User:McLennonSon/sandbox/pols/springar

From Wikipedia, the free encyclopedia
< User:McLennonSon‎ | sandbox

This is an old revision of this page, as edited by McLennonSon (talk | contribs) at 19:00, 28 July 2023. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

NOTE: This is a script i'm planning for an essay, I might reuse a lot of this in related wikipedia articles, but i just love the formatting of wikipedia so i'm just doing it here

script

As a wise friend of mine said, “You ain’t got balls if you can’t dance pols.”

[1]

The Pols and Springar is a family of related folk dances in Norway. Its first documented uses are from manuscripts from the 1700’s, where these are indicated Polonaise (or variations in spelling thereof). [Egeland 2016]

The rhythm and music of these dances are most often defined by what district they are from, and the rhythm is most often the defining factor to differentiate these local variations. The districts mostly correspond to how they were since the Viking ages.

Almost all of the local variations of the dance music has ristetak. This can be translated to “shake-bow”, but in essence is referring to the bowed triplet in the pieces. Ristetak are most often used to define the end of a phrase. According to tradition, Jørn Hilme (1778-1854) is the one who introduced the ristetak to this family of dances. A story about Jørn Hilme and a finn named Hjorte-Jo in Borgund, which he met after leaving the autumn market in Lærdalsøyri can be interpreted as a folkloric explanation of the origins of the ristetak and the many tunings that Hilme used in his playing.

Gjetordet gjekk at ein finne[a] heitte Hjorte-Jo, og som budde saman med ei heks av ei kjerring i ei fillehytte øvst på Borgund i Lærdal - like uppunder fjellet. [...] Jørn hadde vore på Lærdalsmarknaden, og no på heimturen vilde han, som ung, ihuga spelmann, freista å få han Hjorte-Jo ut med kunstene sine. [...] Den natti lærde Jørn dei kunstene som seinare gjorde han til meisterspelmann. Han lærde slåttar, og han lærde å trolla av strengene for medtevlarane og mange andre kunster. Etter den tidi fekk han dei underlege felestille som gav spelet hans slik ein dårande, duld dåm — 21 — i alt, og etter den tidi hadde han dei trollske kast med bogen som ingen — ikkje ein gong Myllaren — kunde gjera han etter. «Jørn tok ristetaki aggarhendis,» sa dei gamle. D.v.s. han tok dei vrangaste triolvik med like villt flog både fram og attende.

The writer Knut Hermundstad, in the same journal adds this quote which he had from Gamle Henrik Før on Leira.

Slikt spel hadde han Jørn aldri høyrt. «Ner du spela, ska du leta bøgin bufsa, men slepp ikkji strengjo!» skulde mannen ha sagt. Men denne kunsti kunde vel Jørn før.


English translation (include in closed captions)


There was a reputation about a finn named Hjorte-Jo, who lived with a witch of a woman in a worn down cabin on the mountain-side in Borgund [...] Jørn had been on Lærdalsmarknaden, and on the road home, as a young dedicated fiddler, he wanted to learn the witchcraft that Hjorte-Jo had. [...] That night, Jørn learned the arts that made him a master fiddler. He learned tunes, and to magically break the strings of his competitors, and many other arts. After that time he got the weird tunings that gave him a mystical sound - 21 in all, and after that time he had the trollish technique with the bow that no one - not even Myllaren - could replicate. «Jørn played the ristetak backwards,» the elder people said.

The writer Knut Hermundstad, in the same journal adds this quote which he had from Gamle Henrik Før on Leira.

Jørn had never heard this kind of fiddling «When you’re playing, you should let the bow sprint, but don’t let go of the strings!», [Hjorte-Jo] reportedly said. But supposedly Jørn knew this art before.[2]

