<p>Uvodno poglavlje je svojevrstan prolog u kojem se ukazuje na istorijske okolnosti pod kojim se istraživano područje formiralo kao istorijsko-geografska oblast, na mnoge administrativne, odnosno teritorijalne promene, na izolovanost, ali i na česta ratna pusto&scaron;enja koja su imala znatan uticaj na socijalnu i etničku strukturu stanovni&scaron;tva koje je u skladu sa svojim dinarskim poreklom do danas zadržalo svoj identitet, kako na planu materijalne, tako i na planu duhovne kulture Načelno je predstavljena tematika ovog rada, uz obrazloženja o opravdanosti odabira teme.<br />Studija je zasnovana na terenskim istraživanjima obavljenim u 44 naselja ove oblasti. Uz to, u radu je kori&scaron;ćena i građa akademika Vlade Milo&scaron;evića koja potiče iz desetak naselja. Transkribovane su 194 pesme, kako dvoglasne, starijeg i novijeg sloja, tako i one jednoglasne (uspavanke, tužbalice, svatovske, putničke i dr.).<br />Ovde se detaljno govori o najznačajnijim karakteristikama tradicionalnog narodnog pevanja severozapadne Bosne, uno&scaron;enjem svojevrsnog reda u ono &scaron;to se do sada znalo o ovom pevanju, najvi&scaron;e iz tekstova akademika Vlade Milo&scaron;evića, ali i iz istraživanja nekolicine istraživača koji su se ovim pevanjem bavili u novije vreme. Ova studija iznosi i niz novih podataka do kojih se do&scaron;lo na osnovu vlastitog istraživanja autora.<br />Posebna pažnja posvećena je i &quot;ojkači&quot; kao tradicionalnoj pesmi Bosanske Krajine, gde se ističe da je u pitanju naziv koji po svom obliku podseća na tradicionalni (&quot;ojkanje&quot;), ali i na to da je on u osnovi nov, srodan onom &quot;izvorno pevanje (pesma)&quot; koje<br />postoji i u Srbiji. To se potkrepljuje činjenicom da etnomuzikolog Vlado Milo&scaron;ević ojkaču ne pominje ni jedan jedini put, kao i kazivanjima pevača koji se sećaju vremena kada ovaj termin nije postojao u njihovoj praksi.<br />Kao značajnim, u ovoj studiji se govori o karakteristikama stiha, karakteristikama tempa, tonskim karakteristikama, kao i sazvučnim karakteristikama (sa oblicima dvoglasa, heterofonijom i heterofonijom-bordunom kad su u pitanju stariji oblici dvoglasa, te homofonijom, kod novijih dvoglasnih oblika pevanja).</p> / <p>Preface is the sort of prologue in which it was referred to historical circumstances on which the field of research was formed as the historical and geographical domain, upon many administrative and territorial changes, isolation, and the frequent wartime devastation which had important influence on the social and ethnic structure of the population, who had held its identity up to date in accordance with the origin from Dinara Mountain, in the field of material and spiritual culture.<br />The theme of this work is shown in principle with the explanation of validity of choosing the topic.<br />The study is based on the field researches that are made in the 44 settlements of the mentioned area. Besides, academician Vlado Milosevic&rsquo;s inheritance which originates from ten of the settlements had been used in this work. In the study 194 songs had been transcribed, two voices songs both past and present layer, and single voice songs (lullabies, laments, wedding, travel etc.)<br />The most important characteristics of traditional folk singing in northwest Bosnia here are explained in details, introducing a kind of order in what was so far known about this type of singing, mostly from academician Vlado Milosevic&rsquo;s texts and from the professional work of few researchers who were recently dealt with this type of singing.<br />Special attention is paid on the traditional song from Bosanska Krajina called &ldquo;ojkača&rdquo;. It is emphasized that the title recalls to the traditional way of singing called &ldquo;ojkanje&rdquo;, and the fact it is basically new and related to the term &ldquo;traditional singing&rdquo; which also exists in Serbia.<br />It is corroborated with the fact that<br />ethnomusicologist Vlado Milosevic not even once mentioned &ldquo;ojkača&rdquo; song and with the sayings of the singers who remember the period when this term has not existed in their field of work.<br />This study significantly talks about characteristics of the verse, the characteristics of the tempo, tonal characteristics, as well as comprehensive characteristics (with the forms of two voices singing, heterophony and bordun heterophony when it is about the elder forms of two voices singing and homophony as in the modern forms of two voices singing).</p>

The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.

