frequently in common or 2-4 time, and adhere
to the simplest modulations. The phrases are
not repeated on different steps of the scale as
in so many other countries, and this gives the
melodies great variety. The ' Vermelandsvisa,'
one of the most beautiful folk-songs in the
world, exemplifies the above qualities ; it
begins thus :
Ex. 6.
Erona bland
Sve-a-ri-kes
It may be safely asserted that nine out of every
twelve Scandinavian songs are in the minor,
or partly so, for many begin in the minor,
and end in the major or vice versa. Some of
the older melodies recall the Chuxch scales, and
especially the Mixolydian and Phrygian modes,
but these occur most frequently among the
Norwegian and Danish songs.' The epic songs
which have been collected in Telemarken (in
the S.W. of Norway) are evidently of great
antiquity, as for instance, the following relating
to Sigurd's fight with the dragon, with its
curious rhythm andmelanoholy original melody. ^
Bx. 7.
Slow.
Eg va - no meg Baa li - ten ein gut, eg
^m^m
ejatta
fe nn>de li e, aaa Kom den Me Flan-ar
^^^^^^^^
•
ormin lian monne i grase sktie. FSr
^^S^^^^^^
di lig-ger
I i Y - se-laud u - ti flo - 1.
Important sections of the people's songs are
those of the foresters and wood-cutters and the
herdsmen. The words of these songs are often
mere exclamations, and contain no formal
verses. The herdsman or girl calls the cattle
home from the mountain-side, either with the
oowhorn or Lwr, or by singing a, melody with
of the few early northern BonfcH preserved In writing. Aa here
given it was noted down in 1675 by J. Lorentz, an organist at
Copenhagen.
^ There are many examplea of modal tunes In Kriflteneen's
* Qydske Polkeviser.'
^ Thus given hy Llndemann. In Telemarken the refrain is often
called 8teB, but the 8tev consists really of improvised verses of love
or satire, sung on certain festive occasions and gatherings, to
traditional tunes. See Landstad and Dr. von Bavn in Mendel's
Lexikon.
the echo formed on that instrument. Another
class of songs are those of the sailors and
fishermen. Many old ballads relating the
brave deeds of the sea-fighting heroes are to be
found in the Swedish and Norwegian collections,
and many typically nautical songs in the more
modern.^
The national dances have greatly influenced
the melodies, though the Syv^prmg, Sldngdcm,-
sar, Hailing, and many others are not usually
accompanied by singing.* The famous ring or
chain-dances, and children's game-songs, and
certain festival-songs (such as the old May-Day
and Epiphany songs) are relice from mediasval
times. In the province of Dalecarlia the 3-4
time dance-songs are especially cultivated ; one
called Neckeu's ' Polska '
^ is widely known.
The Norwegian Springer is its equivalent.
Both dances are sung, whilst the drone fifths
in the bass show the old national instrument
used. The Hardarvgerfele (/«&= fiddle) belonging
to the Norwegian highlands is the
most perfect of their instruments, but it is
only used for marches and dances. The peasant
marks the time by double tapping of the toe
and heel uninterruptedly, playing all the while
brilliantly. The richest districts in national
songs are Telemarken in the S.W. of Norway,
the centre of Jutland,* and the southern part
of the Faroe Islands. These islands were ever
in close connection with Iceland, and many
songs show their Icelandic origin. Doubtless
the Icelandic Sagas incited many Scandinavian
songs, and the poetry and language of this
island have much in common with the rest of
Scandinavia ; but the music is of such a totally
different character that a few words must be
devoted to its most salient points.
Iceland has ever been a land of history.
With true love and devotion its inhabitants
have preserved their old tales, traditions, and
customs. Their language, which the Norwegians
brought with them when they settled there at
the close of the 9th century, remains unchanged,
as also their strangely mediaeval music.
The chief source for studying Icelandic music
is the Arnamagnaan MS. in the University
Library at Copenhagen. And if we compare
this collection with those of a far later, or even
quite recent date, we find the same forms now
as then. There has been no development of
music in Iceland ; it has been stationary. Iceland,
indeed, adopted the form prevailing in the
Middle Ages, and has clung to it up to the
5 See L. A. Smith's Mvxio of the Watert, p. 218.
4 This does not apply to i^e Faros Islands, where musical
insiimmeuts are piactically unknown. Here the inhabitants are
passionately fond of dancing, and, aa mentioned above, accompany
their dances with singing the old epics and ballads.
6 Lindgren in his Ur Sveruka Musikena ffdfder. p. 137, tells ua
that the Polska is not of national origin, but was introduced from
Poland in the 17th century in the Lute-books under the name of
Poloneua (polonaise).
B '
This district waa caUed the knitting-district,' because until
quite recently the peaeanta used to meet during the winter
evenings in different houses knitting wooUen goods, and relating or
singing tales, songs, ballads, and legends. Their wealth of songs
was BO great that in many places the same Bong was not allowed to
he sung more than once a year.