Editing Music of Norway (section)

===National Romanticism===
[[Romantic nationalism|National romanticism]], a movement that was prevalent throughout Europe, touched Norway as well, and began to affect classical musicians and classical music in the country. The violinist [[Ole Bull]] (1810–1880) was the first major Norwegian musician. He became world-famous starting in about 1834, playing not only in Norway but also in other parts of Europe and the US, and was known as the Nordic [[Paganini]].<ref name="info">{{cite web|url= http://www.norway.org/aboutnorway/culture/music/classical/ |title=Norway – the Official Site in the United States |publisher= Royal Norwegian Embassy in Washington |access-date=2012-03-06}}</ref> In addition, a few other great composers emerged including [[Halfdan Kjerulf]], [[Martin Andreas Udbye]] who composed the first Norwegian [[opera]] Fredkulla, and [[Rikard Nordraak]] who composed the Norwegian national anthem "Ja, vi elsker dette landet".<ref name="arts"/>

From about 1831, traditional Norwegian music began to influence the classical scene, especially through Bull, who befriended the famous traditional [[Hardanger fiddle]] player [[Myllarguten]] and through the friendship gained better understanding of traditional music. Bull himself started playing the Hardanger fiddle, and was the first to present [[folk music|folk]] tunes to the public in urban areas. He also saw to that Myllarguten played with him in concert, presenting a rural traditional musician to an urban audience for the very first time, in February 1849, at the very height of Norwegian romantic nationalism. This later inspired [[Edvard Grieg]] to look for folk musical sources. But urban audiences were slow to gain an appreciation and understanding of traditional (rural) music. [[Romantic music|Romanticism]] style dominated Norwegian music "until well into the 20th century, whether expressed through modifications to the national Romantic idiom of Grieg or through a more classical/international line"<ref name="arts"/> like [[Catharinus Elling]] or [[Halfdan Cleve]].

Foreign musicians began settling in Norway in the 1840s, bringing with them musical knowledge from the rest of Europe. Following the [[French Revolution]] of 1848, Norway saw the development of a strong national consciousness, as well as economic growth which occurred the development of music. In comparison to most other countries of this period, female Norwegian musicians were widely accepted, and were even published and given stipends by the state.
[[File:Norske komponister ved Musikkfesten i Bergen, 1898.jpg|thumb|left|1898 Music festival in Bergen by [[Agnes Nyblin]]. Left to right: [[Christian Cappelen]], [[Catharinus Elling]], [[Ole Olsen (musician)|Ole Olsen]], [[Gerhard Schjelderup|Gerhard Rosenkrone Schelderup]], [[Iver Holter]], [[Agathe Backer Grøndahl]], [[Edvard Grieg]], [[Christian Sinding]], [[Johan Svendsen]] and [[Johan Halvorsen]]<ref name=doc>[https://document.dk/2016/05/02/norske-komponister-ved-musikkfesten-i-bergen-1898/ Norske komponister ved Musikkfesten i Bergen, 1898], Document.dk, Retrieved 22 May 2016</ref> ]]
With Norwegian [[nationalism]] burgeoning, the musical scene throughout the country entered the Golden Age of Norwegian Music, led by [[Halfdan Kjerulf]] and organist and collector [[Ludvig Mathias Lindeman]]. The Golden Age's most prominent composers included [[Johan Svendsen]] and Edvard Grieg. Bull's efforts directly inspired Grieg to look for folk musical sources. These composers, inspired by Lindeman's collections and Ole Bull's Hardanger fiddling, incorporated Norwegian folk elements into their compositions.

At the end of the 19th century, the collection of folk tunes continued unabated, and composers like [[Christian Sinding]] and [[Johan Halvorsen]] were well known. Following the dissolution of the union with Sweden in 1905, Norwegian nationalism continued to grow in popularity and innovation, led especially [[David Monrad Johansen]], [[Geirr Tveitt]] and [[Eivind Groven]]. These composers looked towards using folk music in their compositions, a trend that continued well into [[World War II]], through a process of internationalization began in the 1930s, easily heard in composers like [[Ludvig Irgens-Jensen]], [[Bjarne Brustad]], [[Harald Sæverud]] and [[Klaus Egge]]. In between the wars, only a few composers, like [[Pauline Hall (composer)|Pauline Hall]] and [[Fartein Valen]], were significantly influenced by foreign styles.