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20-581: Ole Christian Paus (9 February 1947 − 12 December 2023) was a Norwegian singer, songwriter, poet and author, who was widely regarded as the foremost troubadour of the contemporary Norwegian ballad tradition ( Norwegian : visebølgen ). A member of the Paus family , Ole Paus was born in Oslo in 1947 and was the son of General Ole Paus . He was the father of composer Marcus Paus . Paus died in Drammen on 12 December 2023, at

40-443: A big orchestra but are often sung to fairly simple accompaniment on guitar, or other instruments such as piano or accordion. The genre started with Carl Michael Bellman in the late 18th century. In the 19th century, poetic songwriting fell into decline in favour of academic student choirs, until it was revived in the 1890s by Sven Scholander . Poets increasingly continued the tradition of having their poetry put to music to give it

60-417: A mix of radicalism and conservatism, speaking against state power and defending vulnerable and marginalized individuals. During the 1970s and 1980s, Paus was known for his biting social commentary, especially in his ironic and sometimes libellous "musical newspapers" in the form of broadside ballads in a series of albums titled "The Paus Post". His social and political commentary aimed at both left and right in

80-477: A much darker collection of poetry. It is regarded as the foremost collection of Swedish poetry of the 1920s. One of the most renowned Swedish troubadours of the 20th century was Evert Taube (1890–1976). He established himself as a performing artist in 1920 and toured Sweden for about three decades. He is best known for songs about sailors, ballads about Argentina, and songs about the Swedish countryside. A poet who

100-552: A summary of the differences of the variants of the ballad and how they differ, and comprises a list of appearances in various Nordic ballad collections. Almost all of the ballad types given in the Danish (DgF), Faroese ( CCF ), Icelandic ( IFkv ), or Swedish ( SMB ) ballad type listings also have a specific TSB type listing. (The exceptions are a few texts, which now are known to be of rather recent origin, or are otherwise found to be deficient.) Norsk visearkiv  [ no ] , which

120-488: A wider audience. In the early 1900s, a lot of poetry of the 90s poets Gustaf Fröding and Erik Axel Karlfeldt had been put to music, and the popularity of those poets largely depended on the troubadours. Birger Sjöberg (1885–1929) was one of the early popular troubadours. Sjöberg published the poetry collection Frida's Book ( Fridas bok , 1922), a light and humorous story of the young Frida . In 1926, he reinvented himself with Kriser och kransar ( Crises and garlands ),

140-605: A young adult, Ole Paus initially had a clear affiliation with the political right, but eventually adopted a more independent stance in the cultural landscape of the 1970s. Paus was often perceived as a "bourgeois anarchist" who challenged authority and societal norms from the unique position of being both insider and outsider in Norway's "establishment". Jon-Roar Bjørkvold described him as "the bourgeoisie's scolder and tireless enfant terrible." Bjarne Markussen referred to Ole Paus as "the last bohemian," noting that he shared with Jens Bjørneboe

160-409: Is Lars Winnerbäck , whose folk-rock ballads, often infused with a poetic quality, mix a Christian socialist political message with a typically Swedish sensitivity to nature in the spirit of Vreeswijk, making him one of Sweden's most popular currently active musicians. The contemporary Norwegian ballad tradition, known as the "ballad wave" ( Norwegian : visebølgen ), started as a cultural movement in

180-816: Is also the title of the underlying reference book: The Types of the Scandinavian Medieval Ballad: A Descriptive Catalogue , edited by Bengt R. Jonsson, Svale Solheim and Eva Danielson, in collaboration with Mortan Nolsøe and W. Edson Richmond, published in 1978 in two places: as volume 5 of the series Skrifter utgivna av svenskt visarkiv (Stockholm: Svenskt visarkiv), and as volume 59 of series B of Oslo's Instituttet for sammenlignende kulturforskning (The Institute for Comparative Research in Human Culture ) (Oslo, Bergen, and Tromsø: Universitetsforlaget ; ISBN   82-00-09479-0 ). It attempts to classify all specimens of traditional ballads known in one or more of

200-400: Is known for songs is Nils Ferlin (1898–1961) who published six collection of poetry between 1930 and 1957. Ferlin melancholic but with a stinging irony, and very rhythmical which made them easy for friends and colleagues to put music to. The titles of some of the poems already from the start referred to them being sung as songs, such as "En valsmelodi" (which translates as "A waltz tune"), and