The rhythm

Dubbeltòki i harding-spele hev Myllaren vidka ut. Samljodande spel var ukjent til kalle, fyri honom. Spelemennane fyrr spela eingjengt og einljoda; han tok til med tviljodi, og daa visst med kvævetonane. “I spili sitt tok ’n paa fleire strengjir mæ ei gaang. De va’ sòleis ’n fekk nòko kvævetonar som ìnkji are fær” (Olav Leirlid).
I takti kom au Myllaren med noko nytt. Han er skaparen av den springar-takti dei no hev i Telemarki, og som nettupp hev gjevi springaren de rette springar-lage. Utan-um Telemarki og Hardang, der dei hev Myllar-takt i spele, hev springaren meir svip av polsdansen. DIfor kallar dei au springaren pols sume stadir (Sunnmør, Trøndelag, Gundbrandsdalen). So var springar-takti i Telemarki au fyrr, fyri 1830. Den tribytte takti vart daa trampa med eit tungt og eit langt (punktera) slag, i di at dei tvo seinste slògi liksom var samandregne til halvt-anna, og etter dette kom 1⁄8 upphald (pause); denne takti var daa aalmenn i Numedal, Hallingdal og vidare aust-yvi. Ettersom taktslògi lydde daa, kunde ein mest kalle de: lett, tung, daa dei samandregne slògi lydde som eit langt. Myllar-takti er: tung, tung (eller: mindre tung), lett.
Alt paa Voss vert takti annarleis, um lag so: tung lett, tung (eller: mindre tung) i forslage og danselage.[3]


Per Åsmund Omholt writes that Krødsherad had short 3, like Sigdal and possibly the rest of Ringerike, but changed to Hallingdal groove


Markets

The yearly markets (also known in Norwegian as Martnan (northern East dialects) or Marken (southern dialects), were important meeting places for folk musicians, and are in most sources described as places where the music evolved the most. The most significant markets[4] are listed here;

  • Branes (in Drammen) - from the first Tuesday until Friday in February, from 1739.[5]
  • Grundset (in Elverum) - in March from ca. 1580.[6][7]
  • Kongsberg - Started a week from Candlemas, i.e. February 9. 4 days in February and September, from 1633.[8]
  • Kristiania (today Oslo)
  • Lærdalsøyri - Started 8 days from Michaelmas Day, i.e. October 7-11. Legally from 1876, but in practice much older.[9]
  • Romsdal (in Devoll in Rauma, later moved to Veblungsnes from 1820) - October 6-14, from 1533.[10]
  • Røldal - originally 8 days from the first Tuesday after Saint John's Eve, but was moved after royal resolution to the third Tuesday after Saint John's Eve in 1756.[11]
  • Røros - 4 days from the second last Tuesday in February, legally from 1854, but in practice much older.[12]
  • Vikøyri - around Michaelmas
  • Hardinghelgi (in Åmyri in Rauland) - lasted 3 days, began 14 after Saint John's Eve, i.e. 7-9 July.[13]

Looking at the facts that there was a significant market in Røldal, and on the other side of Røldalsvatnet in Botnen lived Isak and Nils Botnen - it's not unlikely to assume that the spread of the Hardanger fiddle and its music was so closely knit to this market and the other markets around the country. Also weird, is that by following the river from Røldalsvatnet south we arrive at Suldal, which is where the arguably most archaic tradition has survived.

The oldest dated Hardanger fiddle is Jaastadfela, which dates from 1651, but its history may have begun with contact with the British isles. Other fiddles with resonance strings in the British Isles were made from the beginning of the latter half of the 1500s, which many believe is inspired by Sarangi. The first documented mention of Sarangi is believed to be from 1052, and is first reported to be brought to Europe in 1500s.[14] Bjørn Aksdal also makes a point about the timber trade between the British isles and Western Norway in this period, and that the core of the Western Norwegian timber trade was in Hardanger.[15]

Scordaturas in Norwegian and Swedish fiddle tunes

DDAE

medelpad nr 62 hälsingland gästrikland 276, 380, 447 gudbrandsdalen [16][17][18]

EEAE

medelpad nr 81

FCAE

Friaren by John Dale from Valdres[19] andris rysstad's form of frøyraken is written down in this tuning but after consulting recordings it seems unlikely[20]

Most famous example is Kivlemøyane after Gibøen, which consists of a gangar, and two springars[21][22][23]

telemark[24] nordfjord[25]

FDAE

gorrlaus hälsingland gästrikland 266 setesdal, rammeslått[26][27][28] gudbrandsdalen[29][30] valdres for the tunes Tassen, Huldrelått recorded by Okshovd.[31] Sæta writes there are 5 polsk-tunes from Rendal on this tuning,[32] but only three have seen publication.[33][34] CHECK https://urn.nb.no/URN:NBN:no-nb_digibok_2014110407706

FFAE

medelpad 120 hälsingland gästrikland 263, 268-272

martinus helgesen[35]

F#C#AE

dalarna 704

In Nordfjord, Jon Rosenlid used this tuning for the "Kølagut"-tunes, otherwise on the FCAE tuning.[36]

F#DAE

In Gudbrandsdalen, the waltzes "Kort-Sanden" and "Kristen Vang" are on this tuning, and lost tunes after Blind-Marit include "Jomfru-slåttane" and "Tjorristaren".[37]

