Stev is a form ofNorwegianfolk song consisting of four linelyricstanzas.[1] TheEnglish version of the word isstave, meaning the stressed syllable in a metric verse.
There are various types ofstev:
Of the gamlestev that have been preserved, most of them are fromSetesdal andøvre Telemark . This poetic form is equivalent to the metre of themedieval ballad, and is used over most of Northern Europe:
The metre in most old staves is free, and the rhyming is always on the second and fourth line.
Some gamlestev might be remnants of folk songs that have been split up, and thereby losing completeness.
InTelemark, nystev have been replaced byruralfolksongs, to a great extent.By contrast, nystev inSetesdal have held much of their ground. Many folksongs are based on the form, which rhymes in pairs:
Some researchers have presented theories aboutstev "relating to language and poetry rather than to slowed-down dance":Ivar Mortensson-Egnund (in 1914),Idar Handagard (in 1942),O.M. Sandvik,Eivind Groven (1971),Jon Storm-Mathisen (2002 and 2007) andJacqueline Pattison Ekgren (1975 and 2007).[5] ("Handagard points out that much Norwegianfolk poetry, includingstev, has strong elements ofalliterative rhyme and rhythm which he claims shows an unbroken tradition from Old Norsefolk poetry. Storm-Mathisen demonstrates in his writing and audio recordings of stanzas from Old Norse eddicHavamal sung-recited togamlestev andballad melodies that there are good arguments for the theory of an unbroken tradition and non-dance origin ofstev."[6])
"Theories in the last century connectingnystev with dance" have been presented byErik Eggen (in 1928 and 1939),Hallvard Lie (1967),Otto Holzapfel (1993),Ånon Egeland (1998) andReimund Kvideland (2002).[5] These theories were started[5] byRichard Steffen's claim in 1898 that "nystev were originally dance songs, even though he had never seen them danced."
A person who can perform a stev, is known as akveder (or "kvedar"), in Norwegian.
Previously "A goodkvedar [really had to know] knew how tostevja", wroteGeirr Lystrup (in 1980).[7] ("Tostevjast is a social form ofsongkamp ["song" + "battle"], where the object is to know many stev so one will not beat loss (or become perplexed)."[8]
A kveder from Setesdal, when performing stev, generally sings more slowly, than a kveder from Telemark.[9] One reason for this, may be that Setesdal stev are often more meditative ( orelegiac ), in regard to the stev text.[9]
In 1945,Aslak Brekke's performance at "liberation of Norway" concert[citation needed] that was held 1945, in the ceremonial hall (the "Aula") at theUniversity of Oslo.In 1983, a member of Norway's national team of football,Åge Hareide, was honored with astev (performed by another member of the team,Svein Mathisen) related to Hareides receipt of theNorwegian Football Association Gold Watch (Norwegian:Gullklokka — signifying 25 matches played for Norway's national team).[10] The stev was performed at the banquet in Yugoslavia following a football match of two national teams, and the performer held the head of the lamb that had been eaten at the banquet, while he performed from a tabletop.[10] (The watch was received before the match.)
Nystevet er det norsk motstykket til amerikanarane sin blues. Steva uttrykkjer kjærleik eller og lengt, men dei kan også vera skjemtande eller forma slik at dei skal ramme ein annan på eit sårt punkt.
I eldre tider var det sjølvsagt at ein god kvedar kunne stevje,
Å stevjast er ei selskapeleg form for songkamp, og det gjeld å kunne flest mogleg stev slik at ein aldri er opprådd.
Han fikk selv klokken borte mot Jugoslavia i 1983. Norge tapte 2-1, men banketten etterpå husker Hareide godt. — – Vi hadde spist noe lammekjøtt og Svein Mathisen hadde vært inne på kjøkkenet og hentet et sauehode! Han tok det med inn der vi spiste, gikk opp på bordet og fremførte et stev fra Telemark for meg. Svein var god på stev, forteller Hareide.
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