This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s. Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician. In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s. The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before. One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship. The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.

<p>This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.</p><p>Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.</p><p>In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s.</p><p>The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before.</p><p>One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship.</p><p>The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.</p>

In a number of studies of analogical levelling, it has been found that the conservation of irregular formation patterns is typically correlated with the token frequency of the members of a changing class. Interestingly, although it was suggested decades ago that this “conserving effect” of high token frequency may also affect ongoing analogical change, only one case of a change-in-progress in morphology has been investigated so far. Moreover, instead of scrutinizing the concept of frequency, previous research has largely taken the importance of lemma token frequency for granted. The present contribution analyses a case of ongoing analogical levelling in the formation of the imperative singular of German strong verbs with e/i-gradation. A corpus-based study is used to test whether the phenomenon is rightly classified as ongoing change and whether and which frequency variables can explain the trajectory of this change. Evidence is presented that justifies the assumption of a conserving effect of token frequency in ongoing morphological change; however, the study stresses the importance of reconsidering the concept of frequency for different languages and different phenomena of change because even measures like lemma token frequency are not as indisputable as they seem.

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