220-532: The 1960s, greatly inspired by the Swedish ballad tradition and its modern representatives such as Olle Adolphson and Cornelis Vreeswijk. Some of its prominent representatives are Ole Paus , Lillebjørn Nilsen and Finn Kalvik ; Alf Prøysen was also called a visesanger , and influenced but in many ways preceded the Norwegian "ballad wave." The Types of the Scandinavian Medieval Ballad It

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240-754: The Scandinavian languages ( Danish , Norwegian , Swedish , Icelandic , Faeroese , and the extinct Norn ). Cognate ballads are assigned the same "TSB No." such as "A 38" (A 38: " The Two Sisters "), "A 50" (A 50: " Harpans kraft "), or "A65" (A 65: " Elvehøj — Knight released from elves at dawn"). It is somewhat analogous to the Aarne–Thompson classification system or motif-index for folktale studies, except that each ballad can only have one TSB No., whereas any given folktale can exhibit several motifs. The TSB divides its list of types into six groups (with some subgroups), as below. The division essentially follows

260-469: The age of 76. Ole Paus debuted as a singer-songwriter in 1970 and as an author the following year, after he was discovered by Alf Cranner and Alf Prøysen , respectively. He was one of the central figures of the so-called visebølgen i Norge , i.e. troubadours in the tradition of Evert Taube , Cornelis Vreeswijk and others. His works are marked by critical and socially conscious songwriting. His works often commented on political and societal issues. As

280-438: The classical composer Marcus Paus , notably on the children's opera The Witches , Requiem and several later works. One of his songs, " Mitt lille land ", gained wide popularity after the 2011 Norway attacks  and was described as "the new national anthem". He has been described as the Norwegian counterpart of Bob Dylan and as the "voice of the nation." Paus was discovered by artists Alf Cranner and Alf Prøysen , and

300-470: The one by A. I. Arwidsson , and Svend Grundtvig 's original division in Danmarks gamle folkeviser (DgF); however, many of the ballads Grundtvig placed in group C have been reclassified. The number of ballad types in each group in the second printed edition of TSB from 1978 is given within parentheses. Since then, more types have been added to group F. Each ballad type is given a short description, including

320-477: The political spectrum and Paus was described as a man whose satirical lyrics managed to enrage both communists and Christian conservatives. His later works become known for a softer and more lyrical style, and include songs such as " Innerst i sjelen " and " Engler i sneen ". He has often collaborated with Ketil Bjørnstad , notably on the "modern suite " Leve Patagonia ; he has later collaborated with Kirkelig Kulturverksted on several projects, and with his son,

340-460: The popular Scandinavian sing-along tradition. The song type is typically known as visa in Swedish or vise in Norwegian, and troubadours in the genre are called vissångare in Swedish or visesanger in Norwegian. In context, the Swedish word "ballad" is a subtype of "visa" that tells a story in many verses, similar to the medieval ballads , as opposed to for instance lyrical songs about the beauty of nature. The Swedish ballads can be performed to

360-468: The title of his first collection of poems, "En döddansares visor". Other well-known singer-songwriters in the Swedish ballad tradition after Evert Taube were Olle Adolphson (1934–2004) and Cornelis Vreeswijk (1937–1987). Vreeswijk's songs were initially leftist protest songs where he took upon himself to speak for the weaker men of society. After his death, Vreeswijk also gained appreciation for his poetic qualities. A Swedish contemporary troubadour

380-483: The tradition, the Swedish ballad tradition has been particularly influential, but the tradition also exists in the other Scandinavian countries. This visa tradition should not be confused with traditional "medieval" Swedish ballads ( medeltida ballader ), which are representative of a typical tradition of Scandinavian ballads . The Scandinavian ballad tradition today is both a respected art form and an important basis of

400-410: Was mentored by André Bjerke , Jens Bjørneboe and Henny Moan . Paus is noted for his consistent use of Norwegian and has been eager for other Norwegian musicians to switch from English to Norwegian. (For peak charting positions, see NorwegianCharts.com ) Scandinavian ballad tradition The Scandinavian ballad tradition is the tradition of Scandinavian poetic singer-songwriters. Within

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