Folkrörelsesång
(1996)- Abstract
- The unison songs has united people about common goals and experiences in the three great folk movements in Sweden, the Revivalist movement, the Temperance movement and the Socialist movement, especially during the most expansive period, 1850-1920. The aim/purpose of my investigation has been to examine how the different ideolgies are breaking against each other in the songs published for unison songs. A characteristic trait of this songs is that the esthetic is less important.
From a superior view of song investigation my aim has been to give a survey of the intertextual relations of different song genres. My practical method has been to analyse songs attached to the same tune, often taken from student songs, male choire repertoar... (More) - The unison songs has united people about common goals and experiences in the three great folk movements in Sweden, the Revivalist movement, the Temperance movement and the Socialist movement, especially during the most expansive period, 1850-1920. The aim/purpose of my investigation has been to examine how the different ideolgies are breaking against each other in the songs published for unison songs. A characteristic trait of this songs is that the esthetic is less important.
From a superior view of song investigation my aim has been to give a survey of the intertextual relations of different song genres. My practical method has been to analyse songs attached to the same tune, often taken from student songs, male choire repertoar or school songs. Many adaptions, imitations, parodies and contrafacts were written during the first expansive years. Writers of the folk movements parodied both the songs of the established society and the songs of the other folk movements.
The Revivalist movement and the Socialist movement produced contrafacts and parodies of national and patriotic songs, the Temperance movement parodied the genre of drinking songs, the Socialist movement parodied hymns and satirized religion. However, some new songs of the Temperence movement included the ideology of the older texts, that is national songs/anthems and revivalist songs. The tune has mediated the intertexts even if the new text has been indepentent of the older one. Ideological breakings (?) or connections are mediated by the tunes which carry with them associations from the well known texts, often national anthems, sometimes hymns. The breakings or connections are also mediated by the use of a similar metaphorical language taken from hymns and spiritual songs or from the poetry of the late Romanticism. This imagery or common code has different references, e.g. the imagery of struggle-prisoner-slave-delivery-victory refers to different kinds of evil and good, the goal is not the same. Ideological breakings are visible both towards the older text and between the new texts of the different folk movements. The new texts become intertexts by means of the well known tunes, which the singers (or listeners) during the examined period can have experienced as a dialog or a murmur of different voices. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/534988
- author
- Selander, Inger LU
- organization
- publishing date
- 1996
- type
- Book/Report
- publication status
- published
- subject
- keywords
- parodi, song, parody, contrafact, revival movement, temperance movement, social movement sång, arbetarrörelse, nykterhetsrörelse, kontrafakt, väckelserörelse
- publisher
- Sober förlag
- ISBN
- 91-7296-346-8
- language
- English
- LU publication?
- yes
- id
- b542ab83-cb18-4536-abfc-2c27ac8dfc3a (old id 534988)
- date added to LUP
- 2016-04-04 11:04:44
- date last changed
- 2021-11-15 09:34:40
@book{b542ab83-cb18-4536-abfc-2c27ac8dfc3a,
abstract = {{The unison songs has united people about common goals and experiences in the three great folk movements in Sweden, the Revivalist movement, the Temperance movement and the Socialist movement, especially during the most expansive period, 1850-1920. The aim/purpose of my investigation has been to examine how the different ideolgies are breaking against each other in the songs published for unison songs. A characteristic trait of this songs is that the esthetic is less important.<br/><br>
From a superior view of song investigation my aim has been to give a survey of the intertextual relations of different song genres. My practical method has been to analyse songs attached to the same tune, often taken from student songs, male choire repertoar or school songs. Many adaptions, imitations, parodies and contrafacts were written during the first expansive years. Writers of the folk movements parodied both the songs of the established society and the songs of the other folk movements.<br/><br>
The Revivalist movement and the Socialist movement produced contrafacts and parodies of national and patriotic songs, the Temperance movement parodied the genre of drinking songs, the Socialist movement parodied hymns and satirized religion. However, some new songs of the Temperence movement included the ideology of the older texts, that is national songs/anthems and revivalist songs. The tune has mediated the intertexts even if the new text has been indepentent of the older one. Ideological breakings (?) or connections are mediated by the tunes which carry with them associations from the well known texts, often national anthems, sometimes hymns. The breakings or connections are also mediated by the use of a similar metaphorical language taken from hymns and spiritual songs or from the poetry of the late Romanticism. This imagery or common code has different references, e.g. the imagery of struggle-prisoner-slave-delivery-victory refers to different kinds of evil and good, the goal is not the same. Ideological breakings are visible both towards the older text and between the new texts of the different folk movements. The new texts become intertexts by means of the well known tunes, which the singers (or listeners) during the examined period can have experienced as a dialog or a murmur of different voices.}},
author = {{Selander, Inger}},
isbn = {{91-7296-346-8}},
keywords = {{parodi; song; parody; contrafact; revival movement; temperance movement; social movement
sång; arbetarrörelse; nykterhetsrörelse; kontrafakt; väckelserörelse}},
language = {{eng}},
publisher = {{Sober förlag}},
title = {{Folkrörelsesång}},
year = {{1996}},
}