| dc.description.abstract | This article focuses on the variety concerning the “cadenza formula” in the springar- and pols-types in the older Norwegian fiddle-music repertoire. For scholars, in transcribing the variety of local types of springar- and pols music, the placement of the cadenza formula in its rhythmical contexts has been important in order to define where to place the bar line. In the article I discuss the systematics normally presented concerning this topic. The cadenza formula can be realized in several ways. Some versions of the formula and its appearance in different longer, conventionalized phrases seem to have a significant geographical distribution. In some regions, the shape of such phrases may reflect an adaptation towards classical, tonal cadenzas. | |