<p>Arbetet behandlar sättet att sjunga folkvisan från bondesamhället till modern tid. Mitt syfte är att ta reda på om sättet att sjunga folkvisan har förändrats genom åren, vidare vill jag undersöka hur folksången har förändrats och vad det beror på. Jag har intervjuat fem kvinnor som alla är verksamma folksångerskor, använt mig av litteraturstudium och lyssnat till arkivinspelningar. I mitt arbete har jag kommit fram till att folksången har förändrats under årens lopp. En skillnad som blev tydlig för mig är att sångarna förr generellt sjöng på ett mer osentimentalt sätt och att sångarna i dag ofta lägger större vikt vid att tolka texten och att de drillar mer idag. Att skillnader i sången finns beror på många faktorer, bl.a. på att den vokala folkmusiken förr var funktionsmusik- nu har den blivit medialiserad, institutionaliserad och professionaliserad. Dagens folksångerskor blir även inspirerade av andra kulturers musik och andra musikstilar.</p> / <p>This is a paper discussing the way folksong singing has undergone changes from agricultural society to the present day. The aim of this paper is to discern if the way of singing folksongs has changed through the years. In addition, I want to investigate how folk songs have changed and what these changes depend on. I have interviewed five women, all working as folk singers, as well as studied literature and listened to archive recordings. The conclusion of this paper is that folk songs have changed over the years. A clear difference is that the older singers generally sang in a more unsentimental way compared to the singers today, who often attach great importance to interpreting the text and also using more ornaments. The reasons for these differences depend on many factors, e.g. the vocal folk music used to be functional music, whereas today’s music is much more exposed in the media, more institutionalised and professionalized. The singers of today are also inspired by other music cultures and styles.</p>

Arbetet behandlar sättet att sjunga folkvisan från bondesamhället till modern tid. Mitt syfte är att ta reda på om sättet att sjunga folkvisan har förändrats genom åren, vidare vill jag undersöka hur folksången har förändrats och vad det beror på. Jag har intervjuat fem kvinnor som alla är verksamma folksångerskor, använt mig av litteraturstudium och lyssnat till arkivinspelningar. I mitt arbete har jag kommit fram till att folksången har förändrats under årens lopp. En skillnad som blev tydlig för mig är att sångarna förr generellt sjöng på ett mer osentimentalt sätt och att sångarna i dag ofta lägger större vikt vid att tolka texten och att de drillar mer idag. Att skillnader i sången finns beror på många faktorer, bl.a. på att den vokala folkmusiken förr var funktionsmusik- nu har den blivit medialiserad, institutionaliserad och professionaliserad. Dagens folksångerskor blir även inspirerade av andra kulturers musik och andra musikstilar. / This is a paper discussing the way folksong singing has undergone changes from agricultural society to the present day. The aim of this paper is to discern if the way of singing folksongs has changed through the years. In addition, I want to investigate how folk songs have changed and what these changes depend on. I have interviewed five women, all working as folk singers, as well as studied literature and listened to archive recordings. The conclusion of this paper is that folk songs have changed over the years. A clear difference is that the older singers generally sang in a more unsentimental way compared to the singers today, who often attach great importance to interpreting the text and also using more ornaments. The reasons for these differences depend on many factors, e.g. the vocal folk music used to be functional music, whereas today’s music is much more exposed in the media, more institutionalised and professionalized. The singers of today are also inspired by other music cultures and styles.

This project is based on questions about the significance of the acoustic space for kulning (herding calls). Swedish vocal folk music and in particular kulning, is at the center of my expressive, musical language. I was seduced by the tonality, variety, flexibility in Swedish folk singing as well as the individual freedom of expression. In this work I want to reflect past and present, based on the voice and singing style from my own perspective. The questions were: How can I kula if I don´t have a forest, the natural environment for kulning? Can I create a virtual forest indoors, for my voice to sound in a similar way as outdoors, that would feel like kulning outdoors? Can I find an analog or electronic backdoor to a perfect kulning sound in indoor spaces? Can I create new music with the idea that the room is an extension of the kulning sound? and in the end, how do I convey the artistic qualities of kulning to someone else? I have investigated those questions in the artistic project - The Dome - Part I, Part II and Part III by creating spatial music for voices, in two different dome-shaped indoor spaces. The insight that the room is an extension of the sound of kulning made me understand the importance of uncompromising acoustics. I revalue techniques, directions and positions. Try out tools to create - virtual SoundScapesusing digital technology. Experiment with exercises that can give my voice long durability. Try out composition models to get musical ideas to implement in new music. The artistic outcomes of this research are new concepts for kulning in electroacoustic and analog indoor spaces. The result of the project has become a number of methods for composition, improvisation, performing and teaching.    The project has been documented in a website: http://footprints.mariamisgeld.se

