Dan Lundberg: Swedish folk Music - from village greens to concert platforms
New instrumental traditions

NEW INSTRUMENTAL TRADITIONS The chromatic keyed fiddle developed during the 1920s from earlier keyed fiddle models. Eminent keyed fiddle-players from the province of Uppland played an active part in adapting the instrument to the modern folk music of those times. The modernisation of the instrument meant that it had a wider range of uses, but the keyed fiddle was to a large degree geographically limited to the region of Uppland. In the 1960s and 1970s the keyed fiddle was the object of a newly aroused interest (similar to the renaissance that the bagpipe and hurdy-gurdy experienced during the 1980s, see above). Courses were organised in the construction and playing of the keyed fiddle. The work of collecting tunes from keyed fiddle-players who were still active was carried out by younger musicians and also by musicologists. The most important trend-setter for the new generation of keyed fiddle-players was Eric Sahlström (picture) (1912-86). His tunes are part of almost every keyed fiddle-player’s repertoire today. Although the “keyed fiddle vogue” of the 1960s and 1970s meant that the instrument was once again spread all over Sweden and that today the instrument is also played in many other parts of the world (the States and Japan, for example), it is still primarily the players from Uppland who act as models.  Hardrevet from 'Årsringar'(MNWCD241). Eric Sahlström The female keyed fiddle-player Åsa Jinder has perhaps had the greatest impact on the mass media. On the other hand Olof Johansson in the group Väsen has played an important role as a model for other musicians in folk music circles during the 1990s. As a consequence of increased medialisation, individual musicians and groups have come to play an even more important role as models for music-making. New types of instruments, styles and ensemble forms can now be spread in a remarkably short space of time.  Trollbunden. Åsa Jinder (MNWCD194) One of the most obvious examples is how Ale Möller (photo: Levi Thomas), virtually single-handed, has introduced instruments that are related to the mandolin, such as the mandola, the octave mandolin, the cittern, the Irish bouzouki and even the Greek bouzouki, in Swedish folk music. He has also led the way when it comes to adapting the instruments to folk music scales by changing the positioning of the frets. Through his way of using the instruments in ensemble-playing, switching between rhythmic accompanying figures, rhythmic drones, melodies and underlying parts like a fairly free orchestral player, he has created a Swedish “bouzouki” tradition in the space of less than twenty years. This has been possible due to Möller’s central role in Swedish folk music circles since the 1980s, where he has been a driving force both as a player and as a leader at numerous folk music courses. Furthermore, the impact of his bouzouki playing has been augmented by the mass media’s increasing interest in folk music groups.  Simlångvalsen. Frifot 'Sluring' (AMCD751) Similarly, other folk musicians have played a central role in the dissemination of new Swedish instrumental traditions through courses and the production of records. In the 1990s, for example, the following can be observed: — A new percussion tradition, where “ethnic” rhythm instruments from other cultures have been adapted for use in Swedish folk music contexts. — The development of new guitar techniques, combining part-playing and harmonic and rhythmic accompaniment. — The revival of the bagpipe from Dalarna and the hurdy-gurdy. — The birth of a new generation of Swedish folk music wind-players who have succeeded in making every conceivable wind instrument, from contrabass clarinets to recorders, a natural feature of Swedish folk music. The new folk music-making has also been influenced by new educational opportunities. The Swedish adult education tradition has been an important factor in the development of folk music during the twentieth century. Thanks to the folk music vogue and the increased interest in folk music since the 1970s, folk music has been taught at innumerable courses and study groups and even at municipal music schools. During this period folk music has also gained a foothold in higher education. Since 1976, courses in teaching methods for practising folk musicians have been available at the Royal College of Music in Stockholm. In 1995 the first senior lecturer in Swedish folk music was appointed at the same college.

New instrumental traditions
Dan Lundberg: Swedish folk Music - from village greens to concert platforms