GCAE

Sumarkveld i Jotunheimen by John Dahle [38][39]

setesdal[40][41] telemark[42][43][44] voss[45]

GDGE

Only known from one springar called Klunkespringaren from Sunnfjord.[46]

GDAB

valdres[47][48]

GDAD

medelpad 233 hälsingland gästrikland 381 svartufsen,[49] halling-jorån by groven[50]

hardanger[51][52][53] voss[54][55][56] sogn[57] hordaland[58][59] sunnfjord[60] setesdal[61][62] numedal[63] hallingdal[64][65][66][67] telemark[68] valdres[69][70][71] gudbrandsdalen[72]

GDAE

Makes up 11% of the tunes in Hardingfeleverket.[73] røros[74]

ACAE

brønnslåtten by groven[75]

ACAD

sumarmorgon by groven[76]

ADF#A

Erling Kjøk composed a tune of his own called "Klunkarhallingen" on this tuning.[77]

ADF#E

hardanger [78][79][80] telemark [81][82] valdres[83] nordfjord[84] In Gudbrandsdalen, only known from "Gjermundhallingen"[85] and a springleik from Torgeir Olstads sheet music collection.[86]

ADGD/HEAE

This tuning is mysteriously only represented with one tune from each district, being Medelpad 8, setesdal[87], Røros.[88], Nordfjord.[89] It's mentioned in Erling Kjøk's list of tunings in Gudbrandsdalen,[77] likely because the tune from Nordfjord is titled after "Loms-Jakup" from Lom in Gudbrandsdalen.


This tuning was used for the slått cycle by Torkjell Haugerud with the compositions "Tårån i Troppine", "Glima i Rupedalen" and "Ljose-Signe i Bindingsnuten". The first piece, "Tårån" is in B♭DGD, and the rest are in ADGD. They were originally in HEAE, which in essence is the same as the latter tuning.[90] Which is after a fairytale about three gýgjar named Tårån, Glima and Signe.[91] Torkjell Haugerud's father-in-law[92] Sigurd Nes wrote a poem about the fairytale called "Draum", and Torkjell wrote the cycle of three lydarslåttar after the fairytale and poems. Sigurd Nes was also part of helping Haugerud reconstruct the Leiv Sandsdalen form of "Kivlemøyane" on the tuning AEAC#.[93]

ADAC#

Førnesbrunen after Ola Bernos??[94]

ADAD

medelpad 157

våryra by groven[95] fan på øltunna Andreas Hauge valdres. Transferred from Langeleik slått from his mother.[96]

ADAE

Makes up 81% of the tunes in Hardingfeleverket.[73] røros[97]

AEAB

Hardanger[98]


AEAC#

medelpad 38, 110, 111, 159, 195 hälsingland gästrikland 150-152, 735-737, 793 røros[99]

misspelling aeac?? anmarkrud means this is an error but bjørndal wrote both a tune and the book about it soooo, hordaland[100][101] setesdal[102][103] voss[104][105][106][107] rogaland[108] sogn[109] telemark[110][111][112] jondalen[113] valdres[114][115][116][117] hallingdal[118][119] nordfjord[120][121] gudbrandsdalen[122][123]


AEAD

medelpad 155

AEAE

medelpad 33, 86, 132-134, 145, 146, 269 (7 av dei i anmarkrud?) hälsingland gästrikland 123, 163, 322, 388 røros[124] sogn [125] telemark [126][127][128] sunnfjord[129][130] setesdal[131] hallingdal[132][133] valdres[134][135] numedal[136] gudbrandsdalen[137][138][139] nordfjord[140]


AFAE

medelpad 34

BbDGD

Only used for the composition "Tårån i Troppine" by Torkjell Haugerud,[141] which is part of the trilogy with "Glima" and "Ljose-Signe.