Syftet med studien är att få syn på folksångslärares uppfattningar om genrespecifika övningar, om och hur mycket de används, om lärarna ser ett behov av fler sådana övningar och huruvida de tror att dessa övningar har en påverkan på elevers stilistiska utveckling. Tidigare litteratur och forskning berör definitionen av begreppen tradition och sångteknik samt vad som utgör det svenska folkliga sångsättet. Dessutom redogörs för betydelsen av en genrespecifik sångteknik samt avsaknaden av en folksångsmetodik. Studien har en kvalitativ forskningsansats och tar utgångspunkt i det sociokulturella perspektivet på lärande. Semistrukturerade intervjuer har an- vänts som datainsamlingsmetod vilka sedan har transkriberats och analyserats med hjälp av tematisk analys. I resultatet framgår respondenternas syn på det folkliga sångsättet och hur sy- nen på begreppet tradition avspeglar sig i undervisningen. Dessutom framkommer att genre- specifika övningar används och detta främst på detaljnivå. Diskussionen belyser resultatet i relation till tidigare presenterad litteratur där fyra områden diskuteras; Ett uttalat behov skulle leda till förändring, All form av sångteknik tillhör en genre, En uppdaterad lista, När det ”riktiga” är konstruerat. / The purpose of the study is to gain insight into folk song teachers' perceptions of genre-specific exercises, if and how much they are used, if teachers see a need for more such exercises and whether they believe that these exercises have an impact on students' stylistic development. Previous literature and research concern the definition of the concepts of tradition and singing technique as well as what constitutes the Swedish folk way of singing. In addition, the im- portance of a genre-specific singing technique and the lack of a folk singing methodology are explained. The study has a qualitative research approach and is based on the Sociocultural Learning Theory. Semi-structured interviews have been used as a data collection method which have then been transcribed and analyzed using thematic analysis. The results show the respond- ents' views on the folk singing style and how the views on the concept of tradition are reflected in the teaching. In addition, it appears that genre-specific exercises are used, and this mainly at the level of detail. The discussion highlights the results in relation to previously presented lit- erature where four areas are being discussed; A pronounced need would lead to change, All forms of singing technique belong to a genre, An updated list, When the "right way" is constructed.

Kersti Ståbi Performing poems from the Poetic Edda I am a folk singer and oral storyteller. In my Masters project I have made a series of concerts performing the poem Vǫluspá from the Poetic Edda in its original Old Norse. Building on the musical elements in the Eddic poems, I’ve been searching the borderlands between speech and singing, using melodic material in the modern Swedish and Norwegian languages. As a method I have imitated singers in different living epic singing traditions from around the world, basing the creative process on mimicry and improvisation. This was a fast route to performances of great diversity: the Manas singer from Kyrgyzstan gradually enters a trancelike state, while Pansori from Korea made me think "unmelodic folk opera" and the Indian Pandvani is all-or-nothing storytelling with music serving as an engine. One specific perspective I have researched is the concept of a ”First Listener” - a representative of the audience on stage that can, but doesn’t necessarily have to, contribute musically. Traditionally the First Listener in Pandvani is very active; singing, shouting and challenging the teller, while the Pansori First Listener is a supporting commenting percussionist. As a storyteller and lead singer I found the presence of a First Listener highly fruitful in the process leading up to the performances. As a stage concept it offers forceful dynamics between the singer, the listeners and the poem. The poems of the Poetic Edda were created and performed in an oral tradition, but survived to modern times only via written text. I regard myself a performer formed in a literate culture but in an oral music tradition. With that in mind I have explored performance of this epic material and its metres. Translation has become a keyword with many facets.