To Call the Cows Home: A Selection of Swedish Kulning - by Sheila Louise Wright

... To Call the Cows Home ...

A Selection of Swedish “Kulning”

An Entry for An Tir Bardic Championship, AS 49 (2015)

By H.L. Sionann in Ui Fhlaithbheartaig

(aka: Sheila Louise Wright)

email: [email protected]

Sionann in Ui Fhlaithbheartaig To Call the Cows Home

TABLE OF CONTENTS

Introduction ....................................................................................................................................................... 3

What is “Kulning”? ........................................................................................................................................... 3

Definition of Kulning .................................................................................................................................................. 3

Kulning & Life on the Fäbod ..................................................................................................................................... 4

Other Types of Calls & Signals on the Fäbod ....................................................................................................... 4

The Sound of Kulning: Technique & Performance ................................................................................ 6

Kulning –vs-‐ Joik –vs-‐ Yodel ...................................................................................................................................... 6

On Melody & Tone ....................................................................................................................................................... 6

On Kulning Mode .......................................................................................................................................................... 7

On Kulning Range ........................................................................................................................................................ 8

On Rhythm ...................................................................................................................................................................... 8

Appendix 1: A Brief History... of Yodeling... ............................................................................................. 9

Appendix 2: Two Examples of Different Kulning Styles ................................................................... 12

Appendix 3: Herding Tune Scores & Lyrics ........................................................................................... 14

Jag Vill Go Vall (I Want to Go Herding) ............................................................................................................... 14

Store Oxen (The Big Ox) ........................................................................................................................................... 15

Bibliography .................................................................................................................................................... 16

Books .............................................................................................................................................................................. 16

Articles .......................................................................................................................................................................... 16

Websites ........................................................................................................................................................................ 17


Introduction My name is Sionann in Ui Fhlaithbheartaig and today I will be demonstrating a Swedish style of singing called kulning for calling cattle and sheep or goats while in summer pasture. These will be largely improvised, thus I have not provided a score.

I will also present a herding tune used as a distress signal and a herding song to show the differences between them. The score for these can be found in Appendix 3.

Figure 1. A “fäbod” in Sweden, where herding girls would take the herds during the spring and summer months to graze and fatten-up for the winter.

What is “Kulning”? Definition of Kulning Swedish kulning is a form of singing used mainly by herding girls (and occasionally herdsmen), who live in the mountain fäbodar (mountain villages) during the spring and summer months. The term kulning is generally used to describe all kinds of Scandinavian high pitched herding calls, but it specifically refers to “cow calls” and is a term specifically from the region of Dalarna. Kula is also known by many other dialect terms but for the purpose of this paper, I will use kulning, kula, and “herding call” or “herding tune/song” in reference to other herding type songs.

A kula is specifically used to call cows (“ko” in Swedish, “ku” in Norwegian) and is usually sung in longer, melismatic phrases, whereas calls for goats and sheep are usually sung in shorter phrases, sometimes even spoken or interjected with animal noises such as barking, bleating and bird like sounds (See Appendix 2).

Kula are mainly sung without words on syllables like “dee”, “do”, “oo”, “ee”, “hoh” and so forth. Sometimes a kula may also contain actual words, particularly in the case of warning or distress calls, or in herding songs. At one time kulning (‘kool-ning’ - cow calls) were found in all areas of Scandinavia and Iceland1 and today is still used in regions including Sweden, Norway and some areas of the Ural Mountains in Russia. However it is most prevalent in the regions of Bohuslän, Värmland, Dalarna and middle Uppland, Sweden.

1 Plantenga, Bart. “Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World”, pg. 99


Kulning & Life on the Fäbod The herding girls (vallpiga or vallkulla) who drive the herds to the summer alpine pastures live in relative isolation and use kulning to communicate with each other and with their flocks over great distances. It is used to send the herds out in the morning, to call them back in in the evening, to entertain oneself while alone in the forests and meadows, as a means of scaring off predators, and as a means of communication with other herders and fäbodar especially in the evening to signal bufred, that all was well and then herd safely home.2 “Women herders learned this art form through ‘unbroken oral tradition’ which continues to this day, taught from one woman to another.”3

“Fäbod music [pasture music] is the oldest tradition richest and most developed form of pastoral music used in the Nordic countries... It is therefore one of the most interesting examples we know of communication between humans and animals.”4

Humans have been communicating with animals in some form or another since the dawn of time, particularly since the domestication of various livestock and pets, whether signaling commands, warnings, lures, affection or friendliness and many of these emotional messages can be and are included in kulning whether intended for animals or people.5

Other Types of Calls & Signals on the Fäbod When not off in the mountains, the herders would tend the smaller flocks at home (pigs, ducks, chickens etc.) processing the products of these animals including making cheese, butter, milk, meat, hides, bones, antlers etc. Life on the fäbod, while idyllic, also busy from dawn to dusk.