BbDAD

Only documented in one tune from Sunnmøre, after Per Bolstad.[142]

BbDAE

medelpad 1, 11, 14, 15, 39, 40 Erling Kjøk from Gudbrandsdalen had a tune named "Bolstadspringleiken hass Alfred Bismo" on this tuning.[77]

BbFAE

medelpad 9

CFAE

Only one Norwegian tune on this tuning, from Sogn. Reportedly after Anders Haga.[143]

medelpad 31, 83, 84, 87


Notes

  1. ^ "finn" may mean Romani, Forest Finn, Sami, or any kind of traveller. Olav Norheim in his book argues that since Hilme was of a lower social status, that he was through his music a friend of many minorities.[1]

References

  1. ^ Norheim, Olav, Susen av Garlistuten, Kvitvella forlag, p. 47
  2. ^ Abridged from sections in: Moe, Olav; Hermundstad, Knut (1935). "Gamle Spelmenn II". Tidsskrift for Valdres historielag 1935.
  3. ^ Berge, Rikard (1998), Myllarguten / Haavard Gibøen, Fylkesmuseet for Telemark og Grenland, p. 167
  4. ^ Bjørndal & Alver 1997, p. 73-77.
  5. ^ Schandy, F.H. (1988), Drammens bydelshistorier. 2 : Bragernes bydelshistorie, p. 196
  6. ^ Gjone, Toralv (1925), Grundset marked, Cappelen, p. 5
  7. ^ Halbakken 1997, p. 172.
  8. ^ Moen, Kristian (1978), Kongsberg sølvverk 1623-1957, Sølvverksmuseets venner, p. 120
  9. ^ Espe, Alfred (1983), "Dæ va are tie dao..." i Lærdal og Borgund: lokalhistorie, hermer, forteljingar, prologar og dikt, Lærdal Mållag, p. 15-18
  10. ^ Øverås, Asbjørn (1941), Romsdals soga. 2 : Dansketida, Romsdal ungdomssamlag, p. 158, 163
  11. ^ Dalen, Knut; Dalen, Alma, Røldal bygdebok, Røldal kommune, p. 152
  12. ^ Kvikne, Olav (1949), Bergstaden, Aschehoug, p. 75
  13. ^ Berge, Rikard (1944), Vinje og Rauland II, Dreyer, p. 21-22
  14. ^ Bor, Joep (1987). "The Sarangi - A Historical Sketch" (PDF): 51, 56. Archived from the original (PDF) on July 8, 2023. {{cite journal}}: Cite journal requires |journal= (help)
  15. ^ Aksdal, Bjørn (2005). "Isak-feler og Tronda-feler". Revitalisering av tradisjoner. Norsk folkemusikklag: 96-99.
  16. ^ Kjøk & Kjøk 1995, p. 331.
  17. ^ Feleverket I, S21.
  18. ^ Feleverket II, 166b.
  19. ^ Hardingfeleverket I, 24.
  20. ^ Hardingfeleverket I, 97c.
  21. ^ Hardingfeleverket I, 98.
  22. ^ Hardingfeleverket V, 294.
  23. ^ Hardingfeleverket VI, 480.
  24. ^ Hardingfeleverket IV, 254.
  25. ^ Feleverket III, S131a-c, e. 132-133, 134c.
  26. ^ Hardingfeleverket I, 2, 116.
  27. ^ Hardingfeleverket II, 105.
  28. ^ Hardingfeleverket VII, II:154, 161.
  29. ^ Feleverket I, H53c.
  30. ^ Feleverket II, S203b, d-e. 204b, e, g-h. 205, 206a. 207a, e. 208, 209, 210a-e. 211.
  31. ^ Karsrud 2020, p. 294-295.
  32. ^ Sæta 2007, p. 101-102.
  33. ^ Sandvik 1943, III:150.
  34. ^ Halbakken 1997, 234, 265-266.
  35. ^ Sandvik 1943, III:7.
  36. ^ Sæta 2007, p. 102-103, 109.
  37. ^ Kjøk & Kjøk 1995, p. 332.
  38. ^ Hardingfeleverket V, 371.
  39. ^ Hardingfeleverket VII, I:541.
  40. ^ Hardingfeleverket II, 143b-d.
  41. ^ Hardingfeleverket VI, 496e.
  42. ^ Hardingfeleverket II, 143e.
  43. ^ Hardingfeleverket VI, 496c-d.
  44. ^ Hardingfeleverket VII, 525h-k.
  45. ^ Hardingfeleverket VI, 445.
  46. ^ Hardingfeleverket IV, 19.
  47. ^ Hardingfeleverket IV, 151, 157.
  48. ^ Hardingfeleverket VII, I:559, 562.
  49. ^ Hardingfeleverket VII, I:634.
  50. ^ Hardingfeleverket II, 72.
  51. ^ Hardingfeleverket I, 111d.
  52. ^ Hardingfeleverket IV, 104.
  53. ^ Hardingfeleverket V, 390b.
  54. ^ Hardingfeleverket I, 45, 54.
  55. ^ Hardingfeleverket II, 46.
  56. ^ Hardingfeleverket IV, 135.
  57. ^ Hardingfeleverket II, 4, 30.
  58. ^ Hardingfeleverket II, 5.
