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Balto-Finnic music is a category of music of Balto-Finnic people, that overlaps with both Nordic folk music of Nordic countries and Baltic folk music of Baltic states. Finland's musical ties are primarily to the Balto-Finnic peoples of Russia and Estonia (Cronshaw, 91). Runic singing was practiced throughout the area inhabited by these peoples.
Traditional Nordic dance music is a type of traditional music or folk music that once was common in the mainland part of the Nordic countries — Scandinavia plus Finland. The person who plays this kind of music might be called speleman (Swedish/Norwegian), spelman (Swedish), spel(l)emann (Norwegian), pelimanni (Finnish) or spillemand (Danish).
Swedish dance videos, including but not limited to polska. Three Fiddlers ; Videos of traditional folk music by fiddlers and folk musicians of the Nordic countries. Examples of the styles mentioned in this article and more. tvfolk.net ; Svenskt visarkiv, the original documents from old collections ; Folkwiki, online sheet music collection
Much has been learned about early music in Norway from physical artifacts found during archaeological digs. These include instruments such as the lur. Viking and medieval sagas also describe musical activity, as do the accounts of priests and pilgrims from all over Europe coming to visit St Olav's grave in Trondheim.
Swedish folk music is a genre of music based largely on folkloric collection work that began in the early 19th century in Sweden. [1] The primary instrument of Swedish folk music is the fiddle . Another common instrument, unique to Swedish traditions, is the nyckelharpa .
In traditional Sámi music songs (e.g. Kvad [1] and Leudd songs [2]) and joiks are important musical expressions of the Sámi people and Sámi languages. The Sámi also use a variety of musical instruments, some unique to the Sámi, some traditional Scandinavian, and some modern introductions.
The song has a high-pitched vocal technique, i.e. a loud call using head tones, so that it can be heard or be used to communicate over long distances.It has a fascinating and haunting tone, often conveying a feeling of sadness, in large part because the kulokks often include typical half-tones and quarter-tones (also known as "blue tones") found in the music of the region.
In 1839, he had heard a Viennese orchestra play music by Johann Strauss, after which he composed in the same style, eventually earning the nickname "The Strauss of the North". [15] One of his most popular pieces, associated with Tivoli, is Champagnegaloppen (the Champagne Galop), which starts with the happy sound of a champagne cork popping.