The women will often make up “working songs” or other herding tunes to while away the time and entertain themselves. These differs from kulning in that herding tunes/songs are generally lower pitched, poetic, contain verses and often identifiable rhythm, resembling “working songs”. These types of tunes are also known regionally as locksång, vallåt, vallåtar, locklåt, kaukning & lockrop (similar also to the Swiss lockruf).

In addition to long distance kulning, a kind of sing-song voice called talsång (talk-singing) is used in short distance communication with herds or other herders which was mainly improvisational, but sometimes made use of fixed, well-known phrases, melodies and sometimes words which reduce transmission errors when sending specific messages. Herding tunes and herding songs often have a more fixed melodic form.6 In this way, a herding girl could signal others on their own fäbod or even neighbouring fäbodar. These fixed form calls are called lalning or lullning. Using these kinds of calls, a vallkulla could signal danger, alert others of missing animals or of found animals among other things.7

2 Ludemann, Wes. “FÄBODMUSIK III - INSTRUMENTS VOICE, LUR, and HORN”, Northern California Spelmanslag News, 2006, pg 6 3 Ivarsdotter Johnson, Anna. "Voice Physiology and Ethnomusicology: Physiological and Acoustical Studies of the Swedish Herding Song," Yearbook for Traditional Music, 16 (1984): p 45 4 Ivarsdotter Johnson, Anna. p 45 5 Ivarsdotter Johnsson, Anna. “And the cattle follow her, for they know her voice”. On communication between women and cattle in Scandinavian pastures”, PECUS. Man and Animal in Antiquity, The Swedish Institute in Rome, Rome, 2004, pg. 148 6 Rosenberg, Susanne. “Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls”, Voice and Speech Review, 2014 Vol. 8, No. 1, pg. 100-101 7 Ludemann, Wes. “FÄBODMUSIK III - INSTRUMENTS VOICE, LUR, and HORN”, Northern California Spelmanslag News, 2006, pg 5-6


“For all these occasions there were specific, meaning-loaded melodic signals, which everyone knew and understood well. It must certainly have been a great relief, when a woman who had lost a cow, could hear an answering signal: “Don’t search any longer – the cow is here”8

Herding girls sometimes would also use instruments to aid their herding calls, such as the lur (näverlur: a birch bark or willow bark horn/trumpet which is also mentioned in the sagas several times) and a horn made from cows, oxen or goats. They might also have small willow pipes called a spilåpipa.

“During the summer months the forests resounded with the women’s herding calls. The sounds of the forest itself – the rustle of the wind in the trees, the bubbling of streams, the birdsong and the persistent whine of the mosquitoes – mostly constitute a subdued soundscape. Against this background the sharp noises of the shielings - horn and herding calls, lur signals, cow bells, the lowing of cattle and the bleating of goats – stood out in prominent relief. These were sounds to which both human beings and animals responded. Herding might therefore be seen as an all-day musical event, where the singing was varied according to the different situations occurring in the course of the herding.”9

8 Ivarsdotter Johnsson, Anna. “And the cattle follow her, for they know her voice”. On communication between women and cattle in Scandinavian pastures”, PECUS. Man and Animal in Antiquity, The Swedish Institute in Rome, Rome, 2004, pg. 148 9 Ivarsdotter Johnsson, Anna. pg. 147


The Sound of Kulning: Technique & Performance Kulning –vs- Joik –vs- Yodel

“…it is possible that Norwegian herders were familiar with Alpine yodeling as it [kulning] shares similar roots with Swiss kuhreigens”.10

