Many folksongs are based on the form, which rhymes in pairs: Some researchers have presented theories about stev "relating to language and poetry rather than to slowed-down dance": Ivar Mortensson-Egnund (in 1914), Idar Handagard (in 1942), O.M.
Storm-Mathisen demonstrates in his writing and audio recordings of stanzas from Old Norse eddic Havamal sung-recited to gamlestev and ballad melodies that there are good arguments for the theory of an unbroken tradition and non-dance origin of stev.
"[6]) "Theories in the last century connecting nystev with dance" have been presented by Erik Eggen (in 1928 and 1939), Hallvard Lie (1967), Otto Holzapfel (1993), Ånon Egeland (1998) and Reimund Kvideland (2002).
[7] ("To stevjast is a social form of songkamp ["song" + "battle"], where the object is to know many stev so one will not be at loss (or become perplexed).
[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 the University of Oslo.