  59. ^ Hardingfeleverket IV, 67.
  60. ^ Hardingfeleverket II, 44, 56, 99.
  61. ^ Hardingfeleverket II, 48.
  62. ^ Hardingfeleverket IV, 292.
  63. ^ Hardingfeleverket III, 149b.
  64. ^ Hardingfeleverket III, 149c, d & f.
  65. ^ Hardingfeleverket IV, 212, 214.
  66. ^ Hardingfeleverket V, 406.
  67. ^ Hardingfeleverket VII, 527j, I:567, 583.
  68. ^ Hardingfeleverket III, 149e.
  69. ^ Hardingfeleverket IV, 150, 152, 169, 176, 185.
  70. ^ Hardingfeleverket V, 355.
  71. ^ Hardingfeleverket VII, I:557, 560, 561.
  72. ^ Feleverket II, s177-179f, 179h.
  73. ^ a b Hardingfeleverket VII, p. 289.
  74. ^ Pols i Rørostraktom, 1-46, 172.
  75. ^ Hardingfeleverket VII, 636.
  76. ^ Hardingfeleverket VII, 177.
  77. ^ a b c Kjøk & Kjøk 1995, p. 27-28.
  78. ^ Hardingfeleverket I, 50.
  79. ^ Hardingfeleverket III, 161b.
  80. ^ Hardingfeleverket V, 313.
  81. ^ Hardingfeleverket II, 96.
  82. ^ Hardingfeleverket IV, 239.
  83. ^ Hardingfeleverket VII, I:540.
  84. ^ Feleverket III, H15.
  85. ^ Feleverket I, H17a.
  86. ^ Feleverket I, p. 28-29.
  87. ^ Hardingfeleverket I, 33.
  88. ^ Pols i Rørostraktom, 164.
  89. ^ Feleverket III, S137.
  90. ^ Storesund, Asbjørn (1995), Høyrer du Tårån? Meisterspelemannen Torkjell Haugerud, 1995, p. 158-165
  91. ^ Folkeminne frå Telemark, Nemnda, 1981, p. 68-69
  92. ^ Kaasa, Halvard (1988), Spel og dans: folkemusikk og dans i Telemark, Bø trykk, p. 17
  93. ^ Myklebust 1982, p. 28-29.
  94. ^ Hardingfeleverket VII, III:162b.
  95. ^ Hardingfeleverket VII, 635.
  96. ^ Hardingfeleverket II, 75.
  97. ^ Pols i Rørostraktom, 47-135.
  98. ^ Hardingfeleverket I, 53.
  99. ^ Pols i Rørostraktom, 165-171.
  100. ^ Hardingfeleverket I, 43.
  101. ^ Hardingfeleverket II, 121.
  102. ^ Hardingfeleverket I, 39, 90b.
  103. ^ Hardingfeleverket II, 20, 42.
  104. ^ Hardingfeleverket I, 90a.
  105. ^ Hardingfeleverket II, 64.
  106. ^ Hardingfeleverket IV, 110.
  107. ^ Hardingfeleverket V, 419b.
  108. ^ Hardingfeleverket II, 1.
  109. ^ Hardingfeleverket II, 29, 34.
  110. ^ Hardingfeleverket II, 143a.
  111. ^ Hardingfeleverket III, 161a.
  112. ^ Hardingfeleverket V, 340.
  113. ^ Hardingfeleverket IV, 228.
  114. ^ Hardingfeleverket IV, 154, 170.
  115. ^ Hardingfeleverket V, 327, 419a, 438a.
  116. ^ Hardingfeleverket VI, 442a.
  117. ^ Hardingfeleverket VII, I:558, 564.
  118. ^ Hardingfeleverket IV, 210.
  119. ^ Hardingfeleverket VII, III:165a.
  120. ^ Hardingfeleverket VII, III:187I.
  121. ^ Feleverket III, H16-17. G12-13, S111d, 120-121. B22-23-b.
  122. ^ Feleverket I, H47-49.
  123. ^ Feleverket II, S212-216c, 217b-218b, 219-225a, 226c. 245.
  124. ^ Pols i Rørostraktom, 136-163.
  125. ^ Hardingfeleverket I, 44.
  126. ^ Hardingfeleverket I, 67.
  127. ^ Hardingfeleverket IV, 249.
  128. ^ Hardingfeleverket VII, I:626.
  129. ^ Hardingfeleverket II, 9.
  130. ^ Feleverket III, S111b, 114.
  131. ^ Hardingfeleverket II, 13.
  132. ^ Hardingfeleverket II, 63.
  133. ^ Hardingfeleverket IV, 213.
  134. ^ Hardingfeleverket IV, 148, 168.
  135. ^ Hardingfeleverket VII, I:563.
  136. ^ Hardingfeleverket VII, I:596.
  137. ^ Feleverket I, H2d, 42, 63.
  138. ^ Feleverket II, S179g.
  139. ^ Feleverket II, S216d, 218c, 225b-226b, d. 228b-e. 230a-c, e-f. 231a, c, e. 232b-235. 236e. 237b, d, f. 238a..
  140. ^ Feleverket III, S104b, 111a, c, 113, 116-117.
  141. ^ Storesund, Asbjørn (1995), Høyrer du Tårån? Meisterspelemannen Torkjell Haugerud, 1995, p. 158-165
  142. ^ Feleverket III, S136b.
  143. ^ Hardingfeleverket IV, 26.