Kulning is often compared to Swiss yodel (jodeln) and even to Sami joik, but while the function of each of these styles of singing is the same, the sounds and vocal techniques are quite different. Sami joik is much lower pitched and focused at the back of the throat. Yodel is made with quick switches between chest register and head register (falsetto) repeatedly while on a single note and is traditionally primarily a man’s genre. Kulning is primarily a woman’s genre and is easily identified by its loud, high-pitched range, and by the very bright, piercing tone of the voice.11

On Melody & Tone “For those who [have] never heard kulning it's hard to describe how it sounds, but [it is a] most striking characteristic once you heard it and no-one forgets [it] in a hurry…”12

“... powerful high notes, wonderfully clear, with a singular mellow minor [sound] of the vallhorns rather than the human voice - a strange pagan [sound], at the same time wild and captivating, magical and full of longing.”13

Kulning has been described alternately as otherworldly and shrill and both are true. The extreme high-pitch timbre of the kula is designed to carry sound great distances and is produced by the high position of the larynx, which is opposite to Classical vocal practice that prefers the mellower sound of a low larynx or maintaining a constant level while singing.14

In kulning, the larynx is flexible and the breath forced through the tensed throat muscles of the lower windpipe.15 To create the loud tone of the kula demands very high air or subglottal pressure, and the higher the tone, the higher the pressure, which puts great demand on the vocal tract16 and uses the voice’s breaking point to change register17.

Paraphrasing a long passage from Susanne Rosenberg, head of the folk music department at the Royal University College of Music in Stockholm and preeminent expert on kulning, the sound of the kula is placed at the front of the mouth, rather than in the throat, in a narrow space, without nasality, with jaw and lips are open with the corners of the mouth pulled tight, while the cavity of

10 Plantenga, B. “Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World”, pg. 100 11 Rosenberg, Susanne. “Kulning - Herding Call - The Music and Vocal Technique”, Swedish Folk Singing 1, Udda Toner, Stockholm, 2010, pg 30. 12 Rosenberg, Susanne & Sundberg, Johan. "En utsmyckning av oändligheten runt omkring. På jakt efter kulningens dragläge". Noterat 16. Stockholm: Svenskt visarkiv. 2008, pg 100-101 13 Cit. efter Montelius, a.a., s. 87. from Johnson, Anna. “Om fäbodarnas musik”, FOLKMUSIKBOKEN, Svenskt Visarchiv, http://old.visarkiv.se/online/folkmusikboken/johnson.htm 14 Torreson, Lasse. “The Concrescence Project 2008-2010: Ideas, processes, experiences, and musical works”, Paper presented at Europa Cantat XVIII, Torino, 2012 15 Ludemann, Wes. “FÄBODMUSIK III - INSTRUMENTS VOICE, LUR, and HORN”, Northern California Spelmanslag News, 2006, pg 5 16 Rosenberg, Susanne & Sundberg, Johan. "En utsmyckning av oändligheten runt omkring. På jakt efter kulningens dragläge". Noterat 16. Stockholm: Svenskt visarkiv. 2008, pg 100-101 17 Rosenberg, Susanne. “Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls”, Voice and Speech Review, 2014 Vol. 8, No. 1, pg. 100


the mouth is wide.18 The root and the back of the tongue rise, while the tip is lowered, and the epiglottis is raised towards the back of the tongue.19

The kula timbre is produced with a straight sound using no vibrato.20 The melodic form often starts on a higher tone and falls downward, and may or may not end on a higher note again.21 Often the melody of the end of a kula will sweep upwards at the end, particularly during a communication between people, signaling the end of the message being sent. These melodies often have a tonal range of about a fifth, sometimes more. 22

Notes are often attacked at the beginning, especially at the beginning phrases where one might use a pick-up note (upphämtningar) at the start, either sliding up to the start note or down into the note. One can also start the attack note on a soft “h” sound, a hard “ch” sound or on a median sound like a “d”. Kulning also makes use of glottal stops particularly at the end of phrases. Breaks between phrases are created by the tip of the tongue making melodic ornamentation, or by also using glottal stops, though the later is mainly in lower registers.23

Lastly, as kulning is loud and meant to be heard over great distances, to properly appreciate the beauty of the kula, it requires a large space, preferably outdoors.

On Kulning Mode

Figure 2. Vallåtsmodus as explained by S. Rosenberg. Note that the ♮notes are actually a 1/4 tone higher than natural.

