The Faroese people sing a lot. The fact that young people from the Faroe Islands are extremely successful in the multitude of popular singing contests on television is not accidental.
The Faroese have always been diligent singers, especially regarding the various genres of traditional singing, which for centuries have formed an important part of Faroese culture. With the increasingly globalized everyday life of the past 50 years or so, music from all over the world has permeated everywhere, including the Faroe Islands; nevertheless, traditional Faroese singing and dancing are still alive and well in the 21st century.
Following in the wake of four separate volumes of Faroese traditional music, a new edition, Føroya ljóð í kvæðum, vísum, sálmum og skjaldrum/Sound of the Faroes: Traditional songs and hymns (Hoyvik: Stiðin, 2014) is a single volume covering all of the topics. Part I is on Faroese dance with melodies for both kvæði and Danish ballads, part II is on spiritual singing and Kingo singing, and part III is on skjaldur. Each part describes the genres in question and offers a comprehensive selection of melody examples with an accompanying CD.
Demonstrating the breadth of its scope, the journal’s first issue presented articles on the music of Carl Nielsen, hip hop culture, and original Broadway cast albums. The journal is edited by Mads Krogh, Martin Knakkergaard, and Søren Møller Sørensen.
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As many people know, Hans Christian Andersen, whose children’s stories have proven to be his most widespread source of fame, was the most prominent Danish author of the nineteenth century. As fewer people know, he enjoyed a brief career as an opera singer and dancer at Det Kongelige Teater in Copenhagen, and in later years he went on to produce opera libretti for the Danish and German stage. He made 30 major European tours, and on each of these trips he regularly attended opera and concert performances, recording his impressions in a series of travel diaries; a well-informed listener, his reflections comprise valuable sources for the study of music reception during this period.
Over the course of his life Andersen embraced and later rejected performers such as Liszt, Maria Malibran, and Ole Bull, and his interest in opera and instrumental music underwent a series of dramatic transformations. In his final years he promoted figures as disparate as Wagner and Mendelssohn-Bartholdy, while strongly objecting to Brahms. Although these changes in taste might be interpreted as indiscriminate, such shifts in opinion were not contradictory—rather, they were quite logical given the social and cultural climate.
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From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →