Jennie Tiderman-ÖsterbergTjänstetitel: Doktorand Organisation: Musikhögskolan
Telefon: 019 303000 (växel)
Om Jennie Tiderman-Österberg
Jennie Tiderman-Österberg is an ethnomusicologist at Dalarnas museum in Falun, Sweden and a opera-, gospel- and folksinger on a freelance basis. She got her Bachelor of Arts degree at Stockholms University 2009 and then Master of Science and Master of Arts at The School of Music, Theatre and Art, Örebro University, 2010 and 2011. All degrees in the major of musicology.
Jennie lives in Borlänge, Dalarna, Sweden.
Jennie's research project is about nordic herding music, with focus on herding calls - "kulning". In specific areas in the nordic countries it was (approximately between the years 1550 - 1920) a rule, not a choice, to move the cattle to the pastures in the mountains so that the landscape that surrounded the farms could be used for growing wheat, oat, rye and so on. The women of the family moved with the cattle to the smaller farms in the mountains called "fäbod" ("fä" - animal/cattle. "bod" - house/shed) When the cattle grazed in the forests in the mountains, you had to find a way to call on them and also a way to send messages to other shepherds. For this purpose melodies and sounds from cowhorns, wooden horns (näverlur) and vocal shouts (kulning) were used.
Today, it is not a rule and not even necessary to move the cattle. And most farmers that still uses "fäbodar" (plur. "fäbod" - cattleshed/cowshed) does not need to call on the cows since they all have GPS on their animals and they can just take the car or the bike to get them home. But herding music, such as "kulning", are still a very popular genre within the folk music tradition in Sweden and the nordic countries. But today herding music is used as a individual artistic expression and every year it grows bigger and bigger. Many are those who want to learn how to perform "kulning", listen to herding music in concerts and continue to use it as a work music in the mountain pastures.
Jennie's research will focus on why and how herding music is used today, exploring theories about music and identity and performing cultural heritage, through different aspects of "musicking" (Small, 1998: listening, performing, learning).