Kula are sung in what is generally called “kulning mode” (shown above). Some, like Susanne Rosenberg have hypothesized that kulning came about as imitations of sounds made by the cow horns used by herders which have been found from as far back as the Iron Age (600AD) and thus influenced the tonality of the kulning mode (vallåtsmodus).24 Rosenberg explains the mode as being,

“a fifth above and a fourth below the keynote (tonal centre) with varied intonations of above all the third, the fourth and the leading note. Put simple, many herding tunes are neither major nor minor mode, as they have, for example, a variable third... A common pattern... is that of a falling minor second (a semitone) followed by a major third (two tones), a so-called 431. This means that the intonation of the third, from low to high, changes when the melody moves from the fourth to the third

18 Rosenberg, Susanne. pg. 103 19 Rosenberg, Susanne. pg 102 20 Rosenberg, Susanne & Sundberg, Johan. "En utsmyckning av oändligheten runt omkring. På jakt efter kulningens dragläge". Noterat 16. Stockholm: Svenskt visarkiv. 2008, pg 100-101 21 Rosenberg, Susanne. “Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls”, Voice and Speech Review, 2014 Vol. 8, No. 1, pg. 100-101 22 Rosenberg, Susanne. pg. 100-101 23 Rosenberg, Susanne. pg 102 24 Rosenberg, Susanne. “Kulning - Herding Call - The Music and Vocal Technique”, Swedish Folk Singing 1, Udda Toner, Stockholm, 2010, pg 13.


to the keynote. Herding tone’s phrases, and themes used in kulning often circle around the fifth, the second and the keynote, which function as a sort of tonal skeleton around which the melody is ornamented upon.25

On Kulning Range The high kulning range is roughly equivalent to that of the highest register of a dramatic soprano. However, as herding calls often contain a mixture of high, melismatic phrases along with shorter calls which are typically slightly lower register making use of the whole range of the voice, the kulning range can be said to be from roughly as low as E3 (150 Hz) up to F6 (1400 Hz), however in general, most are somewhere in the range of G3-D6. Every kulerskor (one who kulas) has their own comfortable range depending on the power of singer’s capabilities so there is absolute limit for everyone.26

On Rhythm Kulning is built on phrases, not on time signature or beat, thus they are rhythmically free. Melodic phrases are varied in length (usually 3-5 seconds long) and variation of tonality, phrasing, melody and the length of pauses between phrases are the key fundamentals rather than emphasis on rhythm, making creativity of sound combinations nearly limitless. 27

25 Rosenberg, Susanne. “Kulning - Herding Call - The Music and Vocal Technique”, Swedish Folk Singing 1, Udda Toner, Stockholm, 2010, pg 13. 26 Rosenberg, Susanne. “Kulning – an ornamentation of the surrounding emptiness: about the unique Scandinavian herding calls”, Voice and Speech Review, 2014 Vol. 8, No. 1, pg. 100-101 27 Rosenberg, Susanne. pg 101


Appendix 1: A Brief History.. . of Yodeling.. . There are many cultures on earth that recall history of herding occupations, and many still do. The term “pastoral music” comes from this very occupation: music played or sung by shepherds/herders while out in the pastures watching their flocks. There are thousands of depictions in art from around the world of shepherds, including many Greek depictions and even cave drawings from the very early periods of mankind. Pastoral singing is definitely not specific to Scandinavia or the Alpen regions of Europe alone. Particularly in regards to the yodel genre, Bart Plantenga says yodeling exists “… Basically, everywhere but Antarctica…”28 He also mentions in passing, in regard to kulning that,

“The epiglottal stops and abrupt changes are present, which hint at the existence of migration patterns between the Balkans and Samiland.”29

Unfortunately in Scandinavia during the time when there was keen interest in Scandinavian music, folklorists and musicologists were more interested in collecting and preserving ballads and other kinds of folk tunes from earlier times than they were about kulning or even herding tunes. Thus, many tunes have been lost, though many have been handed down through oral tradition, particularly the herding tunes.

