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Home: Tellef Kvifte's blog

Blog posts

Click the name of the post to get an expanded view with the blog text and links to other relevant posts, articles, and releases.
Most of the posts are related to Norwegian folk and traditional music; not too much about musicians, but more of what I like to call the music theory of folk music: what kind(s) of rhythms are used; how to understand the intonation practices that sounds unfamiliar to an ear used to Western pop and classical music, how are tunes built in terms of motifs, parts, repeats etc. Central also the concepts of tradition and identity.
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1
Glissotar - a new instrument with new challenges and possibilities
Musical instruments
2
Reel Date - and album with Irish and Norwegian traditions combined
Tradition and Identity
3
Old recordings of Micho Russell - why publish?
Producing music
4
What is the connection between Jan Garbarek and Ånon Egeland?
Tradition and Identity
5
Tradition and copyright, part III
Tradition and Identity
6
More on archives and recordings
​
7
Alvaleken: Writing music, and writing about music
​
8
Traditions, archives and change: blights and blessings
Making music
Tradition and Identity
9
Tradition and Copyright, Part II
Making music
Tradition and Identity
10
Is intonation (really) about intonation?
Making music
11
Why can't Norwegian folk musicians play/sing in tune?
Making music
12
The mysterious "old tonality" of Scandinavian (and other) traditional music
Making music
Understanding music
Tradition and Identity
13
Welcome - new layout!
​
14
»Norwegian bagpipe» – «Tune from Agder» – «Setesdal tradition»: The archivist’s headache
Tradition and Identity
15
Norwegian tunes on bagpipe – why bother? Part III
Making music
16
Norwegian tunes on bagpipe – why bother? Part II
Making music
Tradition and Identity
17
Norwegian tunes on bagpipe – why bother?
Making music
Musical instruments
18
What is the "right"way to hear the music? A note on sharing
Understanding music
19
“Inferential ambivalence” – difficult words, but simple problem
Understanding music
Tradition and Identity
20
Farewell
Understanding music
21
Asymmetrical meters and precision in performance
Understanding music
22
Concert life and Covid 19
Music life
23
What is a “one” – …continued
Making music
Understanding music
24
Hardingfele, tuning, and Farvel, farvel
Making music
Musical instruments
25
The Aesthetics of Distortion in Folk Music
Making music
Musical instruments
26
Good dance rhythm — what is it?
Making music
Understanding music
27
Asymmetrical meters – how to think about them
Understanding music
28
What asymmetrical meters is NOT about
Understanding music
29
The mysterious "asymmetrical rhythms" in Scandinavian folk music
Music theory
Understanding music
30
Playing «right» or having fun? What is (traditional) music about?
Making music
Understanding music
Music life
31
The fuzzy concept of «musical instrument»
Understanding music
Musical instruments
32
Hardingfele form and performance variation: a blog post for nerds
Understanding music
Tradition and Identity
33
Traditions and Copyright
Tradition and Identity
Music life
34
Hardingfele music: A solo tradition difficult to adapt to ensemble playing
Making music
Understanding music
35
Why is Sigurd Fjeldstad important?
Making music
Understanding music
Tradition and Identity
36
Egeland spiller Fjeldstad – and why I chose not to publish Fjeldstad’s own recordings
Making music
Producing music
37
Camilla Hole, Halvemål, and the question of sax as folk music instrument
Making music
Musical instruments
38
Folk Rock – or Rock Folk?
Making music
Tradition and Identity
39
What is ‘folk music’?
Making music
Tradition and Identity
40
Recording with Egeland, Edén and Marin
Producing music
41
What is a «one»?
Making music
Understanding music
42
«Extended techniques»
Musical instruments
43
A true Fiddler
Producing music
44
Restarting the blog – July 2020
Understanding music
Tradition and Identity
45
Lamslått – the recording
Producing music
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