MAIN         ABSTRACT          INTRODUCTION            FIELDWORK             METHODOLOGY           REFLECTIONS            RESULTS             ACKNOWLEDGEMENT    __________________________________________________________________________________________________________________________________________

IBACKGROUND                         introduction                     framework                     contribution

Norwegian folk music consists of instrumental and song traditions which have developed and changed in different ways over the centuries. Historically, this music is used for dancing and ceremonial functions by rural Norwegian communities, although, broadly speaking, it had lost much of its role as an integrated part of social life in rural areas by around 1900.⁵  

Instrumental forms are the 'slåtter', traditional folk tunes typically played on the Hardanger fiddle.Equally significant is the array of Norwegian folk songs, such as the 'gamlestev', 'lokke' and 'sætervise'.

In farming or agricultural environments, "lokke" can refer to an action related to enticing or persuading livestock to move in a particular way using sounds, whistling and gestures. "Sætervise" is alsoa type of rural song with a simple melody and lyrics, often in dialect,that capture the atmosphere and feeling of life on the mountain farm. This style holds a special place in Norwegian cultural heritage and are still popular today both in traditional form and in modern interpretations by musicians and singers who wish to honor the history and charm of rural Norway.

From an ethnographic standpoint, the enduring strength of Sardinian folklore is vividly evident in its steadfast commitment to preserving cultural identity through oral traditions (in contrast with the Norwegian approach, which relies on folk music schools). Central to this preservation are the pastoral songs known as 'Canto a Tenore',⁶ a deeply resonant form of polyphonic singing that has become a symbol of the island's rich heritage. Peculiar of this style is the association with the bleating of a sheep, the “maa” or “baa” sound emitted by the animal.

This vocalization deeply roots the musicians in their land, allowing them to recreate the sounds that have echoed through generations, honing it to the point that, through refining and vocalizing by imitation, they developed a unique mode of musical interaction and melodic expression. This interaction recurrently entwines with the intricate melodies of 'Launeddas',⁷ encompassing various autochthone morphs, which keep the cultural fabric intact.

Through his sensitive portraits of music makers and their families, Lortat-Jacob`swork overcomes some of the epistemological and methodological dilemmas behind the cultural heritage of Sardinians, giving the general reader a sense of the multiple and idiosyncratic ways that music is involved in their everyday life⁸: a celebration of identity and a testament to the resilience of their folk traditions. In Sardinia, encouraging the younger generation to engage with and learn the Launeddas, sing Canto a Tenore and the traditional dance steps of Su Ballu (“the dance” in Sardinian) is more than a practice; this intergenerational transmission ensures that the essence of Sardinian culture remains vibrant and continues to thrive in the modern world.Encouraging the younger generation to engage with and learn these traditions is a central aspect of cultural preservation.

In Norway, this is often achieved through folk music schools and local dance communities, ensuring that these rich traditions are not only remembered but also actively practiced and evolved. In Sardinia it`s empirical: practice to pass down the cultural heritage.

An approach to intergenerational transmission, common to both cultures, ensures that the vibrant spirit of folklore continues to thrive in the modern era, bridging the past with the present and future. In both regions, this resonant spirit is furthermore reflected in a vivid palette of rhythmic layers, where music intertwines with the most hidden cores of local folklore. It is within this rich creative source that my research project aims to dwell, seeking inspirational sources for further exploration.

In Sardinia, encouraging the younger generation to engage with and learn theLauneddas, sing Canto a Tenore and the traditional dance steps is more than a practice;

⁵Mats Johansson “Contemporary Norwegian Folk Music” January 2017https://www.researchgate.net/publication/322315365_Contemporary_Norwegian_Folk_Music