According to Britt-Mari Näsström, a part of the Viking Age ritual of sejður (communication with the Gods, the dead, etc.), was a particular kind of song called a galdr which is similar to the word gala which means “to crow or call/chant in a loud voice”30, and is mentioned in the Poetic or Elder Edda from ca. 1200.31

“...the song [galdr] was performed loudly in a shrill voice. The music historian sometimes relate the special art of singing that was performed by saeter girls, cattle-tenders in the forest pastures calling home the cows in the far distance, the kulning. A kulning was performed at a special vocal pitch, shrill and piercing, and could be heard over a vast area. This is, however, a pure guess, since we know nothing about the performance of a galdr. (Lund 1994: 38) The master of galdr was Odinn himself, also called “galds faðir”. The stanza of Hävamal mentioned tells that “unðir randir ek gel” ("I sing (a galdr) towards the shield" [maybe “shieling”], and later on in the same poem he relates the following:

Ðat kann ek et (I know that for the) fióðra / ef fyrðar (fourth, if people) bera / bönd at (bind my limbs) bóglimom / svá ek (with fetters, then I) gel /at ek ganga (chant that I can) má /sprettr mér af (walk, loosening) fótom fiöturr / en af (the fetter from my feet and the) höndom hapt (chain from my hands).(Havamal. 149)32

28 Plantenga, Bart. “Rough Guide to Yodel” - CD liner notes - http://bartplantenga.weebly.com/rough-guide-to-yodel.html 29 Plantenga, Bart. “Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World”, pg. 100 30 Näsström, Britt-Mari. “Magical Music in Old Norse Literature”, https://ojs.abo.fi/index.php/scripta/article/viewFile/497/1040 - this is from a larger collection of articles, but I only found this one online... 31 Ludemann, Wes. “FÄBODMUSIK III - INSTRUMENTS VOICE, LUR, and HORN”, Northern California Spelmanslag News, 2006, pg 5 32 Näsström, Britt-Mari. “Magical Music in Old Norse Literature”, https://ojs.abo.fi/index.php/scripta/article/viewFile/497/1040


In the absence of extant reference specifically to kulning, the earliest mentions of similar types of singing nearest to Scandinavia is in reference to yodel. Plantenga says that, “As early as AD397, in ‘Act of Martyrs’, Roman Emperor Julian complained of the northern mountain people’s “wild, shrieking songs”.33

In 1220, Eckhardt of Saint Gall wrote a biography of a monk by the name of Notker Balbulus the Stammerer, where he describes the music school there and Rome’s displeasure at hearing how the “northern hordes” were wrecking the church melodies, which prompted the church to enact measures to curb this behaviour. Plantenga says of the incident:

“... the Germans, French and especially the Swiss - were insensitively (playfully?) corrupting ecclesiastical melodies. Eckhardt described the Alpine peoples as “being of undisciplined manners and untamed voice, [who]... cannot understand and appreciate the sweetness of modulation.”34

The earliest written reference specifically to yodel (jodeln) is by Georg Rhaw/Rhau (1488-1548) in his ‘Bicinia Gallica, Latina, et Germanica’, composed in 1545, (see right) in a song called “Appenzeller Kureigen Lobe lobe” (the call of a cowherd from Appenzell).35 Plantenga then goes on to say,

“Most ethnomusicologists however, date the yodel at "shortly after the dawn of man." In any case, most experts agree that mountain cowherds, men and women, communicated with their herds via bells and melodic calls, guiding them through villages and valleys.”36

Anna Ivarsdottir Johnsson says,

“Norwegian and Icelandic sources bear witness to an advanced shieling system [refering to the fäbod] in these regions during the medieval period and possibly already during the Viking era. However, a more detailed picture of the extent and organisation of shielings in Sweden does not really emerge until the 16th century. Occasional references in medieval sources do show, however, that various forms of transhumance also occurred in Sweden during the medieval period. This form of cattle herding culminated during the 18th, 19th and beginning of the 20th century. But then the thorough-going transformation of agriculture and cattle raising have brought about a steady recession and now only few of the shielings are in operation. Consequently the distinctive music associated with this pastoral culture – a music which has survived by an uninterrupted tradition through centuries right down to our own time – is now in a process of dissolution – but also of revival.”37

33 Plantenga, Bart. “Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World”, pg. 15 34 Plantenga, Bart. “Yodel in Hi-Fi: From Kitsch Folk to Contemporary Electronica, U of Wisconsin Press, 2013, pg 53. 35 Plantenga, Bart. “Will There Be Yodeling in Heaven?”, CUPS, 1997, http://wfmu.org/~bart/yodel.html 36 Plantenga, Bart. “Will There Be Yodeling in Heaven?”, CUPS, 1997, http://wfmu.org/~bart/yodel.html 37 Ivarsdotter Johnsson, Anna. “And the cattle follow her, for they know her voice”. On communication between women and cattle in Scandinavian pastures”, PECUS. Man and Animal in Antiquity, The Swedish Institute in Rome, Rome, 2004, pg. 147


Anna Ivarsdottir Johnson also says that some kulas and other fäbod music have been preserved in the chapbooks, called skillingtryk (aka: broadsides) printed in Sweden and Norway in the 1500-1800s.38

38 Ivarsdottir Johnson, Anna. “Om fäbodarnas musik”, FOLKMUSIKBOKEN, Svenskt Visarchiv, http://old.visarkiv.se/online/folkmusikboken/johnson.htm


Appendix 2: Two Examples of Different Kulning Styles Herding Call, after Karin Edvardsson, Dalarna Sweden. Transcribed by Sven Ahlback 2007


An example of herding calls for goats and sheep. Note the shorter phrases, less “singing” and more animal like sounds.


Appendix 3: Herding Tune Scores & Lyrics Jag Vill Go Vall (I Want to Go Herding)

(From Susanne Rosenberg: “A herding song known by many... as it can be found in many songbooks. Dybeck wrote this version in the early 1800s and mentions that it comes from Västmanland. The text gives a short concise description of a herdswoman’s working day.)

Jag vill gå vall hela dagen all

uppå den långe mossen.

Dagen är lång

magen är trång

å lite la mor i påsen.

Dri-am du-dn-da-di

jam du-dn da-da dej da.

I want to go herding the whole day long

over the long mossy ground

The day is long

my stomach is small

and my mother put a little in my bag.

Dri-am du-dn-da-di


Tupparna grå

barna mina små

tupparna mina snälla. Stilla skall gå, bita på strå

å sen ske vi hem till kvälla

Dri-am du-dn-da-di


Grey cockrels

my small children

my nice little cockrels.

Walking peacefully, eating straw

and then we’ll go home for the evening.

Dri-am du-dn-da-di



Store Oxen (The Big Ox)

(From Susanne Rosenberg: A song which I learnt from Anna Britta Moberg from Gästrickland. The song tells the awful s tory about the dangers which can lie in wait on the fäbod, and how important it is to be able to communicate with others.

Store oxen ha’ di’ tagit

rödo kon ha’ di’ slagit.

å mej hänge de,

å mej hänge de,

å mej hänge de opp!

Skynden, skynden, skynden å

Skynden, skynden, skynden å

För rövarna is skogen gå.

Kom nu!

They have taken the big ox,

They have beaten the red cow,

and they have hung me,

they have hung me,

they have hung me up!

Hurry, hurry, hurry, oh

Hurry, hurry, hurry, oh

Because there are robbers in the forest.

Come now!

This is only an approximation of the melody as it is somewhat more embellished when sung and the rhythms are relative.


Bibliography

Books Kessler, Brad. “Goat Song: A Seasonal Life, A Short History of Herding and the Art of Making

Cheese”, Simon & Schuster Inc, NYC, NY, 2009 Ling, Jan. “A History of European Folk Music”, University of Rochester Press, Rochester, NY,

1997 Pendle, Karin Anna. “Women and Music: A History”, Indiana University Press, Bloomington,

IN, USA, 2001, pg. 276 Plantenga, Bart. “Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World”,

Rutledge, Taylor & Francis Group, NYC, NY, 2004 Plantenga, Bart. “Yodel in Hi-Fi: From Kitsch Folk to Contemporary Electronica, University of

Wisconsin Press, Madison, WI, 2012 Rosenberg, Susanne. “Kulning - Herding Call - The Music and Vocal Technique”, Swedish Folk

Singing 1, Udda Toner, Stockholm, 2010 White, John David & Jean Christensen. “New Music of the Nordic Countries”. Pendragon Press,

2002

Articles Eklund, Robert & Anita McAllister, Fanny Pehrson. “An acoustic comparison of voice

characteristics in ‘kulning’, head and modal registers”, Studies in Language and Culture no. 21, Linköping University, Linköping, Sweden, 2013, pg 21-25

Geller, Allegra. “Beauty in Function: The Art of Scandinavian Herding Music”, Nov 2012 Ivarsdotter Johnsson, Anna. “And the cattle follow her, for they know her voice”. On

communication between women and cattle in Scandinavian pastures”, PECUS. Man and Animal in Antiquity, The Swedish Institute in Rome, Rome, 2004, 146-149

Ivarsdotter Johnsson, Anna. "Kvinnorna och musiken i det gamla bondesamhället". Kvinnors arbetsliv i Dalarna genom fem sekler. (Kulturdagar i Bonäs bygdegård [2001]) S. 17-26.

