En, to, tre...? Om inkonsekvenser, variasjon og endring i springar- og polstakt i Norge

Abstract

The article addresses deviations from articulated norms regarding the placement of bar lines in Norwegian triple metre springar and pols. The great variation within these genres has played a major role as a marker of what has been regarded and perceived as musical dialects and dialectical boundaries. This concept has had a great impact within the Norwegian folk music and dance environment. A common understanding is that the springar and pols material in Southern Norway is divided into two regions regarding the placement of the barline. The article problematizes this border by referring to examples of vocal and langeleik (Norwegian dulcimer) material that do not comply with established norms. The study is relevant to the larger field of traditional music studies by raising questions of change in tradition. The discussion of this concept is based on observable developments found today in the region of Valdres. This change, concerning beat patterns, foot stamping and so on, can be described within a context of, and as a consequence of, the marking of identity.