Literature

Page numbers are indicated with "p.", when not written it refers to the tune's number in its respective book.

  • Norsk Folkemusikk
    • Series I; Slåttar for the Harding Fiddle
      • Gurvin, Olav, ed. (1958). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. I, Gangarar (Hallingar, Vosserullar) in 6/8 time. Universitetsforlaget.
      • Gurvin, Olav, ed. (1959). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. II, Gangarar (Hallingar, Vosserullar) in 2/4 time. Universitetsforlaget.
      • Gurvin, Olav, ed. (1960). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. III, Hallingar (Gangarar, Vosserullar) in 2/4 time. Universitetsforlaget.
      • Gurvin, Olav, ed. (1963). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. IV, Springars in 3/4 time. Universitetsforlaget.
      • Gurvin, Olav, ed. (1967). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. V, Springars in 3/4 time. Universitetsforlaget.
      • Blom, Jan Petter; Nyhus, Sven; Sevåg, Reidar, eds. (1979). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. VI, Springars in 3/4 time. Universitetsforlaget.
      • Blom, Jan Petter; Nyhus, Sven; Sevåg, Reidar, eds. (1981). Slåttar for the Harding Fiddle. Norsk Folkemusikk: Series I. Vol. VII, Springars in 3/4 time. Universitetsforlaget.
    • Series II; Slåttar for the Normal Fiddle
      • Sevåg, Reidar; Sæta, Olav, eds. (1992). Slåttar for the Normal Fiddle; Oppland. Norsk Folkemusikk: Series II. Vol. I. Universitetsforlaget.
      • Sevåg, Reidar; Sæta, Olav, eds. (1992). Slåttar for the Normal Fiddle; Oppland. Norsk Folkemusikk: Series II. Vol. II. Universitetsforlaget.
      • Sevåg, Reidar; Sæta, Olav, eds. (1995). Slåttar for the Normal Fiddle; Nordfjord. Norsk Folkemusikk: Series II. Vol. III. Universitetsforlaget.
      • Sæta, Olav, ed. (1997). Slåttar for the Normal Fiddle; Hedmark. Norsk Folkemusikk: Series II. Vol. IV. Universitetsforlaget.
  • Nyhus, Sven, ed. (1973). Pols i Rørostraktom: utgreiing om en gammel feletradisjon. Universitetsforlaget.
  • Kjøk, Erling; Kjøk, Jarnfrid (1995), Ei spelmannsoge: spelmenn, spel og dans i Ottadalen, Anaribok
  • Karsrud, Kjellbørn (2020), Soga om spelemannen Ola G. Okshovd: folk og felespel i Valdres, Noreg og Amerika 1872-1960, ta:lik
  • Sandvik, Ole Mørk (1943), Østerdalsmusikken, Tanum
  • Sæta, Olav (2007). Thedens, Hans-Hinrich (ed.). "Om felestiller i feleverket". Musikk og dans som virkelighet og forestilling. Norsk folkemusikklag.
  • Bjørndal, Arne; Alver, Brynjulf (1985). - og fela ho lét : norsk spelemannstradisjon. Universitetsforlaget.
  • Halbakken, Sverre (1997). Så surr nå, kjæring! Musikk- og dansetradisjoner i Sør-Østerdal og Våler. Blåmann.
  • Myklebust, Rolf (1982). Femti år med folkemusikk. Samlaget.
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:McLennonSon/sandbox/pols/springar&oldid=1167598287"