Ivarsdotter Johnsson, Anna. “Om fäbodarnas musik”, FOLKMUSIKBOKEN, Svenskt Visarchiv, http://old.visarkiv.se/online/folkmusikboken/johnson.htm

Ivarsdotter Johnsson, Anna. "Voice Physiology and Ethnomusicology: Physiological and Acoustical Studies of the Swedish Herding Song," Yearbook for Traditional Music, 16 (1984): p 61.

Ludemann, Wes. “FÄBODMUSIK III - INSTRUMENTS VOICE, LUR, and HORN”, Northern California Spelmanslag News, 2006, pg 5-9

Moberg, Carl-Allan, 1955. "Om vallåtar" Svensk tidskrift för musikforskning (STM), 1959. Näsström, Britt-Mari. “Magical Music in Old Norse Literature”,

https://ojs.abo.fi/index.php/scripta/article/viewFile/497/1040 Plantenga, Bart. “Will There Be Yodeling in Heaven?”, CUPS, Amsterdam, 1997 -

http://wfmu.org/~bart/yodel.html Ramsten, Märta. "Att kula, käuka eller lulla. Ett bidrag till ett historiskt perspektiv på lockrop".

Noterat 16. Stockholm: Svenskt visarkiv. 2008 Rosenberg, Susanne. “Kulning – an ornamentation of the surrounding emptiness: about the unique

Scandinavian herding calls”, Voice and Speech Review, 2014 Vol. 8, No. 1, pg. 100–105 Rosenberg, Susanne & Sven Ahlbäck. “Kulning – herding calls from Sweden”, Udda Toner,

Stockholm, 2003


Rosenberg, Susanne & Sundberg, Johan. "En utsmyckning av oändligheten runt omkring. På jakt efter kulningens dragläge". Noterat 16. Stockholm: Svenskt visarkiv. 2008

Torreson, Lasse. “The Concrescence Project 2008-2010: Ideas, processes, experiences, and musical works”, Paper presented at Europa Cantat XVIII, Torino, 2012

Uttman, Magdalena Tellenbach. “An examination of the Teiltonspektren at Kulning- and Lockruftechniken using examples from Sweden and Finland”, Svenska Samfundets for Musickforskning Internetpublikation, STM-Online vol. 5 (2002)

Wise, Tim, “Yodel Species: A Typology of Falsetto Effects in Popular Music Vocal Styles”. Radical Musicology 2 (2007): 57 pars. 17 January 2008 <http://www.radical-musicology.org.uk>

Websites www.uddatoner.com http://wunderkammern.wordpress.com/2011/10/15/kulning-o-la-musica-dei-pascoli-

scandinavi/&prev=search http://symposium.music.org/index.php?option=com_k2&view=item&id=2214:gender-ideology-

and-structure-pedagogical-approaches-to-the-music-of-karin-rehnqvist&Itemid=124 http://musikforskning.se/stmonline/vol_5/tellenbach/index.php%3Fmenu%3D3&prev=search http://www.poulhoxbro.dk/saetergb.html http://www.reddit.com/r/sweden/comments/2f6t46/ http://www.newworldencyclopedia.org/entry/Yodeling http://www.gutenberg.org/files/44302/44302-h/44302-h.htm http://www.foreverswedish.net/music-and-dance.html http://www.folkmusikseminarier.se/en/history http://ragundadalen.se/en/okategoriserade-en/ort/jannebodarna-3/ http://www.cyclopaedia.es/wiki/Kulning Plantenga, Bart. “Rough Guide to Yodel” - CD liner notes -

http://bartplantenga.weebly.com/rough-guide-to-yodel.html

To Call the Cows Home: A Selection of Swedish Kulning - by Sheila Louise Wright

Documents

Transcript of To Call the Cows Home: A Selection of Swedish Kulning - by Sheila Louise Wright